"Musical Mondays" at Hell's Kitchen, February 2015

Musical theater loving friends, if you're not at Hell's Kitchen on the first Monday of the month, you are missing out. This is when Sheena Jansen and Max Wojtanowicz gather a few of their friends, who just happen to be among the most talented musical theater artists in town, for a little cabaret show. They've been doing it for over two years now, and it just keeps getting better and better. Each month has a theme, and this being February, the theme for this month's show was love. And as much as I love hearing my favorite musical theater songs, I also enjoy the choices made by this crew that are perhaps a bit more obscure. It was a fabulously entertaining night of musical theater, and it also served as a preview for shows to come this spring and summer. Read on for highlights and to find out where you can see the cast on stages around town.

This month's performers are a veritable Who's Who in the local musical theater scene. In addition to hosts Max and Sheena, performers include Aly Westberg O'Keefe and Dominique Wooten from last fall's brilliant production of Next to Normal at Bloomington Civic Theatre; two of the Andrews Sisters from History Theatre's Christmas of Swing, Ruthie Baker McGrath and Jen Burleigh-Benz (whom you may also know as Snow White from last fall's delightfully irreverent fairy tale Disenchanted); Radames/Joseph/et al. Jared Oxborough; and everyone's favorite, who's been in too many wonderful shows to recount here, Bradley Greenwald. They performed solos, duets, and group numbers, all accompanied by the maestro Andrew Cooke on keyboard. The show lasted about two hours, with a brief intermission, with food and bar service available throughout the night. It's also a fun place for people watching, as over half of the audience are theater people.

Highlights of the show include:

• Group numbers are always fun, including the opener, "It's Love" from Wonderful Town, and the closing number, the entirely appropriate classic
  L-O-V-E. But that's not to say that the night was fully of lovey-dovey songs. Read on...
• Listening to Bradley Greenwald sing Cole Porter's "Begin the Beguine" is worth the price of admission alone (which, BTW, is a super cheap $5 suggested donation). Swoon!
• File under the category of "my favorite musical theater songs" - Ruthie's delightfully hopeful "I'm in Love With a Wonderful Guy" from South Pacific, Dom's powerful "Somewhere" from West Side Story, and Jen's terrific rendition of that little known song "Don't Rain on My Parade" from Funny Girl.
• Yes, I own the Moulin Rouge soundtrack, so I was delighted to hear Dom and Aly sing "Elephant Love Medley" in a most charming way.
• Jared sang a lovely rendition of "Hey There," a song from The Pajama Game that has become a classic.
• The cast showed off their talent for harmony with a couple of strong quartets and a trio - "Poor Child" from Wild Party (Dom, Jared, Jen, and Sheena), "Dear One" from Kiss of the Spider Woman (Bradley, Dom, Jen, and Ruthie), and "I've Decided to Marry You" from the last year's Tony winner Gentleman's Guide to Love and Murder (Aly, Bradley, and Ruthie).
• I'd never heard the song "Lying There" from the song cycle Edges, but Aly brought tears to my eyes with her beautiful and moving rendition.
• Somebody needs to cast Jen and Bradley in a show together, because they looked and sounded gorgeous together on "Carried Away" from On the Town, with oodles of chemistry.
• Somebody needs to cast Sheena and Max in a show together, because they looked and sounded gorgeous together on "Where Would You Be" from from one of those aforementioned obscure musicals The Roar of the Greasepaint, with oodles of chemistry. Oh wait, they've cast themselves in a show together, that they wrote!  Which brings me to...

The cast's upcoming shows (click on show title for more info):

• About his beautiful silver hair Bradley Greenwald joked, "I used to have brown hair, but I've been in tech for a week." He stars as Fagen in the Theater Latte Da/Hennepin Theatre Trust co-production of Oliver!, opening at the Pantages Theatre this week.
• Max Wojtanowicz is making his Ten Thousand Things debut in The Unsinkable Molly Brown, which opens next week. It's worth noting that TTT's last musical ended up on my favorites list last year.
• Chanhassen Dinner Theatre's resident Music Director Andrew Cooke begins rehearsing his cast and orchestra this week, for the new production of Mary Poppins. Performances begin on February 27 and run through the summer.
• Max Wojtanowicz and Sheena Jansen bring their charming, funny, and poignant auto-biographical musical Fruit Fly, a Fringe hit in 2012, to Illusion Theater this March.
• Forcing me to make the long drive out to Excelsior once again, Jen Burleigh-Benz is starring in Old Log Theatre's Dirty Rotten Scoundrels, also opening in March.
• Dominique Wooten is Bloomington Civic Theatre's Billy in their production of the classic musical Carousel, opening in April (can you believe I've never seen it?!).
• Ruthie Baker McGrath announced that she will be in a little show called The Music Man at the Guthrie Theater this summer.

And that's it for this month, folks. The next Musical Mondays takes place on March 2 and will feature the music of Cy Coleman (I know, I don't really know who that is either, so this one is sure to be educational as well as entertaining!). "Like" the Musical Mondays Facebook page for updates and more information.


This article also appears on Broadway World Minneapolis.

"Horizon" by Theater Latte Da at the Lab Theater

The final installment in what has been a wonderful new works series presented by Theater Latte Da is a musical re-imagining of the Eugene O'Neill play Beyond the Horizon. It was his first play to be produced on Broadway and the first to win a Pulitzer Prize, but is little seen today (I was previously unfamiliar with it). New York City based musical theater writers Chip Klose (book) and Michael Holland (music and lyrics) are re-telling this story through music, in a brand new piece receiving its first workshop and public performances this weekend with Theater Latte Da. Like all of the NEXT works, it has great potential and is beautifully presented by our local talent, with direction by Peter Rothstein.

In this version of O'Neill's story, brothers Travis and Robbie are in love with the same girl. Book-smart Robbie is about to go to college on a scholarship when he finds out that Amy is pregnant. He decides to stay, and Travis, Amy's old love, joins the marines as a means to leave town and family behind. Robbie and Amy live with his parents and struggle to make a life, as everyone feels Travis' absence. Although plot points have been changed, this is still an O'Neill story and therefore not a happy one, but one with great emotion and complicated family dynamics, the perfect fodder for music-theater.

I loved the music in this piece, and would probably love it even more in its intended orchestration - a few guitars and a fiddle. The creators describe the style as "incorporating pop, rock, folk, and country elements with echoes of Appalachia," but it's hard to achieve that with just a piano (even when the pianist is Denise Prosek). But even so, it's a great score with intricate harmonies, giving each character their moment to shine. And you couldn't ask for a better cast than this one - Eric Morris and Jared Oxborough as the brothers (the former stepping into the role just the day before the first performance!), Cat Brindisi as Amy, and Kevin Leines and Betti Battocletti as the boys' parents. I'm always amazed at how full these NEXT performances are despite the fact that the actors have only had a week or two with the material and have the script in front of them.

If you're free this weekend and interested in witnessing the future of music-theater, head to the Lab Theater for one of the two final performances of Horizon. This has been another great year for NEXT: New Musicals in the Making. From The End of September, a very Minnesotan story with a wonderfully complex score, to the hilarious improvised musical Some Assembly Required (aka Used Pontoon), to Horizon, a re-imagining of a classic American play, I've really enjoyed witnessing these unpolished gems and hope to see all of them again in the future.

"Fiddler on the Roof" at Chanhassen Dinner Theatres

Chanhassen Dinner Theatres' new main stage musical Fiddler on the Roof feels like a bit of a change from recent fare. The last few shows (Joseph, Bye Bye Birdie, Xanadu) have been very high energy, fun, almost campy musicals. It's been quite a while since I've had a tear in my eye at the Chanhassen, but I did on Friday night. Tevye, the main character in Fiddler, has such love for his family, his traditions, and his village that when those things begin to be broken apart, you can't help but be moved by it. Don't get me wrong, there's still plenty of humor and great dancing (although of a different kind than the usual Broadway style), but this show has more of a deeper meaning and serious undertone that we've seen recently at the Chan. But what hasn't changed is the excellent cast of regulars (and a few newcomers) directed by Michael Brindisi, the fantastic onstage orchestra led by Andrew Cooke, and the high production values. This is a great production of one of the most popular musicals of the last century.

The 1964 musical Fiddler on the Roof is based on late 19th century stories by Russian Jewish writer Sholen Aleichem. Tevye is a poor and simple man with strong belief in his Jewish faith and traditions. He believes in doing things the way they've always been done, which means arranging marriages for his five daughters. But it's 1905, and the times, they are a-changin'. Oldest daughter Tzeitel wants to marry a man of her choice, a poor tailor. Despite the fact that Tevye has arranged for her to marry the wealthy (and much older) butcher, he gives in to Tzeitel. It's obvious that the girls have their papa wrapped around their little fingers and he would do (almost) anything to see them happy. In the struggle between tradition and his daughters' happiness, his daughters win. Second daughter Hodel moves further away from family tradition when she agrees to marry a man not from the village, a scholar and political activist who gets arrested and sent to Siberia, with Hodel to follow. Third daughter Chava goes a step too far when she wants to marry outside the faith, a Russian man named Fyedka (but he's one of the "good" Russians). It breaks Tevye's heart to do so, but he cannot accept this gross breach of tradition and the seeming rejection of the faith he holds so dear. But these are not the only problems poor Tevye is dealing with; 1905 Russia was not a welcoming place for Jews. Facing religious persecution and pogroms, Tevye and his family are forced to leave and find a new home. It's a sad ending, but there's also a feeling of hope that this family will stay together and continue their traditions, as well as begin new traditions, wherever they find themselves.*

Keith Rice as Tevye

At the heart of this production is Keith Rice as Tevye. He's long been one of my favorites at the Chanhassen, often hamming it up in a comedic role (such as his recent turn as the Pharaoh in Joseph), but this is the best I've seen him. He still plays the comedy in Tevye's friendly kvetching about his troubles as he talks to God (and the audience) like an old friend, but there's great heart there too. Keith possesses a beautiful rich baritone with which he can bring down the rafters, but he shows incredible restraint in "If I Were a Rich Man," pulling it in and making it a sort of conversational rumination on a daydream. Michelle Barber is a good match as his wife Golde, and they share a comfortable chemistry, especially in the sweet song "Do You Love Me?" The three daughters are well cast; they're charming, strong singers, and embody the different personalities of the girls (Serena Brook, Ruthanne Heyward, and Caroline Innerbichler). Also great and well cast are the men playing their suitors (Zachary Colton Schaeffer, Jared Oxborough, and Tyler Michaels**). The large ensemble provides great support, and Mary Sue McDonald is the titular Fiddler, who seems to represent Tevye's soul, always there at important moments.

The costumes (by Rich Hamson) are excellent and authentic-looking, and I couldn't help but think how hot the actors must be under the layers of coats, shawls, skirts, boots, hats. A fortunate story element - according to tradition everyone must keep their heads covered - eliminates the need for unflattering wigs. In addition to the muted everyday wear, there's also an opportunity for fun and colorful costumes in a fantastical dream sequence. The choreography (by Tamara Kangas Erickson) features some thrilling Jewish and Russian-style dancing, and the well-known score includes such favorites as "Tradition," "Matchmaker, Matchmaker," and "Sunrise, Sunset."

I wasn't that familiar with Fiddler before seeing this show, having never seen the entire 1971 movie and only having seen it onstage once before (pre-blog, which means I don't remember much about it). I found it to be a great musical about faith, family, tradition, resilience, and community. Head out to Chanhassen between now and February for something to warm your heart (and stomach - some great new menu items) this winter.




*If you want to know what happens to Tevye and his family upon immigrating to America, go see Theater Latte Da's Steerage Song, a new music-theater piece about the European immigrant experience in the 19th and early 20th centuries.
**Tyler Michaels is playing the role of Fyedka through Dec. 8, at which time he leaves the show to play the emcee in Theater Latte Da's Cabaret.

"Joseph and the Amazing Technicolor Dreamcoat" at the Chanhassen Dinner Theatres

celebrating 45 years at the Chanhassen
(can you name the actor who appears
three times, and the actor currently
starring in a Broadway musical?)

On last week's episode of A Prairie Home Companion from Town Hall in New York City, Garrison Keillor said a good musical can "pick you up and throw you up in the air." The Chanhassen Dinner Theatres' new production of Joseph and the Amazing Technicolor Dreamcoat is just such a show. While I was a little disappointed that they chose to do this show for the third time in the last seven years, I can see why they picked this one to repeat. In addition to being a big commercial success for them, it's a fun, light, happy show - just what you want to see in the summertime (that is hopefully coming). With a super high energy cast, great performances in lead and featured roles, fantastically performed music, and a colorful set and costumes, it's fun for all ages. You will leave the theater feeling a little lighter. And hopefully the success of this five-month run will give them the freedom to choose something a little bit risky and interesting for their next show.

Written by Tim Rice and Andrew Lloyd Weber in the late 1960s, Joseph and the Amazing Technicolor Dreamcoat is based on the biblical story of Joseph, youngest and favored son of Jacob.  He was sold into slavery by his jealous brothers, but because of his talent for reading dreams, he rose to power as the Pharaoh's second in command.  He led the country through bounty and famine, and forgave his brothers when they unknowingly came to him for help. In other words, it's just a fun romp about slavery and famine. This is an entirely sung-through musical, with no spoken dialogue. It's pretty intense musically, and the almost thirty-person cast and nine-piece onstage orchestra (under the musical direction of Andrew Cooke) sounds full and fantastic.

Some highlights of the show:

• The show may be named after Joseph, but the main character is nameless. Jodi Carmeli reprises her role as the Narrator and is completely comfortable in the role, vocally and from a character standpoint. She carries the show and is a wonderful friendly guide for the audience (and the two lucky children picked to join the actors on stage*) as she leads us through the story with a winking, knowing look (you'll be OK Joseph, we've been outside and seen the marquee).
• In a completely different role from the last time I saw him (Theater Latte Da's Aida), Jared Oxborough is a delightful Joseph - childlike and almost goofy (my friend compared him to Keanu Reeves in Bill and Ted's Excellent Adventure). His voice sounds fantastic as always. "Close Every Door" is the one somber moment in the show, a bit of a tonal disconnect with the rest of the show, which is almost giddy. This is an angsty song, but there's zero angst in this show, so it doesn't quite fit. Still, it's a nice vocal moment for Jared.

the Pharaoh (Keith Rice) with his many admirers
(photo by Rick Spaulding)

• Keith Rice may have let his hair go gray, but he's still got it! He steals the show as the Elvis-like Pharaoh, making the women faint by flexing his jewel-nippled pecs, doing the splits, thrusting his hips, curling his lip, and singing in that great baritone voice of his. He really hams it up in the best way.
• Joseph's eleven brothers sing in full and beautiful harmony in a variety of styles - the twangy "One More Angel in Heaven," the mock-mournful French "Those Canaan Days," and the tropical "Benjamin Calypso." In the latter song, the brothers are pleading for mercy for Benjamin (Tyler Michaels, with his usual expressive physicality), who has been wrongly accused of stealing. As Benjamin tries to escape the accusation, Tyler non-chalantly whistles "Bye Bye Birdie," a nice nod to the last show at the Chan, in which he also appeared.
• The choreography by Tamara Kangas Erickson is fun and fast, and very ably performed by the energetic young ensemble. Julianne Mundale, one of the best dancers to ever grace the Chanhassen stage, gets her fantastic dance scene (in which I swear she almost kicks herself in the face).
• In a show with the phrase "technicolor dreamcoat" in the title, you expect color. And costume designer Rich Hamson delivers. The coat is indeed technicolor, and everyone from the Egyptian slaves to the brothers to Joseph in his sparkly gold loincloth are well-clad (almost making one forgive the bad wigs and fake beards). The set (by Nayna Ramey) is dominated by huge letters on rollers spelling out "JOSEPH" that are cleverly used as various set pieces.

Joseph and the Amazing Technicolor Dreamcoat is a safe choice for the Chanhassen, but they really deliver. Director Michael Brindisi says in a note in the playbill, "I think we'll just do it and have fun." Light, fun, happy, and highly entertaining - sometimes that's all you need from a musical. The show continues through August so you have plenty of time to make your way out to the Southwest suburbs and check it out. (I only hope it's not snowing when you see it, like it was when I did.)

Joseph (Jared Oxborough) with his pleading brothers
(photo by Rick Spaulding)

*If you have a little one with a yen for the theatrical, you can enter them into a drawing before the show in the lobby. Two lucky kids are chosen each night to join the cast on stage and take part in the show. You might also want to consider the Chanhassen's summer musical theater camps.

"Lot of Living to Do" by ColliDe Theatrical Dance Company at the Southern Theater

I don't go to many dance performances, mostly because it's hard enough to stay on top of the incredible theater scene in the Twin Cities area. To be fully immersed in the theater and dance world would be too much for one person to handle. But occasionally I find myself at a dance show (typically one with theatrical connections), and I always love it. Dancing is a further extension of the core principle of musical theater - that when ideas and emotions cannot be expressed in mere words, music and movement are necessary to fully convey them. In ColliDe Theatrical Dance Company's original jazz dance musical Lot of Living to Do, a story is told through dance alone, without a single word of explanation (a story summary in the program helps set the stage). The talented troupe of dancers is accompanied by jazz standards performed by a fantastic three-piece band and two talented singers, all of which combines for a very entertaining evening.

ColliDe's mission is to partner artists with Minnesota charities to create new works, an admirable goal (I've always believed that theater has the power to change the world, a little at a time). In this case, the charitable partner is the Women's Foundation of Minnesota's campaign to end underage prostitution in Minnesota, called "MN Girls Are Not For Sale." It's unthinkable that this occurs right here in our fair state, something I wasn't really aware of before reading the literature for this show. In fact, the Twin Cities is one of the 13 largest centers for child prostitution in the country. But don't worry, Lot of Living to Do doesn't preach or hit you over the head with scary facts. It's a story about working girls in the 1930s and their problems and triumphs over them, as a subtle reminder that things aren't that different today. The story centers on teen-aged Jenny, abandoned at a brothel by her mother who can no longer support her. Jenny eventually finds a way to escape this life, with the support of the other women who are in too deep to see a way out for themselves.

Some highlights of the show:

• I have to admit, one of the reasons why I wanted to see this show is to see one of my favorite musical theater actors, Jared Oxborough. Just after a successful run as Radames in Theater Latte Da's Aida, he channels Michael Buble on such classics as "The Best is Yet to Come," "Have You Met Miss Jones," and my theme song, "The Lady is a Tramp" (I get much too hungry to eat dinner at 8, I love the theater, but never come late, I never bother with people I hate). Jared also plays the role of a jerk of a john, and gets to kick up his heels a bit at the end.
• Katie Gearty plays the brothel madam, the aforementioned Miss Jones, and lends her gorgeous jazzy voice to songs like "Nice Work if You Can Get It" and "Frankie and Johnny," all while presiding over the brothel and collecting money from her girls.

the light-on-his-feet (and hands) Galen Higgins

• All of the dancers are so gorgeous performing the choreography of ColliDe Artistic Director Regina Peluso, a sort of Fosse-esque jazz style, sharp and yet loose at the same time, and very expressive of the high emotions of the characters. Standouts in the cast include Lauren Anderson, a fierce and powerful dancer, conveying strong emotion as the tough working girl Frankie. As Jenny's sweet boyfriend, Galen Higgins is incredibly light on his feet and expressive in every muscle of his body, from the tips of his toes to his open face. His dancing is so joyful, it's impossible not to smile while watching him.
• The Southern Theater is a great place for dance, with its wide-open cavernous space, well-used by the dancers. A few set pieces, including a bar on the left, a small stage for the singers, and some tables in back, set the scene of a 1930s brothel while still leaving plenty of space for dance.

ColliDe Theatrical Dance Company beautifully tells this story in a fun and entertaining way. On the surface it's just a beautiful dance performance, until you see that it goes a little deeper than that. It's a great way to draw people in and inform them of a very real and serious problem, as well as offering a solution to that problem. In the real world, young girls need more than a cute bartender boyfriend to get them out of this terrible situation, which is where MN Girls Are Not For Sale comes in. See their website for more information on how to help in this worthwhile campaign, and go check out the show at the Southern (one performance Saturday night and two on Sunday) for an entertaining evening of jazz, music, vocals, and dance. Talented dancers, singers, and musicians, a captivating story, a great cause, and free drinks from sponsors Whiplash Wines and Stella Artois. What more can you ask for?

"Aida" by Theater Latte Da at the Pantages Theatre

"Broadway Re-Imagined" is the title of the new collaboration between local musical theater company Theater Latte Da and Hennepin Theatre Trust, which oversees the Hennepin Theatres (Orpheum, State, Pantages, and New Century), hosting many Broadway tours. In the first product of the collaboration, the 2000 Elton John/Tim Rice pop/rock musical Aida is re-imagined as a rock concert with some fantastic design elements. It's a much bigger production than Latte Da usually does - bigger stage, bigger venue, bigger set design; Aida is a big musical with a big sound. But director Peter Rothstein still gives it that Latte Da touch with interesting and innovative choices, and I loved it. I saw Aida on tour and on Broadway on my very first trip to New York City in April of 2001, and while I don't remember much about the actual production, I've listened to and loved the soundtrack for twelve years. It's a fantastic (and Tony-winning) score, and it sounds amazing with the awesome onstage rock band and the (as usual) perfect cast assembled by Latte Da. The book is a little weak (maybe because it took three people to write it), but the compelling performances by the cast more than make up for it. All in all it's a wonderfully entertaining evening at the theater that's a feast for the eyes and ears.

The musical Aida is based on the 19th century opera of the same name by Guiseppi Verdi. It tells the fictional story of Radames (a captain of the Egyptian army), who falls in love with Aida (a slave who is actually the princess of Nubia, a nearby nation with which they are at war), despite the fact that he is engaged to marry the Egyptian Princess Amneris. Radames' father has concocted a plot to kill the Pharoah and marry his son to the heir of Egypt, and thereby control the country. But he has underestimated his son's love for this "slave," Aida's desire to free herself and her people, and Amneris' strength in ruling in her own right. I've never been a big fan of "love at first sight" stories (especially of the slave/master variety), but it soon becomes clear that Radames and Aida are very much alike - both living in the shadow of their father, unable to live their lives freely as they choose. Amneris, despite initially seeming shallow, is a sympathetic character, making for a love triangle with no happy ending.

The entire cast is superb, beginning with the three leads. Austene Van played a goddess in last summers A Night in Olympus at Illusion, and as Aida, she is a goddess. She has a regal voice and carriage that makes one wonder how anyone could not know that Aida is a princess. Her voice is stunning and her performance passionate as the woman torn between the man she loves and the people she would die for. Adam Pascal played Radames in the original Broadway cast (and also originated the role of Roger in my favorite musical RENT), and as much as I love him, his voice is not quite big enough for some of these sweeping pop ballads. So to hear someone like Jared Oxborough sing these songs is a revelation. He has a more musical theater type of voice with a gorgeous tone, but still gives it that rock edge. After listening to the OBC for twelve years, I finally know what these songs were supposed to sound like. Austene and Jared look and sound gorgeous together, with a believable chemistry.

Last but certainly not least: the third member of our love triangle. Simply put, Cat Brindisi is a star. She has dabbled her toe in the pool of New York City, and it's only a matter of time before she's snatched up and taken away from us to become a Broadway star. She follows her incredibly moving performance as Wendla in Spring Awakening last year with another stunner here. Her Princess Amneris is a cross between Glinda and Cleopatra. She first appears shallow, enjoying clothes and shopping and frivolous things. But it's soon revealed that she's deeper than she seems, eventually growing into the role of leader of her country, and Cat makes this transition believable and sympathetic. One of my favorite songs from the show is the super fun "(Dress Has Always Been) My Strongest Suit," and Cat sings the crap out of it. In contrast, "I Know the Truth" is a sobering moment of realization, serious and beautiful.

The show also features a couple of strong turns from supporting players. Nathan Barlow, a student in the U of M/Guthrie program, is one to watch. He impressed last fall in Measure for Measure with Ten Thousand Things (where there's nothing to hide behind), and he's quite charming here as the young Nubian man who recognizes Aida for who she really is and encourages her to fulfill her destiny. Ben Bakken as Radames' devious father is a scene-stealer with his two songs "Build Another Pyramid" and "Like Father Like Son." He really wails on these songs and sounds fantastic; it's now obvious to me why he won an Ivey for playing the title role in Jesus Christ Superstar (while I did see the show, it was on Ben's night off). The marvelous T. Mychael Rambo is underutilized in the ensemble and as Aida's father. He doesn't sing much except a few lines and a glory note, and even though I know Aida's father doesn't get a song, I was hoping they'd sneak one in somehow. It seems a shame to have T. Mychael Rambo in a show and not feature him!

As I mentioned, the band is onstage for the entire show, which I always love. Jason Hansen does an amazing job leading this group of musicians that look and sound like a rock band. The whole show really plays like a rock concert, with characters occasionally singing into microphones. I particularly loved Jared singing "Fortune Favors the Brave" while hanging with the band, and the gorgeous trio "A Step Too Far," with the three members of the love triangle singing into mics at the front of the stage. The choreography by Michael Matthew Ferrell is really interesting and diverse, from the jerky movements of the soldiers, to the "Walk Like an Egyptian" style of "My Strongest Suit", to the thrilling African style dance of the Nubian people. A really beautiful aerial performance seems slightly out of place, but does serve to emphasize the extravagance of palace life in comparison to what's going on outside of it.

The set is spectacular, and when I looked in the playbill and saw the name Joel Sass (frequent designer/director at the Jungle, which has the best sets in town), I was not surprised. Backdrops and large pieces that move in and out, along with the use of screens and fabrics, represent various locations from the river to the palace. The costume design (Tulle & Dye) mixes modern with ancient, and Amneris' wardrobe is gorgeous and showy, and easily removable; her handmaids dress her up like a paper doll. This is not a historically accurate representation of ancient Egypt, rather it invokes the time period while matching the modern rock vibe of the score. (This is one of several elements that reminded me of Bloody Bloody Andrew Jackson, another modern retelling of history that mixes the old and new.) I'm going to see the show again in a few days with my theater group, and I'm glad, because there's a lot going on; it's really impossible to take it all in on one viewing.

Back when I first saw Aida, before I started my Guthrie season subscription that led me into the world of local theater, I pretty much only saw the Broadway touring shows. I'm certain there are many people in that situation, unaware of the depth of theater talent right here in Minnesota. I hope that this partnership between Theater Latte Da and Hennepin Theatre Trust will draw people like that into the theater, thinking that they're going to see a Broadway tour (even the official Playbill looks like Broadway). Once they get inside they'll realize that this fabulous production is completely home-grown, which will hopefully encourage them to see more local theater, most of which happens off of Hennepin Avenue. That's the goal of this new partnership, and Aida is a successful first entry. Playing now through January 27 at the beautifully restored historic Pantages Theatre, check it out to get a taste of Broadway made in Minnesota. I can't wait to see what they're going to re-imagine next.*

Dance of the Robe (all photos by Michal Daniel)

*Update: it has been announced that Theater Latte Da and the Hennepin Theatre trust will next be re-imagining a musical theater classic, Kander and Ebb's Cabaret. Peter told me that they were one of the first companies to licence the Sam Mendes 1990s revival version, which is much darker and grittier than the original, and incorporates some of the music written for the film. I cannot wait to see Latte Da's spin on one of my favorite musicals, coming January 2014.

"Latte Da in the Park" by Theater Latte Da at Plymouth Park

Harry Houdini, Cinderella, Moritz Stiefel, Little Inez, and Judy Garland gather in a park to sing showtunes. No, that's not the beginning of a bad joke, it's Theater Latte Da's annual summer park concert. This show is always my favorite summer outdoor event, and since I missed the show at Lake Harriet this year, I attended the show in Plymouth earlier this week. It's a much smaller venue than Lake Harriet, but just as lovely, especially since the oppressive heat of this summer abated enough to make it quite comfortable to sit outside and listen to some music: a selection of showtunes, pop songs, standards, and a sneak peek of Theater Latte Da's upcoming 2012-2013 season, which looks to be as outstanding as last season was (the year of youth: Spelling Bee, Beautiful Thing, and my favorite show of 2012 so far, Spring Awakening). I've seen all of these talented singer/actors before, in the above-mentioned roles and more, and I loved seeing them in this casual environment.

The show began and ended with the entire cast joining in for the pop classic "I Can See Clearly Now" (and it was indeed a "bright sunshiney day"). The five performers then took turns singing individually, accompanied by Latte Da's constant and eminently capable Music Director Denise Prosek, who kept things moving smoothly along.

• Harry Houdini, who also goes by the name Sasha Andreev, sang a few songs including the title track from the musical Memphis, and a particularly moving rendition of Five for Fighting's "100 Years to Live."  (and yes I had to google that to find the name of the band.)
• Our Cinderella, Jessica Fredrickson, sang the Dolly Parton hit "Here You Come Again" and Nat King Cole's "Orange Colored Sky," which later morphed into a nifty duet with the next character...
• Moritz Stiefel is one of my favorite musical theater characters, and Tyler Michaels is quickly becoming one of my favorite musical theater actors to watch perform. He sang a couple of standards - "Hey There (you with the stars in your eyes)" (originally from the musical The Pajama Game), and "Fly Me to the Moon," the aforementioned nifty duet with Jessica. The two also dueted on a silly and sweet love song called "Cubicle of Love." Tyler and Jessica's voices blend together beautifully (I saw them just the night before in A Night in Olympus at Illusion Theater), and I hear we'll be treated to more of it in Bye Bye Birdie at the Chanhassen Dinner Theatres, opening this fall.
• Little Inez, aka Ivory Doublette, sang Whitney Houston's "I Wanna Dance with Somebody" and a very funny little ditty about never getting to sing the melody.
• Judy Garland's spirit was present when Jody Briskey sang "The Trolley Song." Jody also sang the beautiful "Fields of Gold" and a super-fast and hilarious song setting words to Chopin's "Minute Waltz."

The evening continued with Latte Da's Artistic Director Peter Rothstein announcing their upcoming season, which includes three shows I've been dying to see live and local. They open with Stephen Sondheim's Company (which I've never seen live on stage but fell in love with thanks to the Neil Patrick Harris filmed concert version released to movie theaters last year), followed by the Tim Rice/Elton John Aida (I saw it 11 years ago on tour and Broadway), and closing with Adam Guettel's beautiful creation, A Light in the Piazza (another one I saw once many years ago on tour). The only casting that's been announced is Dieter Bierbrauer as Bobby in Company (a choice with which I heartily agree). One hallmark of a Peter Rothstein production is pitch perfect casting, so I can't wait to find out who will be taking on the roles of Aida, Radames*, Amneres*, Clara, Fabrizio, and the rest.

To whet our appetite for the upcoming season, the cast sang a few songs from the above three shows. First, Company. Tyler led the cast in "Side by Side by Side," Ivory sang "Another Hundred People," Jody sang "Ladies who Lunch" (which I hope she'll do in the production this fall, she has the perfect voice for the song), and Sasha sang the stirring closing number "Being Alive." Jessica and Tyler unfurled several pages of sheet music to sing the beautiful and heart-breaking duet from Aida, "Written in the Stars." Finally, Jessica treated us to a medley of a few songs from The Light in the Piazza.

My very first post on Cherry and Spoon was about Latte Da in the Park in the summer of 2010, so I sort of regard this as my anniversary. I've been doing this for two years now, and it's only getting better and giving me more and more opportunities to see amazing theater and meet talented people and have wonderful experiences. Judging by Theater Latte Da's upcoming season, next year is going to be even better!


*Update: additional casting for Aida announced. Jared Oxborough (aka Che in Evita) will play Radames and Cat Brindisi (Wendla in Spring Awakening) will play Amneres, two more excellent casting choices!

"Autumn Song" by George Maurer at St. Joan of Arc Church

As I've said before, I'm not really into poetry. I have a hard time getting anything out it when I try to read it. But when it's set to music, it's a whole different story. Accomplished local composer and pianist George Maurer has set several poems of German poet Rainer Maria Rilke to music, interspersed with a few poems by Tennessee Williams. This initially seemed like an odd couple to me, until I learned that Williams was a poet in addition to being a playwright (one of my favorites), and he was inspired in his writing by the writing of Rilke. George and director Jef Hall-Flavin have imagined a dream-like conversation between the two, consisting entirely of music and poetry. A cross between a concert and a theater piece, Autumn Song doesn't have much in the way of plot or story, but instead it brings the poetry of Rilke to life. It's a beautiful creation.

The evening begins with Jared Oxborough as Tennessee Williams entering like a character from one of his plays, like Brick or Stanley (and it was hot enough in the gym of St. Joan of Arc church to believe we were in Williams' Southern home). He begins reading a book of Rilke poetry, when the poet himself (played by Dieter Bierbrauer) appears as if in a dream. The two men interact and sing alternately or together, mostly Rilke poems and a few Williams poems as well. A few visions wander through, representing the objects of the two men's affection – Rilke's played by Dieter's real-life wife Anna, and Williams' played by Caleb Carlson, a promising young actor I've seen recently in Julius Caesar and Our Class. Despite the lack of dialogue or exposition, it's obvious that Williams takes inspiration from Rilke, so that by the time that Rilke leaves at the end of the piece, Williams is able to write again.

Tennessee Williams (Jared Oxborough) and
Rainer Maria Rilke (Dieter Bierbrauer) converse

There is much talent and collaboration present in Autumn Song. This is George's passion project, his Sistine Chapel (read a nice interview with George about the project here). He has done a beautiful job of setting these poems to music of varying styles in a way that makes them most clear and alive. George (on piano) and his band (cello, bass, drums, sax) sound fantastic, and he could not have chosen two better singers than Jared and Dieter, who both appeared on their day of from their current regular gig (Jared is in the lush old-fashioned musical Roman Holiday at the Guthrie, while Dieter is starring in the super-fun spoof Xanadu at the Chan – my two must-see musicals of the summer!). Individually, each of their voices are gorgeous, and matched by their acting skills. Blend these two voices together and you have some incredible harmonies (there's not much I like better in music than a good harmony). And their combined acting skill makes you feel the emotions of the characters, which is more important than the literal interpretation of what's happening. They don't just sing the songs, they portray the emotions behind the words and music. George's bass player Jeff Engholm takes the lead for the final song, "Autumn Days," (in what I like to call a "Purple Summer" moment), as Dieter and Jared add their harmonies. It's the first Rilke poem George set to music, and it's a glorious celebration:

Lord, it's time. The summer has gone by.

Darken the sundials with your shadows,

On the meadows let the wind go free.

Command the fruit to swell on tree and vine;

Grant them a few more transparent days,

Urge them on to fulfillment, and press

The final sweetness to the heavy wine.

As I've also said before, I'm a geek for the German language (see Werther und Lotte and Ich bin meine eigene Frau), having studied German at St. Ben's/St. John's like George did, where he was introduced to Rilke in his German classes. While Rilke's poems are translated into English for this piece, there's still that inherent German-ness in it that makes me want to attempt to read a few poems in the original language. I'm only marginally familiar with Rilke, and with Williams only as a playwright not a poet. So I appreciate getting to know both of these artists and their work a little better.

George and company will next take Autumn Song to the Tennessee Williams Theater Festival in Massachusetts. They have a Kickstarter campaign to help to fund this effort (click here to view video and back the project). I wish them much luck in this endeavor and am grateful to have gotten a sneak peek.

I'll leave you with a few poems my Rainer Maria Rilke, as sung in Autumn Song (you can read the entire libretto here).

I Love the Dark Hours

I love the dark hours of my being

My mind deepens into them.

There I can find, as in old letters,

The days of my life, already lived,

And held like a legend and understood.

  

I Live my Life in Widening Circles

I live my life in widening circles

that reach out across both earth and sky

I may not ever complete the last one,

but I give myself to

circling 'round God, that primordial tower

I've been circling ten thousand years long;

yet still I don't know:

am I a falcon,

am I a storm, or an unfinished song?

To the Beloved

Extinguish my eyes,

I'll go on hearing you.

And without a mouth, I can swear your name.

And without feet, I can make my way back to you.

Break off my arms,

I will take hold of you

with my heart as with a hand.

Stop my heart

and my brain will start to beat.

And if you consume my brain with fire,

I’ll feel you burn in every drop of my blood.

Sonnet 29
What is the deepest loss that you have suffered?
If your drink is bitter, turn yourself to wine.
Be in this night of a thousand excesses,
The magic at the crossroads of your senses.
In this night of a thousand excesses
Be what their strange encounter means
And when the world no longer knows your name?
Say to the earth: I'm flowing
Speak to the rushing water, and say:
I am.

"Roman Holiday" at the Guthrie Theater

you can keep the diamond,
I'll take the Vespa!

Before last night, I thought that Xanadu at the Chanhassen Dinner Theatres was THE musical to see this summer. But after seeing Roman Holiday at the Guthrie, I have to amend that statment. There are two musicals you need to see this summer: Xanadu for the fun, campy, winking look at movie musicals, and Roman Holiday for a lush production of a good, old-fashioned musical.

As usual, I have never seen the classic movie on which this musical is based. This new musical written by Paul Blake incorporates songs of Cole Porter into the story of Princess Anne, who escapes her strict diplomatic schedule to spend a day touring the city of Rome with a gentleman she meets on the street. What she doesn't know is that he's a journalist who knows exactly who she is, and is planning to write a story on her. In the fairly predictable plot, they two fall in-love-for-a-day and he rethinks his plan. Even though this is a new musical, it feels like a classic, with gorgeous orchestrations of classic songs, big dance numbers, and a compelling romance. 

Francesca (Christina Baldwin) and her dancing boys

The Guthrie has assembled a fantastic cast of both local talent and imports from Broadway. The two leads fall into the latter category. Stephanie Rothenberg is absolutely delightful as the wide-eyed, enthusiastic Princess Anne. Edward Watts is perfect as the tall and dreamy Mr. Bradley. Both have beautiful voices. Another Broadway import, Jim Stanek, is charming as the third member of this friendship (and partner in Mr. Bradley's scheme). A few locals round out the principals, including the great Michelle Barber as Anne's aunt and confidante. And as I've said many times before, Christina Baldwin can do anything - from silly to serious and anything in between (did you catch her in the Moving Company's lovely Werther and Lotte?). Her Francesca is funny, flirty, and fabulous, singing and dancing with a bunch of boys.

Joe (Edward Watts) and
Anne (Stephanie Rothenberg)
in front of the Trevi Fountain

There's such great familiar talent in the ensemble that it was almost distracting. Instead of watching the main action, I was laughing at John Skelley as a mustachioed ice cream man, or marveling at the grace of Broadway vet (and local talent) Linda Talcott Lee, or watching Ann Michels dance with Tony Vierling, or recognizing Jared Oxborough beneath sideburns and a goatee. This cast has serious chops - singing, dancing, and making the background action almost as compelling as what's in the foreground.

As usual at the Guthrie, the production value is at the highest level possible. The costumes (by Matthew J. LeFebvre) are to die for, even ones that only appear on stage for a brief moment in the background. Gowns, hats, gloves, shoes, all gorgeous. The show also features amazing set construction (designed by Todd Rosenthal), with various pieces floating in and out from the sides, back and above. They've even recreated a portion of Rome's famed Trevi Fountain. Last but certainly not least, the orchestra sounds gorgeous. I should know, I was sitting almost directly behind the conductor, Andrew Cooke. This production truly is a feast for the eyes and ears!

Roman Holiday is playing in the Proscenim stage at the Guthrie from now until August 19. Check it out to see a Broadway-quality musical featuring lots of home-grown talent.

"Jesus Christ Superstar" at Chanhassen Dinner Theatres

I don't think I need to explain to anyone what Jesus Christ Superstar is about (except for my sister, who asked me, so what's the show about?).  It's the story of, obviously, Jesus of Nazareth and the last days of his life, as told in the form of a rock musical by Andrew Lloyd Webber.  What I didn't realize going into the show, however, is that there's virtually no talking.  It's pretty much two and a half hours of straight singing, and pretty intense singing at that.  Unfortunately, the two leads - Ben Bakken as Jesus and Jared Oxborough as Judas - had the night off when I saw the show.  Their understudies did a great job, but Jared (who was so amazing as Che in Theater Latte Da's Evita last fall) is one of those actors I would go see in anything, and I like Ben too, so I was disappointed to see that dreaded slip of paper in the playbill.  That being said, it was another great night of theater at the Chan, if a little more heavy than usual.

The show began with a love-fest, people wandering onto the stage and greeting each other and their teacher Jesus with hugs and smiles.  But we soon find out that not everything is as pleasant as it seems.  Judas is not happy with the direction things are taking.  And Jesus is overwhelmed by his followers' adoration of him.  Mary Magdalene seems to be the only person who really understands his very human struggles, and soothes him with the song "Everything's Alright."  Michelle Carter gives a beautiful performance as Mary, especially the haunting "I Don't Know How to Love Him."  Both understudies gave a fine performance, as is usually the case.  Jake Klinkhammer as Jesus did an amazing job.  He has a beautiful strong voice and his performance of the song "Gethsemane," in which Jesus questions his fate, was powerful.  Even though Jesus is the title role, I think Judas has the larger role, driving much of the plot.  Broadway veteran Michael Gruber (who performed a charming tap dance with cast-member Tony Vierling at the Twin Cities Theatre Artists Support Japan benefit concert a few weeks ago) was Judas, and did a great job with the complex role.

The show was directed by Michael Brindisi and choreographed by Tamara Kangas Erickson, and they had a big job because there's a huge ensemble cast.  As usual at the Chanhassen, they're all great.  A lot of faces I recognize from countless shows, and I saw a few new ones too.  One of the highlights is the brief but entertaining performance by the always hilarious Jay Albright as King Herod.

The Chanhassen always puts on a quality performance with talented performers and this show is no exception.  It's a little darker and more intense than their usual shows, but really well done.

"Evita" by Theater Latte Da at the Ordway McKnight Theater

As is quite obvious from reading this blog, I attend a lot of theater. Most of it is by myself, but once a year I get a group of friends together for something we like to call "Girls' Night Out at the Theater." For some of my friends, this is their once a year trip to the theater, so I take my responsibility seriously and try to choose a good show, preferably by a local theater. This is the second year in a row I've chosen a Theater Latte Da production. Last year we saw The Full Monty, which was was a huge success. Everyone loved it (which might have had something to do with the naked men ;), and it was one of my favorites of last year. So I was confident in choosing Latte Da's Evita this year, knowing they'd do a great job again, and I wasn't wrong!

As everyone probably knows, Evita is an Andrew Lloyd Webber musical about Eva Peron, the Princess Diana of Argentina. It chronicles her rise from a poor family in a small town, to actress in Buenes Aires, to wife of the president and "spiritual leader of the nation." I've never seen the stage show but I have seen the movie and have the soundtrack, so I was very familiar with the music (unlike the previous night's show, Rock of Ages). But what I had forgotten is that there's very little spoken dialogue; it's pretty much two and a half hours of singing.

This was a pretty large production for Latte Da; they usually do more intimate shows with smaller casts. It was beautifully directed by Artistic Director Peter Rothstein. There was a lot going on - costume changes, set changes, people constantly moving in and out. All done to music, and all accomplished very smoothly. The four-person band led by Musical Director Denise Prosek was off-stage, but sounded beautiful. The choreography was amazing and made me want to take tango lessons!

Like all Latte Da shows I've seen, this show was perfectly cast. I don't know how they do it, but they seem to always find the perfect actor in the Twin Cities (or elsewhere) to play each role. The strong ensemble includes Erin Capello and Kahlil Queen, whom I saw in Latte Da's concert at Lake Harriet this summer. The title role is played by Zoe Pappas who has worked frequently with Latte Da, the Chanhassen, the Ordway, and other local theaters. She has an amazing voice (which is good because she pretty much sings for two and a half hours straight), and also beautifully embodies Eva's passion, drive, and ultimate physical collapse. Kevin Leines is a suave, elegant Juan Peron (and the only man in the cast who's taller than Zoe!). The character of Che, who functions as a narrator, is played by Jared Oxborough. I first saw Jared in Footloose at the Chanhassen earlier this year (in which he co-starred with Zoe), and was immediately struck by his voice and presence, and wanted to see more of him. I also saw him perform a song from Urinetown (a smart, funny musical that's at the top of my wish list for Theater Latte Da) at a cabaret performance called Where's My Tony? Che is a perfect role for him; he really carries the show and drives the narrative. Eva and Che are the main characters and are both onstage for most of the night, but they rarely interact. Che is mostly observing and commenting to the audience, rather than taking part in the action. But they do have one waltz together, which really illustrates their opposing viewpoints in the way they dance and sing together. Was Evita a selfless hero to her people? Or a ruthless politician? My guess is a little of both.

Evita is the first production in Latte Da's four-show season. Their annual Christmas concert with vocal ensemble Cantus, All is Calm, will be followed by a new play with music, Song of Extinction, at the Guthrie Studio early next year. Their final show is Steerage Song at the Fitzgerald Theater next summer, a collaboration with my favorite pianist Dan Choinard (OK I don't know many pianists, but he's very talented and entertaining!). If you're looking for a fun night at the theater with great music and great performances, you really can't go wrong with any of these shows.

"Where's My Tony?" at Hennepin Stages

Last night I attended a fun show that celebrated, while poking gentle fun at, musical theater. Where’s My Tony was a one-night-only show written and hosted by local actors Whitney Rhodes and Joshua James Campbell, both of whom appeared in Theater Latte Da’s The Full Monty last fall. They presented ten “alternate” Tony Awards, followed by a performance by one of the songs from the winning show. Whitney and Josh were great hosts, both very funny with great voices, and with a good chemistry between them. What I loved most about this show is that even though it was sponsored by the Hennepin Theater Trust and featured the big Broadway touring musicals that have passed through the Hennepin theaters, it also spotlighted several talented local artists and their upcoming projects at smaller theaters such as Theater Latte Da and Mixed Blood Theatre (I tried to provide links for everything, so if something interests you, you can click for more info or to order tickets). This evening was fine example of what a great theater town this is.

The show began with a medley of songs from each of the shows in the upcoming Broadway touring season (which I have season tickets for): Wicked, Rock of Ages, Billy Elliot, Shrek, Hair, Jersey Boys, and West Side Story. Josh and Whitney took turns singing the songs, complete with costume changes and pirouettes (from Josh during the Billy Elliot song).

Without further ado, the awards:

The Worst Title of a Musical: Urinetown. Before they even announced the nominees I knew this one would be the winner. I saw Urinetown seven years ago and loved it. It’s equal parts satire, social commentary (“people don’t want to be told their way of life is unsustainable”), and great music. I’m just waiting for a local theater to mount a production of it. Accepting the award was Jared Oxborough, who first caught my attention in Footloose at the Chanhassen Dinner Theatre earlier this year. He sang the best song from Urinetown, “Run, Freedom, Run.” He would make a great Bobby Strong, and an even better Che, which just happens to be his next role in Theater Latte Da’s upcoming production of Evita.

Most Controversial Musical: Avenue Q. Even though I was rooting for another nominee, the brilliant Spring Awakening, this is a good choice. Rose Le Tran (frequent performer with Mu Performing Arts) accepted the award and sang “I Wish I Could Go Back to College.” She will be appearing in Mixed Blood Theatre’s production of Avenue Q next spring, which I was really excited to hear about. I love this show but have only seen the Broadway/touring production, so I’m curious to see what a smaller production will look like.

Best Musical that Doesn’t Contain Any Original Music, aka Jukebox Musical: Jersey Boys. Catherine Battocletti (also in last year’s The Full Monty) accepted the award and sang “Oh What A Night” from the show, a fun song with audience participation!

Best Guilty Pleasure Musical: Starlight Express. I’ve never seen this show and don’t know much about it, but Josh and Whitney sang a song that was appropriately cheesy.

Most Epic Musical: Phantom of the Opera (which I’m proud to say I’ve never seen). Whitney and Josh again took this one, with Whitney playing the part of Christine and Josh growling the Phantom role. It ended with a fun disco version of the title song, complete with glow-sticks thrown out to the crowd.

After a brief intermission, Whitney and Josh announced awards that were given out previously, including:

Best Musical to Take Your Kids to, to Torture Them: Fiddler on the Roof
Musical that Makes you Think All Art and Creativity in Theater is Dead: 101 Dalmatians
Lifetime Achievement Award (for Continuing to Tour with that Tired Show): Phantom of the Opera

Back to the main awards:

Best Musical to Take Your Boyfriend to Who You Secretly Think is Gay: Mama Mia. The very talented Kinaundrae Lee (aka Angel in RENT at the Lab Theater earlier this year) took the stage to sing a dramatic rendition of the title song. He will be appearing in the Ordway’s production of Joseph and the Amazing Technicolor Dreamcoat (another nominee for worst title) this winter.

Best Show to Inspire Your Halloween Costume: Rock of Ages. Earlier in the show Josh had asked the crowd for names, verbs, body parts, etc. He inserted them into the song “Hit Me with Your Best Shot” which Whitney then sang. A sort of musical Mad Libs.

Best Male Diva (aka Divo) Song: “This is the Moment” from Jekyll and Hyde. Josh and Whitney tag-teamed this song, literally. One of them would sing a line or part of a line, then tag the other one who had to pick up where the song left off. It became very fast and funny, but they did a great job keeping up with it and sounded great too! I always admire the ability to maintain an amazing singing voice while playing for laughs (see Sara Ramirez in Spamalot).

The Best Show to Drink Through: Annie. Madde Gibba was called to accept the award but wasn’t responding. She was soon spotted behind the bar, and slowly (and drunkenly) made her way to the stage to sing a very funny version of “Maybe.” At one point she made her way into the audience and sat on a man’s lap to read a letter to her father. Madde is appearing in a few shows at the Fringe Festival this week.

The last award of the evening was Whitney’s choice, Best Song Typically Sung by a Woman that I Really Want Josh to Sing: “Maybe this Time” from Cabaret. This is the one of the all-time great musical theater songs, and Josh sang it beautifully. I'll next see Josh as the gentleman caller in The Jungle Theater's production of The Glass Menagerie next month.

The show concluded with the People’s Choice Award. There were ballot boxes on the bar where the audience could vote for “most anticipated show of the upcoming Broadway season.” I voted for Wicked, but only because I didn’t hear the question before I voted and I didn’t see all of the shows. The winner is the one I would have voted for had I been fully informed: Hair! My love for this show deserves an entire post to itself so I won’t go into it now; I’ll save it for a slow theater week (and yes I do have them!). But suffice it to say, I can think of no better way to end this show than a performance of “The Flesh Failures/Let the Sun Shine In” from Hair, with all of the above performers taking part. It was the perfect end to a perfect evening of musical theater.