"Little Shop of Horrors" at Artistry

I love Little Shop of Horrors. While I wasn't too familiar with the beginnings of it (it started as an Off-Broadway musical in the early '80s and was made into a movie in 1986), I was lucky enough to see the original Broadway run when it finally landed there in the early aughts. The campy and nostalgic story of a 1960s plant shop employee who sells his soul to the devil in the form of a man-eating plant is full of unique charm. It may not be a typical musical with its small cast, small band, and darkly comic subject matter, but it has become a classic, and I'm glad that Artistry (formerly known as Bloomington Civic Theatre) continues to include non-traditional musicals in its programming, even if the BCT Sunday matinee crowd didn't seem that into it. I overheard a comment in the ladies' room that "it's not Camelot," but that's exactly the point. Artistry's production is perfectly cast, features a fun and colorful set, and beautifully captures that campy tone - definitely worth the drive to the southern suburbs.

"The Baker's Wife" at Artistry

I had a rare experience at the theater yesterday - I went to see a musical I knew nothing about and was absolutely charmed by it. Stephen Schwartz's Wicked may be the 10th longest-running show on Broadway and one of the most "popular" musicals of recent years, but his 1976 musical The Baker's Wife never made it to Broadway and is rarely produced. I'm grateful that Artistry's resident Music Director Anita Ruth was finally able to do her "dream show," and what a dream it is! The absolutely lovely score, the touching story about love and forgiveness, and the cast, led by everyone's favorite Bradley Greenwald and soon-to-be everyone's favorite Jill Iverson, make this a dream show indeed. Head to Bloomington before November 12 and take a chance on an unfamiliar musical, you just might fall in love.

"Leap of Faith" by Minneapolis Musical Theatre at the New Century Theatre

I really thought it would be raining when I left New Century Theatre last night, such is the power of Minneapolis Musical Theatre's Leap of Faith. If it were possible to bring the rain through the sheer energy of talented performers in a musical, downtown Minneapolis would be flooded every night! This musical adaptation of the 1992 Steve Martin movie flopped on Broadway in 2012, closing after less than a month. But perhaps it's better suited to more intimate theaters like the New Century, which, with curtains dropped on three sides, really feels like you're inside a revival tent. Yes, this mix of The Rainmaker and The Music Man is filled with cliches and nothing we haven't seen before, but the music is catchy and fun, and this cast delivers it with boundless energy that makes you want to rise up and be healed!

"The Best Little Whorehouse in Texas" at Artistry

In one of those strange local theater programming coincidences, I have seen The Best Little Whorehouse in Texas twice in the last year, after never having seen it before in my life. But I enjoyed the charmingly corny show at the Old Log last summer, so I was happy to give it another go as part of the former Bloomington Civic Theatre's first season as Artistry. I think I like it even more the second time around! First of all - it's a whole lot of fun (whorehouse + '70s + Texas = fun). But if you look a bit deeper, you'll see some prescient themes in this 1978 Broadway hit about the influence of TV and the media to ignite hysteria, as well as the power of women over their lives and their bodies, or lack thereof. If you're not convinced yet, let me give you a few more reasons to see this show.

"Grease" at Lyric Arts

I love the 1978 movie Grease - '50s nostalgia, an adorable pre-Scientology John Travolta, the golden voice of Olivia Newton-John, and an endlessly singable soundtrack. It's the perfect fun and mindless movie musical. But the 1971 stage musical on which it was based is something different. Wikipedia says "In its original production in Chicago, Grease was a raunchy, raw, aggressive, vulgar show. Subsequent productions sanitized it and toned it down." With their new production, Lyric Arts and director Christine Karki move closer to the original concept than the movie it ended up becoming. It's a little darker and less bubble gum look at teenagers in the '50s. The fantastic young cast breathes new life into these familiar characters to create a Grease that's still great summer fun, but with a little more weight.

On a set that looks more West Side Story than Grease, the lives of these teenagers unfold on the gritty streets of Chicago as they deal with relationships, friendships, pregnancy, gangs, and school dances. The cast is mostly made up of high school and college kids, or recent graduates, which brings some very believable teen angst and youthful energy to the show. Jordan Oxborough is a natural as Danny, with the slicked back dark hair, pretty falsetto, and charm that all the ladies fall for. With her performance as Sandy, Megan Fischer proves that little Annie is all grown up. She's sweet and naive but with an underlying feistiness. And the two of them sound gorgeous together on the Danny/Sandy duets (just don't expect to hear "You're the One That I Want," written for the movie). Jill Iverson is a standout as Rizzo - tough on the outside and tender on the inside - and her beautifully nuanced rendition of "There are Worse Things I Could Do" is a definite highlight (she's excelled at playing misunderstood teens before). As the mooning Roger and constantly eating Jan, Michael Conroy and Christine Walth are adorable and funny. And Lucas John Beach sings "Beauty School Dropout" like an angel.

oh, those summer nights! (photo by Mike Traynor)

Of course Grease isn't Grease without the car called Greased Lightning, and this version is a pretty cute little car that actually drives around the stage and threatens to upstage the actors. The cast makes good use of the multi-level set (with the onstage band sitting upstairs), hanging off the stairs and climbing around (set by Brian J. Proball). Samantha Kuhn Staneart's '50s period costumes are, like the rest of the production, less pretty and more realistic, expressing the distinct personality of each character.

The ending of the movie has always bothered me, in which Sandy changes who she is in order to "win" Danny. But this feels less like that and more like a young woman who's growing up and trying to figure out who she is and what she wants. It's a more believable transition.

While it doesn't top last year's summer hit RENT (nothing ever could in this RENThead's opinion), Grease is another fun and edgy summer musical at Lyric Arts Main Street Stage in Anoka. Due to popular demand, it has been extended through August 9 but the additional shows will sell out fast if they haven't already, so make plans soon.

"If We Were Birds" by 20% Theatre Company at nimbus theatre

This is a tough one, friends. 20% Theatre Company's production of the new play If We Were Birds is not easy to watch, but it is so worth it if you can steel yourself to sit through what might be the most realistically brutal scenes I've ever seen on stage. There is a rape scene, actually more than one, that is so painful and difficult to watch that it almost seems gratuitous if it were not for the fact that too many women live this experience every day, on college campuses, in the military, at the hands of trusted friends, or in the spoils of war, which is the focus of this piece. Based on the Greek mythical characters, sisters and princesses of Athens Procne and Philomela, the play is, as director Lee Hannah Conrads notes in the program, "a classical interpretation of a contemporary tragedy."

Beloved daughters of King Pandion of Athens, Procne and Philomela live a happy and comfortable life. Younger daughter Philomela seems especially blissful and ignorant of the troubles that those who are not in her privileged position face. When celebrated soldier King Tereus of Thrace brings a gift of slaves to Pandion, Philomela is shocked at what they have to say and defensive of her father and way of life. To reward Tereus for his victories in battle, Pandion gives him his oldest daughter's hand in marriage. Procne must leave her sister and home to be a wife of the king. After a few years of a mostly happy life, Procne asks her husband to return to Athens and bring her sister for a visit. Tereus obliges, but on the return voyage he finds that he wants Philomela, so he sets her up in a cabin where he repeatedly rapes and tortures her. When Procne finds out, she vows revenge, and the sisters serve him up some black-eyed peas... or something. Something so dark and twisted only the Greeks could think it up.

Procne (Jill Iverson)

Philomela (Suzi Gard)

The talented cast includes six women playing the Greek Chorus, each of whom represents a victim of sexual violence in a 20th Century war (or so the program notes; I didn't get that from the play itself, perhaps due to my own ignorance of foreign affairs). Dann Peterson is the warm loving father who reluctantly gives his daughters over to this man he admires a bit too much, Ethan Bjelland is menacing and frightening in his portrayal of the utterly reprehensible Tereus, and Jill Iverson gives a fierce performance as the protective older sister. But the star of this show is Suzi Gard as Philomela. Hers is a fearless performance, full of vulnerability and strength, and incredibly brave. She is literally thrown and dragged across the stage, wearing next to nothing, exposing herself physically and emotionally. Suzi's Philomela makes a believable transition from a carefree happy young woman to something scarred and broken, yet resilient. Kudos to fight coordinator Jessica Smith for making it all look so painfully real.

Tereus is a soldier who is unable to turn off his violent side when away from the battle field. I couldn't help but think of the recent allegations of domestic abuse and violence against NFL players, men who are also trained to be violent and aggressive at their jobs, some of whom seem unable to turn it off when they get home. This is definitely not a play that resides only in the past.

If We Were Birds is beautifully written by playwright Erin Shields; it feels epic and mythical, but also fresh and modern. The subject is a difficult one but one that's important to witness and examine, something that this production and this cast do well. It's a short run and playing through this weekend only, so get their quickly to experience this challenging and rewarding piece (discount tickets available on Goldstar).

Fringe Festival: "Shakespeare Apocalypse: A New Musical"

Day: 5

Show: 19

Title: Shakespeare Apocalypse: A New Musical

Category: Musical theater

By: Devious Mechanics

Written by: Keith Hovis

Location: Theatre in the Round

Summary: A young actor very publicly proclaims his dislike of Shakespeare, summoning the Bard back from the dead along with Jane Austen and Ernest Hemingway to bring about the end of the world.

Highlights: Devious Mechanics has come back with another perfectly Fringey musical, following last year's super-fun Teenage Misery. It's a similar formula, so if you loved Teenage Misery, you'll love Shakespeare Apocalypse. If not, well there's probably not much here for you. But for me, any musical that includes the line "Something has changed within me" and the number 525,600 is right up my ally! Once again, writer Keith Hovis does not shy away from borrowing lines and themes from beloved musicals; the opening number is straight out of Little Shop of Horrors, and characters are tasked with finding an odd list of items a la Into the Woods. Plenty of pop culture references, from Jurassic Park to Breaking Bad, also pepper the somewhat convoluted story. In the middle of a performance of Hamlet at the Guthrie, Peter goes on a rant about Shakespeare that goes viral, causing Shakespeare and friends to come back to terrorize the world, or something like that. The details don't matter, it's enough that the show is chock full of humor, great songs, and an energetic and talented young cast. Philip C. Matthews brings his usual passion and charisma to the role of Peter, Jill Iverson shows off her star power and gorgeous musical theater belt as Peter's friend, and Peyton McCandless is charming as a young blogger. Shakespeare Apocalypse is Fringe musical theater at its best.

Fringe Festival: "11:11"

Day: 1

Show: 3

Title: 11:11

Category: Drama

By: SaMi Productions

Created by: Sara Pillatzki-Warzeha

Location: Rarig Center Arena

Summary: A series of vignettes about the big and little moments in life that can change everything, framed around the creator's life-changing experience of a car accident.

Highlights: Sara's moving story about how her car accident changed her life begins and ends this piece. The accident reignites her grief at the loss of her grandfather, whose car she was driving (does everyone's grandpa know how to catch flies, or just Sara's and mine?), and ultimately the loss of the feeling of safety and security in life. Each of the other three performers (Yvonne Ingrid Freese, Jason Garton, and Jill Damaske Iverson) wrote a scene, along with a few other authors. Some of the scenes are more effective than others, some funny and some tragic, but all are open and honest and real. Other than the main story, I was most affected by Jill's moving performance in a piece she wrote about the loss of an almost-friend. As a whole, 11:11 is perhaps a big disjointed, but it's moving, poignant, thought-provoking, and brought tears to my eyes. I call that a Fringe success.

"The 25th Annual Putnam County Spelling Bee" at Bloomington Civic Theatre

The 25th Annual Putnam County Spelling Bee is a delightful, hilarious, and at times poignant look at a middle school spelling bee. I've seen the 2005 Tony-winning musical four times now, and I never tire of it. Bloomington Civic Theatre's new production is of course perfectly cast and very well executed, with Anita Ruth's small but still beautiful pit orchestra and Joe Chvala's unique eye for movement and direction. It's different than the large-cast traditional musicals they often do, which I love because it shows the full range of what musical theater is and what BCT can do.

The entire show takes place within a spelling bee competition, with a few flashbacks or fantasies to help explain certain characters. But basically it's a spelling bee, following the spellers from the moment they arrive at the bee, through triumphs and defeats, to the crowning of the winner. Along with the six quirky characters in the play, four audience members* are asked on stage to participate in the bee, adding an element of improvisation. Three adults try to wrangle the kids and keep the bee running smoothly, to varying degrees of success.

Highlights of the show include:

• Real life husband and wife Nicholas Leeman and Colleen Somerville play the adults presiding over the bee. Nicholas plays Vice Principal Panch with the perfect dry wit and occasional exasperation (and he's also the improv master as he deals with whatever the audience members throw him). Colleen's lovely voice is put to good use as former spelling bee champ Rona Lisa Peretti, with maternal fondness for the spellers and nostalgia for the bee. Not surprisingly, they have great chemistry, although Ms. Peretti does not return Mr. Panch's growing affections.
• As the bee's "comfort counselor," opera-trained Dominique Wooten cuts an imposing figure and can really belt (see also Les Miserables), and brings heart and humor to the paroled prisoner trying to help these kids deal with the disappointments of life.
• Six twenty-somethings convincingly play tweens and are all perfectly cast. Like she did in Carrie: The Musical for MMT last fall, Jill Iverson plays a complex and troubled teenager with a difficult relationship with her mother, but Olive is a bit lighter than Carrie and her story has a much less devastating outcome. Ryan London Levin is quite funny as former champ Chip, who's eliminated under unfortunate circumstances. Andrew Newman is adorable as the loopy and sweet Leaf Coneybear who knows he's "Not that Smart" (a role originated by Modern Family's Jesse Tyler Ferguson). Marcy Park is the least-developed character among the kids, but Hope Nordquist makes the most of her moment, a very active and busy "I Speak Six Languages." Andy Roemhildt plays all of the quirks of the singularly unique William Barfee to the hilt. Finally, Maisie Twesme is a standout as Schwartzy, with a lisp and a facial tic that never waver and a knack for engaging the audience spellers.
• The songs are mostly fun and light, with clever lyrics and catchy melodies. But occasionally the score is quite lovely and heart-wrenching; the musical highlight is the gorgeous three-part harmony in a fantasy sequence with Olive and her distant parents, with the three strong voices of Jill, Colleen, and Dominique blending beautifully together.
• This is an unusually small orchestra for BCT, but that's what the piece calls for, and as per usual it's spot-on. Joe Chvala's choreography captures the awkward movement of pre-teens, not quite in control of their bodies.
• I like to go to BCT on days when they have a post-show talk-back and listen to the cast and creative team talk about the experience. My favorite moment was when the cast was asked why they do this if they're not paid (much), and Ryan responded, "theater is crack!" As someone who saw over 150 shows last year, I heartily agree!

As Anita pointed out in the talk-back, this sort of light comedic show is harder than it looks. It takes a lot of work to make the precisely timed comedy look as effortless and natural as this. If you've never experienced the unique delight of Spelling Bee, do yourself a favor and head out to Bloomington between now and February 16 (discount tickets available on Goldstar). And make your plans for next season at BCT which was just announced. It looks like another great one; I'm particularly excited about Next to Normal (which I've seen several times and love) and Carousel (a classic I've never seen but have been wanting to).

*The audience spellers are given obviously easy or difficult words depending on if the script requires them to stay or leave. But they don't always comply, which is part of the fun. The cast told of someone who misspelled an easy word, which caused them to have to rearrange the song order. And there's always that one person who's a great speller and gets even the hardest words right. At the show I attended they finally had to trick him with to/too/two (which reminds me of the 30 Rock joke about the game show Homonym).

"Carrie: The Musical" by Minneapolis Musical Theatre at the New Century Theatre

The original musical adaptation of Stephen King's novel Carrie was a notorious flop. It closed after just 21 performances on Broadway in 1988 and was never heard from again... until the original creators significantly revised the script and score for a 2012 off-Broadway revival. This new version set in the present day, with kids attached to their smart phones, enjoyed a much better reception from critics and audiences. This year, successful productions of the revised Carrie have run in San Francisco and Seattle, and at the New Century Theatre in downtown Minneapolis. Minneapolis Musical Theatre, whose mission is to produce little-seen musicals, has chosen Carrie as the first show in the 2013-2014 season (which concludes with one of my recent favorites, Bloody Bloody Andrew Jackson, next summer). While I wouldn't call it a great musical, it's energetic, at times compelling, and certainly timely (unfortunately, bullying hasn't gone away since King wrote about it in 1974). And the raw young talent on the New Century stage makes it work.

the kids torment Carrie

Even those of us who've never read the book or seen the movie are familiar with the story - a sheltered teenage girl is bullied relentlessly by her peers, culminating in being crowned Prom Queen, when a bucket of pig's blood is dumped on her head. Her rage and humiliation fuel her telekinetic powers to wreak destruction on everyone and everything in her path. The events begin when Carrie (Jill Iverson) gets her period in the shower at gym class and freaks out because she doesn't know what's happening to her (a little harder to believe in 2013 than 1974). All the girls laugh at and tease her, and you get the sense that this isn't the first time Carrie has been laughed at and teased. The two popular girls have different reactions to the event. Sue (Natalie Schleusner) feels guilty about the way she and her friends have treated Carrie, and sees the humanity in her. She asks her boyfriend, the sensitive Tommy (Philip C. Matthews), to take Carrie to the prom so she can have a fun night. In contrast, Chris (Rebecca Gebhart) hates Carrie even more when she's punished for the event and not apologizing for it, and enlists her boyfriend, the dimwitted Billy (Logan Greene), to help her with the infamous prom blood-bath. At home, Carrie's mother (Lori Maxwell), who has suffered something in her past that's only hinted, is fearful of the world and longs to keep Carrie home with her. She's alternately loving and terrifying as she punishes Carrie for being too worldly. Despite the abuse, Carrie loves her mother as the only person she can confide in, other than the gym teacher who befriends her (Amanda Weis). But sadly, even Miss Gardner can't stop Carrie from being ultimately humiliated and taking her revenge.

There are some great songs in the score, and also some cheesy ones. The best are the ensemble numbers, staged by director Steven Meerdink with a Spring Awakening feel, full of youthful angst and energy. Carrie also has some beautifully poignant songs as she wonders why no one calls her by her name, and ponders the idea that maybe she can be "normal" too. The young and energetic cast ably perform the material, and Jill Iverson is the heart of the piece in her extremely sympathetic portrayal of this picked-on girl, hair hanging in her face and eyes darting as she belts out her torment in song.

It's so hard to watch these portrayals of bullying and try to understand why kids are so mean. But sadly, Carrie's story is not unique. I find it tragically ironic that Stephen King's story is seeing a newfound popularity (there's also a new remake of the movie) just weeks after a 12-year-old girl jumped to her death after being bullied by a group of girls. Carrie: The Musical deals with this very serious issue in an over-the-top way with music and dark humor, but also with sensitivity and poignancy. Only one weekend of performances remain if you'd like to see for yourself.