"A Christmas Carole Petersen" by Theater Latte Da at Crooners Supper Club

In addition to their new holiday* favorite Christmas at the Local (playing at the Ritz Theater through December 31), and the beautiful tradition All is Calm that is on a national tour and streaming on PBS, Theater Latte Da is bringing back their original holiday show that was an annual tradition for many of their early years. A Christmas Carole Petersen is #TCTheater artist Tod Petersen's love letter to his family, his childhood Christmases, and his upbringing in Mankato (with a good amount of skepticism and "bah humbug" thrown in). Since its first production over 20 years ago, A Christmas Carole Petersen has gone through several iterations and was last seen at the Ritz in 2017. This production, at Crooners Supper Club, is a more streamlined version of the show, with no bells and whistles of fancy sets or costumes, more of a cabaret storytelling show and running just about 70 minutes. But it works, because at its heart this show is a collection of stories and songs, with no need for embellishment  (beautifully directed by Peter Rothstein, as always). The remaining four shows of this one-weekend run are sold out; contact the box office for cancellations, or check out some of the other great holiday offerings at Crooners this year.

"Beyond the Rainbow: Garland at Carnegie Hall" at History Theatre

I hope HERstory never ends! After a successful spring of three new works by women about women, HERstory Theatre has continued this fall with the powerful and moving more-than-just-a-play Gloria: A Life (a regional premiere), and now a remount of the History Theatre's original play-with-music Beyond the Rainbow: Garland at Carnegie Hall. This commissioned piece (as many of their work is) premiered in 2005, and has since been produced at regional theaters around the country, including a few return engagements at the History Theatre, most recently in 2011 when I first saw it. Some of the original cast returns, including the incomparable Jody Briskey as Judy, in this story of one of Minnesota's favorite daughters. Everybody loves Judy, especially here in the land of her birth, and this play is a beautiful homage to the human behind the legend, while still celebrating her incredible legacy of music and film.

"Glensheen" by the History Theatre at the Minnesota History Center

I love historic old mansions that have been turned into museums, and my favorite is the Glensheen Mansion in Duluth. A gorgeous house and beautifully manicured grounds right on the shores of Lake Superior, the story of a New York lawyer who got rich in the local mining industry and built this house for his wife and many children, plus a murder mystery! I have to admit, I am more than little fascinated by the story of how elderly millionaire Elisabeth Congden and her nurse were found dead in 1977, one smothered by a satin pillow and the other beaten to death with a candlestick (an actual candlestick!). Yes it's gruesome and tragic, but it's also one of those "truth is stranger than fiction" stories that is so captivating. Playwright Jeffrey Hatcher and composer Chan Poling have taken this fascination with this weird and wonderful story and turned it into a musical, presented as the third show in the History Theatre's Raw Stages Festival. Or at least it's the beginnings of a musical. After working together for only a few days, the creators and the fabulous cast they have assembled presented just over an hour of material. They had meant to have more, "but it snowed" (Jeffrey is extremely dry and funny, see also his Lifetime Achievement Ivey Award acceptance speech). It's definitely still in the "raw" stage of the development process, but almost every song and scene is terrific, the tone of "ironic comedic cynicism" is spot on, and it has much potential to be a fantastic new original musical (my favorite thing in the world!).

In a short intro, Jeffrey explained that the musical is supposed to be a "non-realistic break the fourth wall" sort of thing, with "a spirit of theatricality." Our way into the story is through a modern day tour guide at the mansion (a bubbly Aly Westberg). She calls the head docent (Norah Long) in a panic when one of the guests takes a forbidden photograph in the stairwell where one of the bodies was found. Through a series of flashbacks we meet Elisabeth Congden and her two adopted daughters - Jennifer, the sweet and pretty one (Norah again) and Marjorie (the always fabulous Jody Briskey), who epitomizes the phrase "black sheep of the family." Marjorie meets her second husband Roger (an adorably awkward and "sad sack" Robert O. Berdahl) and introduces him to the family. He (with or without Marjorie's assistance and knowledge) plots to kill Elisabeth, is convicted, confesses to secure his release from jail, and commits suicide. Marjorie is never convicted and goes on to rack up charges of fraud, arson, bigamy, and even murder. The action flashes back and forth between moments in the past and the present day, where we also meet a "cub reporter" (Randy Schmeling) and a wacky detective (Jim Ramlet). The only part of the piece that didn't quite work for me was the ending, with a long exchange about the camera or phone used to take the picture. I was confused about who this woman was (Marjorie? the ghost of Elisabeth?), and the reveal that she was some sort of Marjorie fanatic didn't quite seem to fit. I only nitpick because the rest of the show is gold, just waiting to be polished and fleshed out and put together in the most shiny way possible.

The wonderful songs with clever and funny lyrics include the Sweeney Todd-esque "Ballad of Haunted Glensheen," a song between the two sisters, one good and one bad, a Marjorie/Roger duet  - a "mismatch made in hell," a very funny and drunken Roger singing about the "murder plot," Marjorie's swan song "Burn it Down," and what seemed to be the favorite of the audience - nurse Velma's* sad and sweet song in which her husband begs "stay with me" when the recently retired nurse is called back to work that fateful night.

I loved this piece so much. It's my favorite of the Raw Stages festival so far even though it's also the most raw. It's exactly the kind of musical I like - funny, satirical, witty, a little wacky, about a topic I'm already fascinated by. I cannot wait to see it further fleshed out and produced with lavish sets and costumes and a full orchestra. I hope they keep every one of these seven cast-members who were just perfect in their roles, maybe adding a few more actors to fill out some of the roles. Judging by the sold-out crowd, there is definitely an audience anxious to see Glensheen: The Musical, myself included!

The History Theatre's Raw Stages Festival concludes with a new play by Garrison Keillor this Sunday. But if you don't already have tickets, you're out of luck - it's sold out. But don't worry, I'll be there and will tell you all about it!

the Glensheen Mansion, definitely worth a visit
next time you find yourself in Duluth

*Velma's grand-niece was in the audience and gave her approval of the show in general and Velma's song in particular.

"Company" by Theater Latte Da at the Ordway McKnight Theatre

I've been writing this blog for over two years, and I've found that some shows are easier to write about than others (which is not necessarily correlated to how much I like the show). But every once in a while, I'm so affected by a piece of theater that I go directly to the computer as soon as I get home, no matter the hour, because I immediately need to get my thoughts out of my head. Theater Latte Da's new production of the 1970 Sondheim musical Company* is one of those shows. I was so immersed and engaged in the world and characters created, that when the show was over, the lights came up, and the applause (reluctantly) died down, it was a jarring dose of reality. I feel like a broken record, but this is another brilliant production by Theater Latte Da. Friends, we are very very lucky to have Peter Rothstein and Denise Prosek and this company that they created 15 years ago in our community. They just keep getting better and better.

I really only heard of Company last year when a filmed concert version starring Neil Patrick Harris was released to movie theaters. I immediately fell in love with it, so this production is coming at a great time for me. Company began as a series of short plays about married couples written by George Furth. When Stephen Sondheim came on board, it was turned into a musical and the character of Bobby was added as a central character tying all of the couples together. There's not much of a plot to it; it's more of a character study and an exploration of the ideas of marriage, friendship, and connection. Bobby is single and turning 35 amidst a bunch of married couples (something I can relate to, although this fall is not my first 35th birthday ;), and he spends time with each of them in turn, trying to figure out what it's all about. In typical Sondheim fashion, the songs are clever and witty and fast, with unexpected and beautiful melodies.

As usual with Latte Da shows, this one is perfectly cast. When I first heard that Latte Da was doing this show, I immediately thought of Dieter Bierbrauer as Bobby, and I was thrilled when I heard he had indeed been cast. Dieter's voice is perfection; there's nothing he can't do vocally. He has such control and emotion in his voice; his singing sounds effortless on these challenging Sondheim songs. As Bobby, everyone's best friend, Dieter rarely leaves the stage. But he's not always the center of attention. In fact that's a crucial part of this role and one Dieter does well - being the observer, the listener, the sounding board, as his friends unload their feelings and crazy ideas to him. Always attentive and engaged as he sits there silently, you can see the wheels turning as he takes it all in and adds it to his growing knowledge base of what this marriage thing might mean. The final song after he puts it all together ("add 'em up, Bobby") is "Being Alive," one of the greatest songs ever written for musical theater. Dieter's performance is a thing of beauty. Angry and defensive, then soft and vulnerable, finally a demand for a richer and fuller life.

Jody Briskey as Joanne with
Dieter Bierbrauer as Bobby

The five couples surrounding Bobby are also well-cast. Each couple is different, and are given a scene or two with Bobby to let the audience in to their particular brand of marriage. It's difficult to pick just a few standouts to mention, but I must start with Jody Briskey as Joanne, the three-times married slightly more mature and cynical friend who gets the best song, "Ladies who Lunch." Jody performed the song at this summer's Latte Da in the Park concert, and it was obvious then that she would be the one playing this role. Jody recently won an Ivey Award for her performance as Judy Garland in Beyond the Rainbow at the History Theatre last fall, and you can still hear Judy in her voice. I like to think of Jody as the Patti LuPone of the local theater scene (I'm not sure Patti ever played this role, but I heard her sing the song at Orchestra Hall a few years ago and it's that kind of song). Jody's performance of this Sondheim masterpiece is boozy and brilliant. In short, it's a showstopper.

Bobby (Dieter Bierbrauer, center) with his
good and crazy married friends

Also worth mentioning are the adorable Kim Kivens (she may be the smallest of stature in the cast, but not the smallest of voice) as the reluctant pot-smoking mom; Heidi Bakke as one of Bobby's girlfriends, a flight attendant who describes herself as "dumb and boring" in the most charming way (her duet with Bobby, "Barcelona," may be the cutest "morning after" song ever); David Darrow as the groom Paul, despite the fact that we only get a brief taste of his beautiful voice as he sings "Today is for Amy" to his frantic bride (I'm still waiting for the soundtrack of Rip, the Fringe show for which he wrote a bunch of really great songs that could stand on their own); Suzy Kohane as said frantic bride, who wins the prize for singing the most and fastest words in any song in the show, all while pushing her fiance away and still remaining likeable; and Julie Madden, who's a hoot as the dieting ka-ra-TE expert wife who has to remind her husband when and why he gave up alcohol.

Another important character in the play is New York City, my favorite city in the world (outside of Minnesota). In addition to the song "Another Hundred People (Just Got Off of the Train)" which perfectly describes the "city of strangers," there are numerous references to New York and New Yorkers. The city is also incorporated into the clever lighting and set design. Images are projected onto a couple of basic white boxes, as well as the backdrop, to represent the inside of a crowded home, a high rise apartment building with terraces, a park in different seasons, and the streets of New York as Bobby walks and ponders. One of the white boxes opens up to a bed (for the "Barcelona" scene), and a set of stairs leads to a second level providing a place for characters to observe the action as they come and go. There's not much choreography in the piece (Company is not a big song-and-dance kind of musical), but there are a few nice moments. In the opening number of Act II, "Side by Side by Side," Bobby sings and dances around his friend with an umbrella, and a kickline is formed. When all the men are telling Bobby "Have I Got a Girl for You," they're sitting on office chairs with a keyboard on their laps, emailing him, with choreographed keystrokes (choreography by Michael Matthew Ferrel). Touches like that and cell phones bring this show from the 70s into the 21st century, and with the relevant and timeless themes of relationships, it doesn't feel dated at all.

Company is playing at the Ordway McKnight Theater now through November 18. If you've never seen a Theater Latte Da show, well, you've been wasting your local theater-going life. Go see this show. The rest of their season looks to be just as amazing as this show, so you'll probably want to check that out too.

Theater Latte Da chose to do this show this season "as Minnesota grapples with the definition of marriage," but the production does not speak directly to the idea of marriage equality. What it does do is showcase five couples who have five different definitions of marriage. It seems to me, looking from the outside, that there are as many different definitions of marriage as there are marriages. So why would we want to constitutionally limit it to one definition, when it's never been that way? That was my take-away from the show; go see it and decide for yourself.

"Being Alive!"

*I received one complementary ticket to Opening Night of Company. However, I had already bought tickets for myself and 14 friends to go next week. Most of them are good and crazy married people, so I look forward to seeing the show again with them and hearing what they think of it.

"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!

"Beyond the Rainbow: Garland at Carnegie Hall" at the History Theatre

Who doesn't love Judy Garland?  Star of such movie classics as The Wizard of Oz and Easter Parade, and possessing one of the greatest voices to ever grace this planet.  She was a great example of the American Dream, born a child of vaudeville in Grand Rapids, MN (check out the Judy Garland Museum if you're ever in the area) and becoming one of the biggest stars of her day.  But her life was also an American Tragedy, used by the Hollywood studio system from a young age, struggling with drug addiction, and dead before the age of 50.  Beyond the Rainbow: Garland at Carnegie Hall does a wonderful job of presenting the highs and lows of her life.

The show begins at the beginning of Judy's biggest and most famous concert, Carnegie Hall in 1961, and as Judy moves through the songs she remembers her life story.  Actors come on stage to play out the events of her life, as she watches, reacts, and interacts with them.  Jody Briskey channels a 39-year-old Judy, and Norah Long portrays a young Judy from the age of 4 through her early 30s.  Both women have amazing voices that they've morphed into Judy's, as well as capturing her physical characteristics.  Norah looks like she just stepped out of Oz, and Jody's body can barely contain the music as Judy hits her heights.  The two Judys converse in an attempt to make sense of her life and come to peace with it, like an onstage musical therapy session.  We see Judy's relationship with her vaudevillian parents (played by Peter Moore and Cathleen Fuller), as well as two of her five husbands, Vincente Minnelli (Peter Moore again) and Sid Luft (Clark A. Cruikshank).  All of these relationships were troubled; her parents and her husbands were very involved in her career, which led to confusion in her personal life.  Through all of her tragedies Judy keeps singing, and the music pulls her through.

Beyond the Rainbow was written by William Randall Beard and first produced at the History Theatre in St. Paul in 2005, and has since toured around the country, all the while with Jody as Judy.  Her ease in Judy's skin after all those years is evident.  The fabulous four-piece band (directed by Jimmy Martin) is just visible on the side of the stage, which is mostly bare except for a stool and a mic for Judy.  The supporting actors portray several different characters each, transforming with just a minimal costume change.  When not onstage they sit in the shadows, always present like a memory.  Cathleen Fuller's Hollywood gossip columnist is the most fun character, at one point cackling like the Wicked Witch of the West.

If you love Judy Garland (and as I said, who doesn't?), check out this play to find out a little bit more about the woman behind the legend and immerse yourself in her wonderful music.  In an interesting coincidence, the Guthrie is also presenting a Judy Garland story this season: End of the Rainbow.  This show features another concert even later in Judy's life, and will stop in Minneapolis on its way from London to Broadway.  I'll be interested to compare the two.  I can't imagine anyone capturing Judy better than Jody Briskey and Norah Long.