Musical Mondays at Lush, November 2024

Today is a big day in America, and there's no place I would have rather spent the evening before this momentous election day than at the 100th installment of Musical Mondays. BFFs Max Wojtanowicz and Sheena Janson Kelly started this monthly cabaret series at Hell's Kitchen in downtown Minneapolis 12 years ago, with the dream of having someplace where local music-theater performers could share their talents, and maybe show a new side of themselves, in a fun and casual setting. Since then, this dream has become a reality, and a staple in #TCTheater entertainment, with a move to LUSH Bar in Northeast Minneapolis (and a couple years off due to a global pandemic). They celebrated this milestone with a larger than usual cast of all-stars, plus the return of some old favorites. As usual, it was a wonderful evening of fun, entertainment, and community, made especially poignant by the timing of it. One of the performers, the divine Erin Schwab, talked about how she's performed for decades amidst all kinds of trouble and strife in the word. And that her job is to give us permission to laugh, to have fun, and to have hope, no matter what is happening outside the walls of the theater. I don't know what's going to happen today, or this week, or next year, but I know that we need to continue to support live theater. The arts are a vital part of our economy, a vital part of our democracy, celebrating free speech and protest and all the things we hold dear as Americans, as well as engendering empathy for those we think are different from us, but are really the same at heart. And no matter what happens, we're going to need more of that going forward from this day.

"You've Got a Friend" at History Theatre

Three or four times a year, the History Theatre hosts an event or concert they call "History Theatre Presents." Last night they hosted #TCTheater artists Jen Burleigh-Bentz and Bradley Beahen in a Carole King* / James Taylor tribute concert called You've Got a Friend. Jen was most recently seen on that stage in the ensemble of The Defeat of Jesse James, and Bradley's work as Music Director can frequently be heard on stages around town. In this one-night-only event, they shared songs and stories from two of the greatest songwriters of the second half of the 20th century for a fun night of music.

"A Servant's Christmas" at History Theatre

For longtime History Theatre Artistic Director Ron Peluso's final show, he chose an old favorite - A Servant's Christmas. It premiered in 1980 and ran for over a dozen years. Early in his 27-year reign Ron had the idea to turn this stalwart play into a musical, and hired composer/ lyricist Drew Jansen to work with playwright John Fenn to add music to this story of servants in a grand house on Summit Avenue around the turn of the last century. The result is a lovely musical about a found family and the atypical way they celebrate the holiday* season, which can include many different traditions. The cast is chock full of fantastic singers, who also bring out all of the emotions of this story of love and longing. See A Servant's Christmas at the History Theatre in downtown St. Paul through December 18.

"School of Rock" by Zephyr Theatre at Lowell Park

Broadway by the Bridge is back! Zephyr Theatre's pandemic-inspired outdoor summer musical tradition began last year with a super fun Mamma Mia!, and will hopefully continue long past the point where it feels safe to be inside a crowded room. The riverside stage with the gorgeous evening sky and the historic Stillwater bridge as backdrop couldn't be more perfect for outdoor theater, and what's happening on stage is pretty great too. The regional premiere of the Andrew Lloyd Webber/Julian Fellowes musical adaptation of the 2003 Jack Black movie School of Rock features a slew of talented kids, and some pretty great grown-ups too, in this fun and feel-good celebration of music and the way it can bring people together and inspire a sense of confidence, purpose, and self-worth. The bad news is there are only seven performances, and five of them are in the past, so act fast to catch this great new outdoor #TCTheater tradition! (Info and tickets for this Wednesday and Thursday can be found here.)

"Christmas of Swing" at History Theatre

#TCTheater loves its holiday* shows, and my very first this year (not counting Annie, which is holiday-adjacent) is History Theatre's remount of their original musical Christmas of Swing, which I first saw in 2013. They've updated it this year to reflect the greater diversity of soldiers who served in WWII, making it more poignant and powerful than ever. But it's still highly entertaining, featuring Minnesota's own original girl group The Andrews Sisters, singing WWII era songs both Christmassy and not. The large and talented cast does a wonderful job of bringing this music and these heart-warming and heart-breaking stories of WWII soldiers to life.

"Mamma Mia!" by Zephyr Theatre at Lowell Park

2021 is THE summer for fantastic outdoor* theater, and Zephyr Theatre's Mamma Mia! is high on that list. The Stillwater theater has been around for a few years, drawing top talent from #TCTheater, but this was my first experience with them. It will definitely not be my last. What's better than walking around charming riverside Stillwater, shopping, eating, and drinking, followed by outdoor theater performed on a stage with the St. Croix River and the historic lift bridge in the background?! In normal times they perform inside the Minnesota Zephyr Train Depot, but this summer they're opening their "Broadway by the Bridge" series with a show that's full of joy (as Artistic Director Calyssa Hall said before the show), Mamma Mia! Perhaps a bit of a guilty pleasure, this long-running hugely successful jukebox musical that spawned two movies (and counting) is so infectious with it's fun, familiar story-songs and heart-warming stories of female friendship and celebrating different kinds of families that you just can't help but love it. And this lovely and talented cast brings out all of the joy, fun, warmth, and humor of the piece, made extra specially poignant by the fact that it's likely the cast and audience's first return to theater after a very long extended intermission. That's a celebration in itself. The only downside of Mamma Mia! is that it runs this weekend only, and I do recommend buying tickets in advance (read: now) because it's close to selling out. Watch for the next "Broadway by the Bridge" in early August; I hear they're doing Shakespeare's As You Like It (dates and details TBA).

"Rough Cuts" at Nautilus Music-Theater: "The Parts I Admire" and "Norman!"

Nautilus Music-Theater's primary focus is developing new works of music-theater. They'll have a full production of a new or reinvented piece every year or two, but their regular work is monthly showcases of new works of music-theater, some developed in their Composer-Librettist Studio. This is their 26th season of "Rough Cuts," during which they'll be presenting their 200th showcase of new work. That's a lot of new music-theater, and a lot of support provided to creators of new music-theater. Read on for what they're presenting this month, with one show last night at their Lowertown St. Paul studio space, and another show tonight at Augsburg University (730pm at Sateren Hall). There's a $5 suggested donation, that comes with free cookies and milk!

"A New Brain" at Artistry

Artistry's production of the rarely done 1998 Off-Broadway musical A New Brain is exquisitely lovely, and everything I love about musical theater. After composer/lyricist William Finn (see also Falsettos and Spelling Bee) underwent a serious heal crisis due to AVM (it's a brain thing), he wrote a musical about it. Because that's what artists do. The result is a very honest, clever, silly, funny, poignant, beautiful look at life. My previous experience with the piece was a staged reading several years ago by Second Fiddle Productions*, a company that does readings of rarely done musicals. I'm thrilled that Artistry chose this rare gem of a musical for their 2019-2020 season and are bringing us this beautiful production with the dreamiest of casts. If you're a fan of music-theater, don't miss this show!

"Rough Cuts" at Nautilus Music-Theater: "Heartless" and "Heroine"

Nautilus Music-Theater, which focuses on new or reimagined works of music-theater (a term I love because it covers the wide range from "play with music" to "opera," without having to put a label on it), kicks off their 25th season of their "Rough Cuts" series this week. Typically held on the second Monday and Tuesday of the month, "Rough Cuts" presents readings of new works in various stages of development. This allows the creators to see their work in front of an audience, an important part of the theater development process. For a suggested donation of $5, you can be part of the process, and enjoy free milk and cookies! I always want to go to "Rough Cuts," but am usually too busy, so I took advantage of a quieter week to visit the Lowertown St. Paul studio (next door to Black Dog Cafe, for those who want something stronger with their cookies). They perform again tonight - this and any other "Rough Cuts" is highly recommended for those interested in the development of new works of music-theater.

"Sub/prime" by Media Blitz at Mixed Blood Theatre

In a note in the program for his new play Sub/prime, NYC playwright Beck Lee states that local director Peter Moore told him after a reading, "You haven't found the humanity in these people yet. They are not honest, vulnerable people... they're stick figures." I shudder to think what the early version of this play was like, because these four Minnesota tourists on vacation in NYC are the most miserable horrible people I have ever seen on stage. I kept waiting for some sort of redemption, where someone learns a lesson, or gets there comeuppance, or something. But it never came. Part of me thinks this play is one big prank on Minnesotans; that the playwright hates Minnesotans and tourists and this is his big joke to show how horrible we are. Either way I was not laughing; I've rarely been so offended at the theater.

"A New Brain" by Second Fiddle Productions at Camp Bar

I'm a musical theater nerd. But I'm not the kind of musical theater nerd that listens to cast albums of shows I've never seen. I guess for me, musicals are more about seeing the story as it plays out before me, and then I often buy the cast recording to relive that experience. So when it comes to musicals that are beloved in the musical theater community but rarely performed, for whatever reason, I typically have not heard them. That's where Second Fiddle Productions (and Artistic Director Ruthie Baker) come in. Now in their third season, Second Fiddle produces readings of rare musicals using some of the Twin Cities finest music-theater talent.

"C.L.U." by Collide Theatrical Dance Company at the Ritz Theater

My grandparents' attic contained many delights for a kid, particularly a collection of vintage board games from the '50s and '60s that my aunties used to play. My cousins and I spent hours playing Risk, Masterpiece, Monopoly, Life, and one of our favorites, Clue. Sometimes we'd even get the adults to join in. I took very detailed notes on my Clue sheet with my own system of shorthand. It was such delicious mysterious fun! Collide Theatrical Dance Company's new original piece C.L.U. captures that fun and mysterious spirit. Created by Artistic Director and Choreographer Regina Peluso along with new collaborator, Director Joshua Campbell, C.L.U. is a fun and entertaining evening of music, dance, and melodrama.

"Blood Brothers" - A Reading by Second Fiddle Productions

As far as I know, Second Fiddle Productions is a one-of-a-kind theater company in this town of 70+ theater companies. They are exclusively dedicated to producing one-show-only readings of rare and unusual musicals. Founded by the talented Ruthie Baker (currently a resident of River City at the Guthrie), the company is now in their second year and I finally was able to go to one of their Monday night readings - the 1983 West End hit Blood Brothers. After just eight hours of rehearsal, this ten-person cast full of the Twin Cities top music-theater talent breathed such incredible life into this script and score that I wonder why it isn't produced more often.

Blood Brothers was is set in and was first produced in Liverpool. The titular brothers are twins separated at birth when their poor single mother is convinced into giving one of them to her wealthy and childless employer. Despite their very different lifestyle, the boys meet on the streets of Liverpool and become fast friends, each admiring and envious of what the other possesses. But as they grow up, the extreme difference in their situations becomes more evident as one brother has a successful career and the other turns to crime to feed his young family. But in the end what could come between these best friends and unknowing twins? A woman, of course, and the fight over her results in the death of both brothers.

The story ends tragically but there is fun and humor along the way. I'd never heard any of the songs before but I think the score is great, with an '80s English musical sort of sound. I love how the comparisons to Marilyn Monroe turn from joyful to sad, as does the dancing song. The recurring theme of the devil at your door and the superstition about bad luck with new shoes on the table casts a dark cloud on the show, reminding us of the upcoming tragedy even through the happy times and good humor.

Since this is a reading, I'm not supposed to write a review (although I'm not sure that what I usually write are really reviews), so I'm not going to tell you how amazing this cast is and how incredible and fully formed their performances were even though they only rehearsed for eight hours and were often reading from the book. I'm especially not going to tell you how fabulous Jen Burleigh-Bentz was as the mother, or how adorable Eric Morris and Reid Harmsen were as the brothers, or what a great job Josh Campbell and Nic Delcambre did as Director and Music Director/accompanist, respectively. Nope, I'm not going to tell you that, but I am going to tell you that if you're interested in expanding your musical theater knowledge by watching top-notch local talent "read" a musical you may never have heard of before, keep your eye on Second Fiddle. Their final reading of this year is The Most Happy Fella in October, with their third season announcement coming soon. Stay tuned to their Facebook page for details.

"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.

"Disenchanted" by Casting Spells Productions at Illusion Theater

The princesses of Disenchanted will cast their spell on you in a whole different way than their Disney predecessors. While Disney portrays such fairy tale princesses and historical figures as Snow White, the Little Mermaid, and Pocahontas as sweet, mild-mannered, passive ladies waiting for a prince to come along and save them, the salty, sassy princess of Disenchanted are smart, strong, and unwilling to put up with crap from anyone! This new musical comedy by Dennis C. Giancino has had several productions around the country in the last few years and is currently playing Off-Broadway, but more importantly, it's currently in its second production here in the Twin Cities. Casting Spells Productions has brought back three of the princesses from last year's fantastic production at the Ritz Theater, added a few new and equally fabulous princesses, spiffed up the costumes, and included a few tweaks by the creator. It opened at the Illusion Theater on Halloween and continues through November 23; I finally saw it this week, and it's still a super fun show for anyone who loves and/or hates Disney princesses. It also makes for a perfect girls night out; I went with a bunch of friends and spotted several tiaras in the crowd (princess attire encouraged). These are the kind of princesses little (and not so little) girls should emulate!

Our host for the evening is Snow White (Jen Burleigh-Bentz is perfection, reprising the role from last year's show). She's smart, strong, and determined to convey her message about "the Princess Complex" to the audience (she's also not afraid of singing unnecessary runs, to hilarious effect). Her back-up singers are Cinderella (the delightfully daft Bonni Allen, also returning from last year) and a very sleepy Sleeping Beauty (Katherine Tieben-Holt, a welcome newcomer to the cast). They each introduce their story, which of course ends with getting married. But these princesses are here to tell us what happens next - and it's not as pretty and idyllic as Disney would have us believe. We also hear the stories of an insane Belle, a drunken Ariel, a very German Rapunzel (Kim Kivens as all three, a true musical comedy genius as she sings in three distinct styles, each hilarious with spot-on vocals), a possibly lesbian Mulan, a misrepresented Pocahontas, a second-place Jasmine (another excellent triple performance, by Stephanie Bertumen), and last but not least, the frog princess (an underused Joy Dolo, also returning from last year's show). The princesses sing about body image, dieting, and the crazy marketing of the princess image that little girls are rarely able to escape.

All of the princesses have fantastic voices, singing solo or in harmony. The night I attended they were accompanied by the "Understudy" Musical Director, Steven Hobert (filling in for Lori Dokken), who did a great job with the music, and occasionally interacting with the princesses. The structure of the show is casual and tongue-in-cheek, with direct address to the audience, sing-a-longs, and a bit of ad-libbing ("Garth Brooks took all the parking spots!"). Since the show was written, one new Disney princess has risen above all others, and you all know who I'm talking about. While she doesn't appear in the show, the creator has added a "Let It Go!" moment that makes fun of the craze. And of course, you can't talk about princesses without mentioning what they're wearing! Which is a modern spin on each princess' traditional attire (costume design by Barb Portinga).

I'm so glad I had the opportunity to see this show again, and I stand by what I wrote last year: "Featuring catchy and melodic tunes, clever and funny lyrics, and a stellar cast, it's a really fun and fantastic 90 minutes!" Disenchanted continues this weekend and next - don't miss this hilarious and well-sung princess satire! (Buy your tickets here, or get the few remaining discount tickets on Goldstar before they're gone.)

Mulan, Snow White, Cinderella, the Frog Princess, and the Little Mermaid
(Stephanie Bertumen, Jen Burleigh-Bentz, Bonni Allen, Joy Dolo, and Kim Kivens)

This article also appears on Broadway World Minneapolis.

"The Working Boys Band" at the History Theatre

In the early 20th Century in Minneapolis, when children were forced to work long hours in factories, a marching band was formed to keep these boys off the streets and improve their lives through music and teamwork. This is a subject that is begging to be made into a musical, and the History Theatre has obliged with The Working Boys Band, directed by Ron Peluso, with book and lyrics by Dominic Orlando and music by recently deceased local composer Hiram Titus. Part Newsies, part The Music Man, and part Dead Poet's Society, The Working Boys Band isn't a particularly original musical, but it is a fun and feel-good musical about the power of music as it played out in local history.

Like Professor Harold Hill did for the people of River City, Professor C.C. Heintzman (based on a real person) gave the working boys in WWI era Minneapolis a love of music and sense of community and teamwork. In other words, "manliness, integrity, intelligence, and kindness" as the song goes. He faced obstacles - unruly boys coming late to rehearsal, 21-year-old Franky who joins the band to dodge the draft, and a community board that wants to fire him because of his German heritage - but he and the music came out on top in the end (as required in any feel-good musical such as this).

Here are a few highlights of the show:

• The History Theatre stage is teeming with talented young men (and women!) of all ages and sizes playing the dozen or so boys in the band, a mix of professional actors and children studying music and/or theater in school. They're all fantastic, hitting their marks and saying their lines on cue with great energy and enthusiasm, staying present in the scene even if they don't have lines. The true joy of this show is watching these youngsters gleefully perform.
• After so many supporting roles, it's nice to see Jon Andrew Hegge in the lead role of the Professor. He really shines in the spotlight, creating a strong and sympathetic character. And Kendall Anne Thompson as Harriet, the woman working with the boys and falling in love with the professor, is always welcome with her lovely voice.
• Jen Burleigh-Bentz gives a deliciously nasty performance as the Cruella De Vil-esque Mrs. Winter. I didn't quite follow all of the politics involved, but all you need to know is that she's the bad guy trying to spoil the fun and stop the music, while adding to the fun of the show, giving the boys and the audience a villain to root against.
• Like he did in Ten Thousand Things' truly delightful production of The Music Man, Ricardo Vasquez once again plays a young man whose playing of the coronet in the band gives him confidence and a sense of purpose. Franky is a bit older than Winthrop, but both are suffering the absence of a father and a feeling of being lost.
• Christian Bardin is our plucky drum major Andy, who just happens to be a girl disguised as a boy to more safely live on the streets, and so of course she falls in love with Franky. This leads to some confusion and a really lovely quartet "Moonlight, Loring Park" by Andy, Franky, Harriet, and the Professor.
• A standout among the kids is Keegan L. Robinson as Bjorn, the first chair coronet player, with a strong voice and confident stage presence.
• The music is typical musical theater stuff, and the choreography (by Cat Brindisi, adding to her already long list of talents) is organic to the story and characters.
• The rough and rustic two-story set by Rick Polenek and beautifully polished or unkempt period costumes by Kathy Kohl create the world in which the story takes place.
• I love a marching band, and happily the boys do get it together to play and march around the theater like a real marching band. I would have loved to have heard even more from them!

If you're looking for a fun, feel-good musical with great performances by professionals and kids alike, look no further. The Working Boys Band is playing at the History Theatre through June 1 (discount tickets available on Goldstar).

the Professor with the boys
(photo by Scott Pakudaitis)

"Christmas of Swing" at the History Theatre

The holiday season has begun, at least on theater stages across the Twin Cities. Since I was out of the country for the opening of the Guthrie's A Christmas Carol this year, my first taste of Christmas (other than the bitterly cold weather) is History Theatre's WWII-era musical review Christmas of Swing, featuring the Minnesota trio The Andrews Sisters. The return of this popular show is a fun and peppy showcase of 40s-era popular music (also featuring appearances by Bing Crosby and Danny Kaye), that incorporates real letters from WWII soldiers, paying homage to our veterans of this and other wars.

For the most part Christmas of Swing is a light-hearted show, with a few somber moments acknowledging the hardship of the soldiers. But The Andrews Sisters’ job was to entertain and uplift, not wallow in the sorrows of war, and that they do in abundance. The play, written by Bob Beverage and Artistic Director Ron Peluso, is set at a dress rehearsal for a 1944 Christmas Eve show at a VA Hospital for wounded soldiers. This allows us to see all of the great numbers, as well as witness the banter between the sisters and their band and manager between songs. It also has the light and easy feel of a dress rehearsal; the efforts of the cast do not seem labored, but loose and effortless.

Some highlights of the show are:

The Andrews Sisters (Ruthie Baker,
Stacey Lindell, and Jen Burleigh-Bentz)
read a soldier's (Bryan Porter) letter home
(photo by Scott Pakudaitis)

• Ruthie Baker, Stacey Lindell, and Jen Burleigh-Bentz as the sisters Patty, Maxene, and LaVerne are just perfection in voice, movement, and personality, all of which blend together beautifully to create some tight harmonies and precise dance numbers. Ruthie gets most of the solos as lead singer Patty, but we also get a chance to hear the other ladies’ voices on their own, and all are lovely solo or in harmony.
• Bill Scharpen channels Bing Crosby in songs such as "Christmas in Kilarney" and "Here Comes Santa Claus," and Eric Heimsoth does a wonderful impression of the lanky and goofy Danny Kaye.
• Bill Scharpen also generates some laughs with Mark Rosenwinkel as the comedy duo Abbot and Costello.
• Bryan Porter and Eric Heimsoth (again) portray many different soldiers as the sisters read their letters, bringing the desperation, longing, and joys of these long ago men to life.
• The fairly simple set by Michael Hoover features some elaborate pieces that are wheeled out, including a sleigh and a huge two-sided cutout for an amusing number with the sisters and Danny Kaye.
• The choreography by Jan Puffer is a highlight – fast, sharp, concise, with that 40s swing action, effortlessly performed by the cast.
• The ever-busy Raymond Berg plays the piano while sitting in for the sisters' actual band leader Vic Schoen, leading the four-person band in a swingin' big band sound.
• I'm a sucker for period costumes, and these costumes (by Kelsey Glasener) do not disappoint! I love the sisters' black dresses with varying-sized polka dots and red trim and shoes, accented with long black coats with fur trim, red jackets, or authentic military green jackets. The men (who, for a change, have to change costumes much more frequently than the women) are dressed in authentic period uniforms and suits, as well as costumes for their various roles in the show.
• The sisters sing many Christmas songs, familiar and lesser known, and close the show with their most well-known song, the crowd-pleasing "Boogie Woogie Bugle Boy." 

The History Theatre’s Christmas of Swing, playing now through December 22, is a great choice for a holiday show this year. Filled with the Christmas spirit (which I for one am not quite ready for, until Thanksgiving is over and/or we get our first big snowfall), humor, great songs and dancing, an energetic and entertaining cast, and respect for and celebration of vets, it’s a fun and feel-good show.

"Disenchanted" by Casting Spells Productions at the Ritz Theater

If watching a Disney princess movie has ever left you feeling let down, betrayed, dismayed, frustrated, or downright pissed, Disenchanted is just the cure you need! In this new musical comedy by Dennis T. Giancino, the Disney princesses are allowed to tell their true stories about what living in a Disney fairy tale is really like, and what happens after the "happily ever after." Featuring catchy and melodic tunes, clever and funny lyrics, and a stellar cast, it's a really fun and fantastic 90 minutes! But hurry - there are only six performances left at the Ritz Theater!

The host of the evening is the sharp and bitter Snow White (a dynamic and commanding performance by Jen Burleigh-Benz), like you've never seen her before. Her back-up princesses are the ditzy Cinderella (a very funny Bonni Allen) and Sleeping Beauty (the always delightful Suzie Juul, with a voice as clear as a bell). They introduce us to the "P.C." problem - the princess complex - in which girls are taught they need to be pretty, simple, and obedient while they wait for their prince to come and save them. These princesses will cure you of that notion! Mulan (Pegah Kadhodaian, excellent in this and her second role as Pocohantas, a historical figure turned pin-up girl) makes an appearance and tells us "maybe I'm a lesbian" since she's the only princess who doesn't get the prince. Rapunzel is an angry German princess who won't accept her Disney transformation, and the Frog Princess is "the princess that's finally gone black" (Joy Dolo in both roles). We also meet an insane Belle and a drunken Little Mermaid (a scene-stealing Vanessa Gamble). The princesses lament about body image, dieting ("All I Wanna Do Is Eat" is a highlight), housework, and the commercialization of their image. In the end they declare that those days are "Once Upon A Time," and they're finally free to be themselves!

Friends, this is a really great show. Fun and original, turning fairy tales on their head, sung in solos and gorgeous harmonies by six talented women, tongue in cheek, a cast that's so comfortable in their roles and with each other, Ivey-winning Music Director Raymond Berg in perfect musical conversation with the cast, costumes by A. Emily Heaney that are a modern take on princess attire (my favorite: Snow White's dress!), performed in a kitschy old theater, and only 90 minutes long so it's short, sweet, and to the point, leaving you wanting more rather than outstaying its welcome. Catch it this weekend while you still can!

the princesses