Sarah Ruhl's funny and feminist, historical and modern play In the Next Room, or the Vibrator Play had its regional premiere at the Jungle about ten years ago, and can now be seen on Yellow Tree Theatre's intimate Osseo stage. It's an unexpected title, and while, yes, the play features the vibrator (more specifically the time in history when "electric massage" was a serious medical treatment for a particular ailment of women diagnosed as "hysteria"), the play is really about relationships, medical practice, the dawn of electricity, and connections. Yellow Tree's strong cast and detailed design, combined with this smart script, make for a highly entertaining night at the theater, even if it might make you squirm in your seat a little (which is not a bad thing in theater).*
Showing posts with label Joel Liestman. Show all posts
Showing posts with label Joel Liestman. Show all posts
Thursday, June 16, 2022
Tuesday, October 13, 2020
"Everything Changes: A Parking Lot Concert" by Yellow Tree Theatre in a parking lot
Everything changes, and that's perhaps never been more true in my lifetime than this year. But what hasn't changed is people's need to share stories and music, and the connection that it brings to us. Yellow Tree Theatre's outdoor drive-in parking lot concert entitled "Everything Changes" is a prime example of that. A parking lot full of cars, five performers on a makeshift stage, some speakers and a radio frequency - an unconventional set-up but a familiar and beloved experience of audience and artists sharing stories, music, energy, and light.
Thursday, March 28, 2019
"Cyrano de Bergerac" at the Guthrie Theater
The Guthrie's Artistic Director Joseph Haj brings his adaptation of the classic play Cyrano de Bergerac to the proscenium stage. First produced in 2006 and revised for this production, he based it on the original French and two early English translations, with a goal "to create a well-built, forward-moving story with a steady rhythm that remained in pursuit of what I believed to be Rostand's key theme: the idea that true beauty resides within." Mission accomplished. A dynamic staging, a lovely cast, and inventive design bring this beloved classic to life.
Sunday, October 7, 2018
"Two Degrees" by Prime Productions at Guthrie Theater
In just their second production, new #TCTheater company Prime Productions (whose mission is "to explore, illuminate and support women over fifty and their stories through the creative voice of performance," hooray!) brings us the regional premiere of the new play Two Degrees by Tira Palmquist. If their goal is to provide interesting and complex roles for women of a certain age that aren't that of merely the wife, mother, or best friend, then this play is a resounding success. Norah Long is one of our best actors, period, and it's wonderful to see her tackle the role of a smart, mature, vibrant, messy woman (think Shonda Rhimes heroines, but on stage). The play is a nice balance of stories global (i.e., the dangers of climate change, from whence comes the title) and personal.
Saturday, September 23, 2017
"The Lady With A Lap Dog" by Fortune's Fool Theatre at Open Eye Figure Theatre
Attention lovers of small, intimate, beautiful new musicals! Fortune's Fool Theatre is presenting just such a piece at Open Eye Figure Theatre for two short weekends only, of which this is the final one. Unfortunately it opened on the same weekend as about a dozen other #TCTheater shows and I was unable to catch it until a few nights ago, and now just two performances remain. But if you hurry, there's still time to see The Lady with a Lap Dog. Based on one of Chekhov's best known short stories, with just a three-person cast and a three-piece orchestra and about 80 minutes long, it's a lovely little piece and shouldn't be missed by anyone who loves new (and locally created) musicals.
Sunday, November 20, 2016
"A Christmas Carol" at the Guthrie Theater
A rich, greedy, selfish old man with no regard for his fellow human beings, especially those that are different from him, that are suffering, that could benefit from a little kindness. Why is it that the story of Ebeneezer Scrooge seems so familiar? It must be because this is my 11th time seeing The Guthrie Theater's gorgeous, lively, and warm-hearted production of A Christmas Carol. And I never tire of seeing it, because Charles Dickens' story of redemption, community, family, and human kindness never gets old. It's a beautiful and necessary thing to be reminded that "what brings us together is greater than what drives us apart." That it's never too late to change, to grow, to become a kinder and more generous person. In today's current environment when there's so much division among us, so much violence and ugliness, A Christmas Carol shows us how good humanity can be.
Tuesday, February 2, 2016
"Rough Cuts" at Nautilus Music-Theater: "Bold in Their Breeches" and "The Lady with a Lapdog"
Have you ever been to "Rough Cuts," Nautilus Music-Theater's monthly series in which they present readings of new works of music-theater? Even though they've presented 170 "Rough Cuts" over 23 years, you're forgiven if you've never been, or even if you've never heard of it. Their website is uninformative (but it appears they're working on improving it) and while they are on Facebook and Twitter, they're not very active on either. Maybe they like it that way, because even with this lack of publicity there was a standing room only crowd at their small studio space in St. Paul's Lowertown neighborhood last night. But that's why I'm here, to let you know about delicious well-kept secrets in the local theater world such as "Rough Cuts."
Monday, June 29, 2015
"The Music Man" at Guthrie Theater
The Guthrie Theater's production of The Music Man is the reason why people who love musicals love musicals. And since I'm a person who loves musicals, I love everything about it! I loved the movie as a kid, and recently fell in love with the piece anew when I saw Ten Thousand Things' sublimely sparse and spellbinding production last year. On the opposite end of the spectrum is the Guthrie's big, bold, glorious show, with a huge cast of old and new favorites, breathtaking sets and costumes, those beloved familiar songs, spirited dancing, and a real live marching band! Meredith Wilson's story and music is such a beautiful and moving celebration of the power of love, music, hope, community, and a shared goal. And this production brings out every wonderful thing in his work. In a word, this Music Man is scrumptious.
You all know the story - a con man comes to a small Iowa town to sell them band instruments, uniforms, and a false promise of musical instruction, bringing music and new life to the stolid town, all the while planning to skip town after he collects the money, until he unexpectedly "gets his foot caught in the door on the way out," realizing that he needs these people to believe in him as much as they need someone and something to believe in. Professor Harold Hill is an expert salesman with a knack for knowing exactly what people need to hear and telling it to them in the most appealing way. He wins the town over person by person, giving the children something to focus on and look forward to, convincing the bickering school board to become a barbershop quartet, prompting the busybody ladies to form a dancing society. But music teacher and librarian Marian, a proud, guarded, and bookish "old maid" with high standards is not so easily won over. She knows the truth about Professor Hill, but when she sees her troubled and withdrawn little brother begin to blossom under his friendship, and the town come together as one, she sees that "the truth" about Professor Hill doesn't really matter. What matters is the joy that he's brought to the town, and even if he does skip town, he will leave them better than he found them.
I love our local actors so much that I'm always a little disappointed when cast lists are released with unfamiliar names at the top. But I need to learn to trust the Guthrie casting department, because they always find just the right person for each role. For as soon as these newcomers stepped on stage, they made me fall in love with them against my will! And truly, this 40+ person cast is a beautiful mixture of about half Guthrie veterans, a half dozen newcomers from the national scene, and even more Guthrie newcomers from within our own talent base, including many of our most above average children.
Moments after stepping onstage, or rather, revealing his identity after the opening train scene (more about that later), Danny Binstock had me under his spell as much as Harold Hill has the River City-zens under his. Smooth-talking, -moving, and
-singing, with boundless charm, an ever-present spring in his step, and a knowing roguish smirk on his face (and looking a bit like Joseph Gordon-Levitt), he simply is Professor Hill. Stacie Bono is everything you'd want in Marian the librarian, sensible, smart, and proud, slowly letting her hair down (figuratively and literally) as she lets this man into her life. And her golden soprano voice will give you chills on such songs as "My White Knight" and "Till There Was You." Danny and Stacie are a charming pair with oodles of chemistry and lovely harmonies.
I cannot possibly mention all of the wonderfulness in the ensemble, but I'll just point out a few, starting with the littlest (the child roles are shared between two actors). Soren Thayne Miller is sweet and adorable as Winthrop; the moment when he begins to talk excitedly about his scrumptious solid gold coronet always gets me. Rising star Natalie Tran is equally adorable as the spunky Amaryllith. Moving on to the grown-ups, Richard Ruiz has played the role of the Professor's buddy Marcellus four times around the country, and it's easy to see why - he's a dead ringer for Buddy Hackett from the movie, and his big song "Shipoopi" is just as fun. Peter Thomson is hilarious as the bumbling mayor (in Peter's words, he thinks himself the Teddy Roosevelt of River City, but possesses the intellect of Spiro Agnew). Barbara Marineau is a hoot as his wife Eulalie, performing in ever more ridiculous get-ups with her dancing ladies (all of whom are wonderful). James Ramlet, Joel Liestman (filling in for an injured T. Mychael Rambo), Robert O. Berdahl, and Robert DuSold comprise a barbershop quartet sent from heaven. Margaret Daly is a warm and funny presence as Mrs. Paroo, and Brandon Timmons is a wonderfully high-stepping, baton-twirling, band-leading drum major.
The talent in the large ensemble bursts off the stage, and director John Miller-Stephany does a wonderful job keeping everything organized and moving, and bringing out the huge heart in this piece. The busy and spectacular group numbers are nicely balanced with quieter character moments. Speaking of spectacular group numbers, Joe Chvala's choreography is, as always, an absolute delight and so much fun to watch, even though there's so much going on onstage it's impossible to take it all in in one sitting (lucky for me I'm going back to see the show again with my family in August). The opening number is particularly ingenious, as the salesmen rap about the art of selling ("you've gotta know the territory!") while moving as one, so realistically depicting the motion of a train that I almost got nauseous just watching them! Another highlight is "Marian the Librarian," depicting probably the most fun that's ever been had in a library.
A musical about a band has to have a great band, and do they! Music director Andrew Cooke is the first person onstage, taking his place in a mini-pit at the front of the stage, only his shoulders and head visible as he leads the cast and backstage band performing this beautiful, rousing, clever, lovely score with too many great songs to mention. And when the River City band marches on stage at the climax of the play, it's truly thrilling, and so moving as these loving parents think the warbled sounds of these unrehearsed children is as sweet as a symphony. That's love.
The inspiration for Todd Rosenthal's set design is, appropriately, Iowa artist Grant Wood. Yes, there is an American Gothic moment, but the larger inspiration is the painting Young Corn. Not only are the backdrop and scrim painted in the style of Young Corn, but the buildings are as well. Director John Miller-Stephany said in a post-show discussion that this emphasizes the importance of the rural farming community in this small Iowa town. In addition to the massive buildings (some of which might look familiar to those who saw My Fair Lady last summer), there is large square in the stage floor that lowers to the bowels of the Guthrie* to change the set pieces from the train, to the town square statue, to the Paroo living room, to the gymnasium, to the hotel, to the library, and finally to the footbridge. Mathew J. LeFebvre's costumes are a feast for the eyes, from flouncy dresses to well-tailored suits to brightly colored band uniforms.
It's obvious that Meredith Wilson wrote The Music Man as a loving homage to his home city of Mason City, Iowa, using people and places he knew as inspiration for the piece. And the Guthrie's production continues in that spirit. As much as we Minnesotans like to make fun of Iowa, we're really not that different, and the values of home, community, pride, and family ring true. If you're a person who loves musicals, you won't want to miss this Music Man that will remind you of why you love musicals. That is, familiar and beloved songs, a huge and hugely talented cast of familiar faces and new, fantastic set and costumes that bring you right into that world, humor, and most important, a meaningful and poignant story told with much heart. The Music Man continues through August 23, but get your tickets soon before they sell out.
*The Guthrie offers backstage tours, in which you can visit the bowels of the Guthrie and see how the stage mechanics work, as well as tour the rehearsal spaces and costume and set shops.
You all know the story - a con man comes to a small Iowa town to sell them band instruments, uniforms, and a false promise of musical instruction, bringing music and new life to the stolid town, all the while planning to skip town after he collects the money, until he unexpectedly "gets his foot caught in the door on the way out," realizing that he needs these people to believe in him as much as they need someone and something to believe in. Professor Harold Hill is an expert salesman with a knack for knowing exactly what people need to hear and telling it to them in the most appealing way. He wins the town over person by person, giving the children something to focus on and look forward to, convincing the bickering school board to become a barbershop quartet, prompting the busybody ladies to form a dancing society. But music teacher and librarian Marian, a proud, guarded, and bookish "old maid" with high standards is not so easily won over. She knows the truth about Professor Hill, but when she sees her troubled and withdrawn little brother begin to blossom under his friendship, and the town come together as one, she sees that "the truth" about Professor Hill doesn't really matter. What matters is the joy that he's brought to the town, and even if he does skip town, he will leave them better than he found them.
I love our local actors so much that I'm always a little disappointed when cast lists are released with unfamiliar names at the top. But I need to learn to trust the Guthrie casting department, because they always find just the right person for each role. For as soon as these newcomers stepped on stage, they made me fall in love with them against my will! And truly, this 40+ person cast is a beautiful mixture of about half Guthrie veterans, a half dozen newcomers from the national scene, and even more Guthrie newcomers from within our own talent base, including many of our most above average children.
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| Marion and Professor Hill lead the dance (Stacie Bono and Danny Binstock, photo by T. Charles Erickson) |
-singing, with boundless charm, an ever-present spring in his step, and a knowing roguish smirk on his face (and looking a bit like Joseph Gordon-Levitt), he simply is Professor Hill. Stacie Bono is everything you'd want in Marian the librarian, sensible, smart, and proud, slowly letting her hair down (figuratively and literally) as she lets this man into her life. And her golden soprano voice will give you chills on such songs as "My White Knight" and "Till There Was You." Danny and Stacie are a charming pair with oodles of chemistry and lovely harmonies.
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| the marvelous cast of The Music Man (photo by T. Charles Erickson) |
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| the train rolls into River City (photo by T. Charles Erickson) |
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| Tommy (Brandon Simmons) leads the band as the crowd cheers (photo by T. Charles Erickson) |
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| Grant Wood's Young Corn |
It's obvious that Meredith Wilson wrote The Music Man as a loving homage to his home city of Mason City, Iowa, using people and places he knew as inspiration for the piece. And the Guthrie's production continues in that spirit. As much as we Minnesotans like to make fun of Iowa, we're really not that different, and the values of home, community, pride, and family ring true. If you're a person who loves musicals, you won't want to miss this Music Man that will remind you of why you love musicals. That is, familiar and beloved songs, a huge and hugely talented cast of familiar faces and new, fantastic set and costumes that bring you right into that world, humor, and most important, a meaningful and poignant story told with much heart. The Music Man continues through August 23, but get your tickets soon before they sell out.
*The Guthrie offers backstage tours, in which you can visit the bowels of the Guthrie and see how the stage mechanics work, as well as tour the rehearsal spaces and costume and set shops.
Sunday, January 5, 2014
"Broadway Songbook: George Gershwin" at the Ordway Center
Just last month, I learned about the Gershwin brothers, and lyricist Ira in particular, in Park Square Theatre's excellent play with music Words By... Ira Gershwin and the Great American Songbook. My education was furthered this weekend with the latest in the Ordway's always entertaining Broadway Songbook series, featuring the music of composer George Gerswhin. Ordway Artistic Director James Rocco tells the story of George's life and career, interspersed with relevant songs performed by some of the top musical theater talent in the Twin Cities. And it's a great story at that - an American success story with a tragic ending. Sons of Russian Jewish immigrants, the Gershwin brothers grew up in Brooklyn, where George was a prodigy on the piano. He soon found fame as a composer for Broadway and movies, collaborating with Ira and other lyricists. George died at the age of 38 from a brain tumor, but forever changed American music in his short but prolific career.This Broadway Songbook features a significantly larger cast than past Songbooks. Ten singer/actors, each one of them a true talent, are accompanied by Raymond Berg on piano and Eric Solberg on upright bass (for an extra touch of class and jazz). With the likes of Christina Baldwin, Dieter Bierbrauer, Gary Briggle, Isabella Dawis, Jennifer Eckes, Joel Liestman, Ann Michels, Bryan Porter, Kersten Rodau, and Therese Walth, the cast does not simply sing the songs, they perform them and truly embody the humor and emotion in each composition. The benefit of having this large cast is the gorgeous full sound that they're able to achieve in the group numbers, but the bad news is that with such a large cast, each of them only has one or two solos, which in many cases left me wanting more. Such is the danger of having so much talent on one stage and only two hours to display it!
James has chosen a selection of Gerswhin songs from the familiar ("I Got Rhythm") to the obscure ("When You Want 'Em"), but all serve a purpose in the narrative. Surprisingly, there are no selections from the opera Porgy and Bess, but James did take the opportunity to plug the tour of the 2012 Broadway version coming to the Ordway in March (I second that - I saw it on Broadway and it's absolutely stunning). The evening includes too many wonderful moments to mention, but a few of them are: Christina and her boys (Joel, Bryan, and Dieter) singing the playfully seductive "Do It Again," the gorgeous ballads "How Long Has This Been Going On" (Kersten) and "Embraceable You" (Ann), some seriously great scatting by Jennifer in "Stiff Upper Lip," Christina's mic going out towards the end of "By Strauss" with her unamplified voice filling the theater (which makes me wish they'd do a song or two unplugged), the beautiful harmonies on "Love Walked In" (arranged by Raymond), and the comically drunk "Vodka" by Kersten.
The highlights of the show are the two group numbers. The casts presents a medley from the 1931 Pulitzer Prize winning musical Of Thee I Sing. Not only do we get to hear some of the witty songs in this political satire, but we get a glimpse of what the whole show would be like. The show closes with a unique original vocal version of Gershwin's masterpiece Rhapsody in Blue. The story of George's life and career in words (written by Albert Evans and arranged by Raymond) set to this iconic and instantly recognizable music is truly stunning.
This is another great installment in the Broadway Songbook series, which has taught me so much about the history of musical theater - my favorite thing in the world. I've attended all but one of the shows presented in the past three seasons and it's building up to be quite a nice curriculum. And if you're a musical theater fan, it really is required curriculum. Great stories and information accompanied by iconic music wonderfully performed by local favorites. Only one performance remains tonight, if you're brave enough to dare going out in the subzero Minnesota winter. Otherwise, make your plans for the final Broadway Songbook of the season, featuring the composing team Comden and Green, in June. I can't wait to see what next season will bring to further my education!
Saturday, October 19, 2013
"Broadway Songbook: Musicals of the 1950s" at the Ordway
In the continuing musical theater history seminar that is the Ordway's Broadway Songbook series, today's lesson is on the musicals of the 1950s. Often referred to as the "golden age" of musicals, the 1950s saw the musical expand and grow as an art form, as well as influence pop culture and music. Songs from musicals were recorded by the top musical artists of the day and were heard on the radio. Many musicals from the 1950s are still frequently produced today* and are among the most beloved. With legendary creators such as Rodgers and Hammerstein, Irving Berlin, Leonard Bernstein, and Loesser and Loewe, Ordway Producing Artistic Director and writer/host of the Songbook series James Rocco had hundreds of fantastic songs to choose from. He's made some great choices and assembled them into a narrative about this musical decade, along with Ivey-winning Music Director Raymond Berg on piano. Many of the musicals featured in the show are very familiar to me, some I've only heard of, and some "hidden gems" were previously completely unknown to me. That's what I love about the Broadway Songbook series - I learn so much about musical theater history, relive some of my favorite shows, and get a taste of shows I've never seen or heard of before.
Assisting Professor Rocco in this musical history lesson are six fantastic singer/actors - three Songbook vets (Joel Leistman, Jennifer Baldwin Peden, and Kersten Rodau) and three newcomers to the series (Dan Beckmann, Wes Mouri, and Sara Ochs). They bring to full life the lessons James gives through their performance of these classic songs.
Highlights include:
Things I learned at this musical theater history lesson:
For the last two seasons, Broadway Songbook has been performed in the Ordway's McKnight Theater. But since the McKnight has been replaced by a hole in the ground, the show has been moved to the Ordway's main stage in a creative way. In order to maintain the intimate feel of the smaller McKnight Theater that works so well with the Songbook series, the show is set up at the back of the huge stage, with audience seated in chairs right on the stage. It's a really cool experience to be on that stage and look out at the empty house. However, the sight lines are not great, with twelve rows of seats on the same level and the stage area only raised a few feet. If they performed at the front of that big stage, with a curtain dropped to make the stage shallow, and only seated people in the front section of the house, it would maintain the intimate feel and eliminate the need to bob one's head around the guy sitting in front of you. But they're making the best of a less-than-ideal situation.
James said "none of my responsibilities give me as much joy as producing the Broadway Songbook series," and it shows. His joy and passion for musical theater is infectious, making this a highly successful series that I hope they continue for years to come! Only four performances remain (two today and two on Sunday) and are tickets are limited, but if you're interested click here or call the box office. And get your tickets now for the next lesson on George Gerswhin in early January. (And click here to read about past lessons in the Broadway Songbook series.)
*Two musicals featured in this Broadway Songbook will be produced by local theater companies next year. Ten Thousand Things will bring their signature stripped-down-bare-bones-straight-to-the-heart style of theater to The Music Man early next year, and Bloomington Civic Theatre is doing Gypsy next spring. James also said that he's hoping to reimagine Damn Yankees on the Ordway stage sometime soon. This is another musical I'm not familiar with, but as a Twins fan I'm very familiar with the phrase "damn Yankees!"
Assisting Professor Rocco in this musical history lesson are six fantastic singer/actors - three Songbook vets (Joel Leistman, Jennifer Baldwin Peden, and Kersten Rodau) and three newcomers to the series (Dan Beckmann, Wes Mouri, and Sara Ochs). They bring to full life the lessons James gives through their performance of these classic songs.
Highlights include:
- The long and expansive opening medley that includes snippets from Damn Yankees, The Music Man, West Side Story, Guys and Dolls, Sound of Music, and a singalong to "Getting to Know You" from The King and I.
- Joel singing that great sociology lesson "You've Got to be Carefully Taught" from South Pacific.
- A couple of classics in Sara's beautiful voice - "Shall We Dance" from The King and I and "Never Never Land" from Peter Pan.
- An entertaining and fully acted poker game to the song "Politics and Poker" from Fiorello.
- A medley from Candide, which I didn't previously know much about but am now intrigued by after hearing the clever and lovely songs. Words James used to describe it include "brilliant," "enigmatic," "exhausting," and "influential." I've gotta see it.
- A medley from Guys and Dolls, "one of the greatest musicals," with Jennifer as a very entertaining Adelaide (she's got great comedic timing to go with her incredible voice).
- The men performing "Lida Rose" from The Music Man in classic barbershop quartet harmony.
- Several selections from one of my personal favorites, West Side Story, with Kersten and Jennifer dueting as Anita and Maria, and Dan as an excellent Tony.
- An adorably enthusiastic Wes singing "I Met a Girl" from Bells are Ringing.
- Back to back lovely songs by Jennifer - "I Wish It So" from the little-known Juno and "I Could Have Danced All Night" from My Fair Lady.
- Kersten belting out "Everything's Coming Up Roses" from Gypsy.
- The closing number - "Climb Ev'ry Mountain" from another favorite, The Sound of Music, a song that never fails to give me chills.
Things I learned at this musical theater history lesson:
- Peter Pan was originally written for television.
- Oklahoma is considered to be the first musical as we know it, with songs fully integrated into story, and became the template for musicals through the 1970s.
- Fiorello is one of the rare musicals that won the Pulitzer Prize for drama (although I should have remembered that from The Newsroom).
- Our own Sir Tyrone Guthrie directed the original production of Candide on Broadway.
- Frank Loesser (Guys and Dolls) mentored Meredith Wilson (The Music Man).
- The Music Man beat West Side Story for the Best Musical Tony in 1958, and Fiorello and Sound of Music tied for the Best Musical Tony in 1960, beating Gypsy (can you imagine a year in which two or three of these classics debuted?).
For the last two seasons, Broadway Songbook has been performed in the Ordway's McKnight Theater. But since the McKnight has been replaced by a hole in the ground, the show has been moved to the Ordway's main stage in a creative way. In order to maintain the intimate feel of the smaller McKnight Theater that works so well with the Songbook series, the show is set up at the back of the huge stage, with audience seated in chairs right on the stage. It's a really cool experience to be on that stage and look out at the empty house. However, the sight lines are not great, with twelve rows of seats on the same level and the stage area only raised a few feet. If they performed at the front of that big stage, with a curtain dropped to make the stage shallow, and only seated people in the front section of the house, it would maintain the intimate feel and eliminate the need to bob one's head around the guy sitting in front of you. But they're making the best of a less-than-ideal situation.
James said "none of my responsibilities give me as much joy as producing the Broadway Songbook series," and it shows. His joy and passion for musical theater is infectious, making this a highly successful series that I hope they continue for years to come! Only four performances remain (two today and two on Sunday) and are tickets are limited, but if you're interested click here or call the box office. And get your tickets now for the next lesson on George Gerswhin in early January. (And click here to read about past lessons in the Broadway Songbook series.)
*Two musicals featured in this Broadway Songbook will be produced by local theater companies next year. Ten Thousand Things will bring their signature stripped-down-bare-bones-straight-to-the-heart style of theater to The Music Man early next year, and Bloomington Civic Theatre is doing Gypsy next spring. James also said that he's hoping to reimagine Damn Yankees on the Ordway stage sometime soon. This is another musical I'm not familiar with, but as a Twins fan I'm very familiar with the phrase "damn Yankees!"
Monday, January 21, 2013
"Broadway Songbook: The Words and Music of Stephen Sondheim" at the Ordway McKnight Theatre
Three years ago I attended a Q&A session with one of the greatest living musical theater composers, Stephen Sondheim. At the time I hadn't seen very many of his shows, but since then I've seen a half dozen more and have really come to appreciate his immense talent. The second installment of the Ordway's wonderfully entertaining and informative Broadway Songbook series this season features the words and music of Sondheim. James Rocco (the Ordway's Artistic Director) once again wrote and hosts the show, sharing stories about Sondheim's life and work. He whittled Sondheim's 19 Broadway musicals down to select songs from 11 of these shows (the Sondheim catalog is so great that perhaps Sondheim should be an annual occurrence in this series!). Joining James onstage are musical director Raymond Berg, who very ably leads us through this challenging music, and six of my favorite local musical theater actors: Jennifer Baldwin Peden, Dieter Bierbrauer*, Joel Liestman, Kersten Rodau, Erin Schwab, and Regina Marie Williams.
The featured shows are:
Saturday Night (1954, not produced until 1997): Jennifer Baldwin Peden sings a lovely ode to NYC in the first musical that Sondheim wrote, although it wasn't seen on Broadway until over 40 years later.
West Side Story (1957, lyrics only): This is one of the greats and one of my favorite musicals. In perhaps the most thrilling moment of the show, the entire cast sings the brilliant "Tonight Quintet," with Dieter reprising his role as Tony (which he played at the Chanhassen several years ago) and Jennifer hitting those piercing high notes as Maria, while the others prepare for the rumble. Dieter also sings another great song from the show, "Something's Coming."
Gypsy (1959, lyrics): Kersten and Jennifer duet as Louise and June on the adorable "If Momma Was Married," while Regina channels Mama Rose in "Some People."
Anyone Can Whistle (1964): Kersten lends her powerful voice to a really amazing song I've never heard before, "There Won't Be Trumpets," and Erin sings the heart-breaking title song.
Company (1970): Once again reprising a role he previously played (in Theater Latte Da's gorgeous production just last fall), Dieter sings one of the best musical theater songs, "Being Alive." It's the third time I've heard him sing it, and it just gets better every time! In another classic from the show, Erin hilariously and effectively belts out "Ladies Who Lunch." I'll drink to that!
Follies (1971): So many great musical theater classics in this show I was lucky enough to see on Broadway a few years ago, including "Broadway Baby," "I'm Still Here," and "Buddy's Blues." But perhaps my favorite is a song that was cut from the show, the very funny and clever "Can That Boy Fox Trot," perfectly delivered by Jennifer.
A Little Night Music (1973): This show gave us one of the most famous Sondheim songs, "Send in the Clowns," which Regina sings with beautiful and heartfelt emotion.
Sweeney Todd (1979): Joel sings a lovely rendition of my favorite song from this otherwise dark and creepy show, "Not While I'm Around."
Into the Woods (1987): Joel and Dieter are the two princes in "Agony," complaining about the difficulty of winning their princesses' love. And the show closes with the touching "No One Is Alone" and "Children Will Listen," with the voices of the entire cast blending beautifully.
The Frogs (1974/2004): The show very appropriately opens with a selection from this previously unknown-to-me musical.
Road Show (2008): Regina and Dieter sing a charming duet from this frequently re-worked show, "The Best Thing That Ever Happened To Me."
The Ordway's Broadway Songbook series is a great thing for musical theater lovers like myself. A chance to hear familiar songs and a few new ones, and take a deep dive into a particular artist's work. James is a welcome host; his enthusiasm for the material is contagious. And the performers are always among the best Minneapolis and St. Paul have to offer. This is the fourth one that I've seen (I've only missed one since its inception), and every one has been so much fun. I hope they continue the series for years to come! Broadway Songbook: The Words and Music of Stephen Sondheim continues this weekend. If you love musical theater, you don't want to miss this one! Next up: Cole Porter, where they're sure to do a few numbers from Anything Goes, also coming to the Ordway this spring.
*I met Dieter a few weeks ago when I spotted him at the Pantages Theatre for a performance of Aida. I'm happy to report that in addition to being a talented singer/actor, he's also a lovely person. He said that his mom often reads Cherry and Spoon and tells him about it, so hello and thank you Mrs. Bierbrauer!
The featured shows are:
Saturday Night (1954, not produced until 1997): Jennifer Baldwin Peden sings a lovely ode to NYC in the first musical that Sondheim wrote, although it wasn't seen on Broadway until over 40 years later.
West Side Story (1957, lyrics only): This is one of the greats and one of my favorite musicals. In perhaps the most thrilling moment of the show, the entire cast sings the brilliant "Tonight Quintet," with Dieter reprising his role as Tony (which he played at the Chanhassen several years ago) and Jennifer hitting those piercing high notes as Maria, while the others prepare for the rumble. Dieter also sings another great song from the show, "Something's Coming."
Gypsy (1959, lyrics): Kersten and Jennifer duet as Louise and June on the adorable "If Momma Was Married," while Regina channels Mama Rose in "Some People."
Anyone Can Whistle (1964): Kersten lends her powerful voice to a really amazing song I've never heard before, "There Won't Be Trumpets," and Erin sings the heart-breaking title song.
Company (1970): Once again reprising a role he previously played (in Theater Latte Da's gorgeous production just last fall), Dieter sings one of the best musical theater songs, "Being Alive." It's the third time I've heard him sing it, and it just gets better every time! In another classic from the show, Erin hilariously and effectively belts out "Ladies Who Lunch." I'll drink to that!
Follies (1971): So many great musical theater classics in this show I was lucky enough to see on Broadway a few years ago, including "Broadway Baby," "I'm Still Here," and "Buddy's Blues." But perhaps my favorite is a song that was cut from the show, the very funny and clever "Can That Boy Fox Trot," perfectly delivered by Jennifer.
A Little Night Music (1973): This show gave us one of the most famous Sondheim songs, "Send in the Clowns," which Regina sings with beautiful and heartfelt emotion.
Sweeney Todd (1979): Joel sings a lovely rendition of my favorite song from this otherwise dark and creepy show, "Not While I'm Around."
Into the Woods (1987): Joel and Dieter are the two princes in "Agony," complaining about the difficulty of winning their princesses' love. And the show closes with the touching "No One Is Alone" and "Children Will Listen," with the voices of the entire cast blending beautifully.
The Frogs (1974/2004): The show very appropriately opens with a selection from this previously unknown-to-me musical.
Road Show (2008): Regina and Dieter sing a charming duet from this frequently re-worked show, "The Best Thing That Ever Happened To Me."
The Ordway's Broadway Songbook series is a great thing for musical theater lovers like myself. A chance to hear familiar songs and a few new ones, and take a deep dive into a particular artist's work. James is a welcome host; his enthusiasm for the material is contagious. And the performers are always among the best Minneapolis and St. Paul have to offer. This is the fourth one that I've seen (I've only missed one since its inception), and every one has been so much fun. I hope they continue the series for years to come! Broadway Songbook: The Words and Music of Stephen Sondheim continues this weekend. If you love musical theater, you don't want to miss this one! Next up: Cole Porter, where they're sure to do a few numbers from Anything Goes, also coming to the Ordway this spring.
*I met Dieter a few weeks ago when I spotted him at the Pantages Theatre for a performance of Aida. I'm happy to report that in addition to being a talented singer/actor, he's also a lovely person. He said that his mom often reads Cherry and Spoon and tells him about it, so hello and thank you Mrs. Bierbrauer!
Saturday, January 12, 2013
"I Am Anne Frank" by Nautilus Music-Theater at the Southern Theater
I recently read The Diary of a Young Girl after seeing a moving production of the play based on the book, The Diary of Anne Frank, at Yellow Tree Theatre last fall. We're all familiar with Anne's story - she and her family hid in a "secret annex" in a building in Amsterdam in the mid-1940s, until they were found and sent to concentration camps. But what struck me most about the diary is how normal Anne seems, writing about typical teenage topics like sibling rivalry, parental trouble, boys, movie stars, books, school. She was an ordinary girl in an extraordinary situation. Perhaps that's the most remarkable part of her story, how she was able to carry out an almost normal life, growing up living in a small crowded apartment that she was never able to leave, with the threat of death and danger always so near. Nautilus Music-Theater's remount of their 2006 Ivey-winning production of I Am Anne Frank gives yet another perspective on that familiar story. Like all good musicals, when words aren't enough to express what you're feeling - there's music. Music communicates emotions in a way mere words cannot. And this piece expresses the joy, fear, longing, frustration, hope, and desperation of Anne's story.
A few highlights of the show:
Nautilus has been touring the show around the state for the past year or so, and it only plays for two more performances at the Southern Theatre. Buy your tickets here - it's a bargain at under $20 a seat for this beautiful and moving 90-minute show.
A few highlights of the show:
- Vanessa Gamble gives a beautiful performance in what is almost a one-woman show. She really does become Anne in all her forms - stubborn, spirited, joyful, fearful. The music flows seamlessly out of the dialogue, often using Anne's own words from the diary. Vanessa's performance of this beautiful music (by Michael Cohen) gives us deeper insight into Anne's experience.
- It's "almost" a one-woman show, because Vanessa is accompanied on stage by the always excellent Joel Liestman. He spends most of the show sitting at the edge of the stage, watching Anne, reacting to her, and providing another character for her to play against. He occasionally joins in for a song or discussion, playing Anne's teenage friend and fellow annex resident Peter.
- The set is like a floating island in the beautiful cavernous space of the Southern Theater, a mostly bare square box with just the hint of a window and a desk and chair, and Anne's words on the back wall. Anne never leaves this small area, like the real Anne never left the small apartment. Peter never leaves an even smaller box on the side; even when they're singing and dancing together and exploring their relationship, they never cross that invisible boundary, adding to the feeling of isolation and loneliness of the situation. (Nautilus Aristic Director Ben Krywosz is responisble for the direction and set design.)
- The lighting (by Michael Wangen) is like a third actor on stage, creating moods, hinting at the time of day, showing us the stars on Anne's face.
- The simple choreography (by JP Fitzgibbons) flows out of the music and emotion of the words and feels very organic to the characters.
Nautilus has been touring the show around the state for the past year or so, and it only plays for two more performances at the Southern Theatre. Buy your tickets here - it's a bargain at under $20 a seat for this beautiful and moving 90-minute show.
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| Vanessa Gamble as Anne Frank |
Saturday, September 22, 2012
"Broadway Songbook: Rodgers & Hammerstein & Hart" at the Ordway McKnight Theatre
I love the Broadway Songbook series at the Ordway. It's like a college seminar on musical theater history (perhaps like something Rachel would attend at NYADA). The Ordway's Artistic Director James Rocco plays the role of professor, lecturing on the topic and introducing songs (and even singing a little himself). The topic of the first of this season's three sessions is a big one - the popular and prolific musical theater composing teams of Rodgers and Hart and Rodgers and Hammerstein. Rodgers and Hart wrote 28 musicals together, and such memorable songs as "My Funny Valentine," "Blue Moon," and "Bewitched, Bothered, and Bewildered." After Lorenz Hart's struggle with alcoholism and depression tragically got the better of him, Richard Rodgers found a new partner in Oscar Hammerstein. Rodgers (music) and Hammerstein (book and lyrics) went on to write some of the most influential and popular shows in musical theater history, including:
- Oklahoma - who doesn't love this show? I've seen it several times, including once at the Ordway with my favorite Duke, John Schneider, as Curly.
- The King and I - I've never seen it on stage, and only bits and pieces of the movie.
- Carousel - another one I've never seen and would love to - calling all local musical theater companies!
- South Pacific - I saw the 2008 Broadway revival starring Kelli O'Hara, Paulo Szot, Matthew Morrison, and Danny Burstein, and it was one of the most amazing musical theater experiences of my life, an all-around luscious production with a 30-piece orchestra and a huge and energetic cast singing this amazing and diverse collection of songs.
- The Sound of Music - this one is so familiar to me I almost forget it's Rodgers and Hammerstein. I've loved it since I was a kid, and that love only increased when I was in the pit orchestra for my high school production, and later lived in Salzburg for a semester while studying abroad.
Now that the self-indulgent personal reflections are over (I'm sure everyone has their own personal experiences with these musicals, which is what makes them great), on with the show. In addition to James, five talented local musical theater actors lend their voices to this amazing collection of songs, accompanied by the hardest working musical director in town, Denise Prosek. Joel Liestman has performed in every Broadway Songbook I've seen, and is joined this time by Joshua James Campbell (The Glass Menagerie), Jennifer Eckes (On the Town), Connie Kunkle (who appeared at the Ordway in last year's Japan benefit), and Kirby Trymucha-Duresky (several shows at BCT). The five singers take turns singing alone or together, highlighting many of the composers' biggest hits, as well as lesser known numbers. My favorites include:
- Rodgers and Hart's first big hit, a love song to New York City, "Manhattan," performed by Joel and Jennifer.
- Two songs from my favorite Rodgers and Hammerstein score, South Pacific, Josh's lovely rendition of "Some Enchanted Evening" and Joel's emotional "This Nearly Was Mine."
- Two gorgeous Rodgers and Hart songs that have become classics, sung beautifully by Connie ("My Funny Valentine") and Josh ("Blue Moon").
- A couple of entertaining and funny songs by Kirby - "Johnny One Note" from Rodgers and Hart's Babes in Arms and "I Cain't Say No" from Rodgers and Hammerstein's Oklahoma.
- Jennifer's sad and lovely rendition of "He was Too Good to Me."
- A trio by the three women, "Sing for Your Supper" from Rodgers and Hart's The Boys from Syracuse. I was fascinated to learn that "You Could Drive a Person Crazy" from Company (playing at the Ordway next month) is an homage to this song.
- One of the greatest musical theater songs ever written, "Soliloquy" from Carousel. It's such an ambitious (and long!) song with a wide range of emotions and tempos, and Josh sings it beautifully.
- A fabulous montage of favorites from Rodgers and Hammerstein's immense catalog of fabulous songs, including "Oh What a Beautiful Morning" (the first song they wrote), "Edelweiss" (the last song they wrote), "There is Nothin' Like a Dame," "Younger than Springtime," "Lonely Goatherd" (inserted for comedic effect), "Bali Ha'i," "Oklahoma," "Surry with the Fringe on Top," and "Sound of Music" (which gets me every time). Kudos to James and Denise and whoever else had a hand in arranging this medley; it very cleverly weaves together many diverse songs.
My only complaint about this show is that it's too short! It's truly astonishing to contemplate the hundreds of amazing songs that came from the collaboration between these three men. The show could go on for days! But since that's not very practical, this is a nice representative sample of their work. Broadway Songbook: Rodgers & Hammerstein & Hart plays at the Ordway's McKnight Theatre through the end of the month. Check it out if you're interested in a fun and entertaining lesson on three musical theater legends. If you don't already have tickets, call the box office. It's virtually sold out, but they might be able to squeeze you in somewhere. Get your tickets early for the January session, which features the music of Steven Sondheim.
Sunday, May 20, 2012
"The View from Here" at Nautilus Music-Theater
The View from Here* is the second show I've seen in Nautilus Music-Theater's small studio space in St. Paul's Lowertown neighborhood. Like last fall's Joan of Arc, The View from Here is a beautifully intimate and acoustic music-theater experience. But unlike Joan of Arc, there were plenty of available seats last night, which means you have a great opportunity to see one of the five remaining performances. This is my favorite way to listen to music, whether at a concert or the theater, without the interference of microphones and amplification. Even if the sound is done well (which it sometimes isn't), it still creates a distance between the performers and the audience. In Nautilus' studio theater, there's no separation between the performers and the audience, either through physical space or sound, creating the feeling that we're all in this together.
The View from Here is a one-man musical written by Timothy Huang and first produced in 2005 at the NY Musical Theatre Festival (which I'd love to go to sometime). A man moves into a small, bare apartment in New York City and attempts to get his book published. He arrives brimming with confidence and optimism, writing letters to his wife about the great things he's seeing and experiencing. But that slowly starts to change as his manuscript is repeatedly rejected and he's forced to get a boring job to pay the bills. And it starts to become apparent that something isn't quite right with this situation. He constantly writes and talks to his wife, wishing they could be together, yet he never calls her (who writes out letters longhand anymore in this age of smart phones?). When it finally comes out what the real situation is that led him to write a book and move to NYC, it's heart-breaking and leads to a near tragic ending.
The main character is played by the consistently excellent Joel Liestman, with musical accompaniment by Jerry Rubino on piano and Jim Tenbensel on the trumpet, both of whom are heard but not seen. The trumpet provides the other side of several conversations this character has, in a Charlie Brown sort of way. This is a great score, and Joel sings it beautifully, as well as portraying the range of emotions that this character goes through. It reminds me a little of Next to Normal - a really intense musical theater piece about heavy topics like grief and loss - only on a smaller scale. It's almost like a Ten Thousand Things show; it has that same raw, immediate feel.
The physical space is completely transformed from when I last saw it (designed by Nautilus Artistic Director Ben Krywosz, who also directs). The stage is a tiny, bare apartment, unfurnished except for an answering machine and phone. The lone window in the apartment is a working window that, when opened, allows the sights and sounds (not to mention cool air) of the city to enter, further adding to that raw, immediate feel.
Nautilus again delivers a great "music-theater" experience, unlike you'll get in any other theater in town, and one that's definitely worth checking out while you still can (click here for ticket information).
*I received two complementary tickets to see The View from Here.
The View from Here is a one-man musical written by Timothy Huang and first produced in 2005 at the NY Musical Theatre Festival (which I'd love to go to sometime). A man moves into a small, bare apartment in New York City and attempts to get his book published. He arrives brimming with confidence and optimism, writing letters to his wife about the great things he's seeing and experiencing. But that slowly starts to change as his manuscript is repeatedly rejected and he's forced to get a boring job to pay the bills. And it starts to become apparent that something isn't quite right with this situation. He constantly writes and talks to his wife, wishing they could be together, yet he never calls her (who writes out letters longhand anymore in this age of smart phones?). When it finally comes out what the real situation is that led him to write a book and move to NYC, it's heart-breaking and leads to a near tragic ending.
The main character is played by the consistently excellent Joel Liestman, with musical accompaniment by Jerry Rubino on piano and Jim Tenbensel on the trumpet, both of whom are heard but not seen. The trumpet provides the other side of several conversations this character has, in a Charlie Brown sort of way. This is a great score, and Joel sings it beautifully, as well as portraying the range of emotions that this character goes through. It reminds me a little of Next to Normal - a really intense musical theater piece about heavy topics like grief and loss - only on a smaller scale. It's almost like a Ten Thousand Things show; it has that same raw, immediate feel.
The physical space is completely transformed from when I last saw it (designed by Nautilus Artistic Director Ben Krywosz, who also directs). The stage is a tiny, bare apartment, unfurnished except for an answering machine and phone. The lone window in the apartment is a working window that, when opened, allows the sights and sounds (not to mention cool air) of the city to enter, further adding to that raw, immediate feel.
Nautilus again delivers a great "music-theater" experience, unlike you'll get in any other theater in town, and one that's definitely worth checking out while you still can (click here for ticket information).
*I received two complementary tickets to see The View from Here.
Saturday, February 18, 2012
"My Antonia" by Illusion Theater at the Cowles Center
This is one of those rare opportunities to see an Ivey Award winning production that I missed. Illusion Theater adapted the classic pioneer novel My Antonia for the stage a few years ago. They've recently remounted the production with a mostly new cast and taken it on tour around the Midwest, with a short stop at the shiny new Cowles Center in downtown Minneapolis this weekend. Since I missed it the first time around I was eager to see it this time. I read the book in high school or college, which is to say so long ago that I remember next to nothing about it, other than that I liked it. This is a beautiful production, one of my favorite plays of this new year so far. Willa Cather's story and language are beautifully adapted by playwright Allison Moore, the characters are brought to life by a talented company of actors, many of whom play several different roles, and beautiful music (just a piano, cello, and violin) accompanies the action and helps to define the setting and emotions of the piece.My Antonia tells the story of a young immigrant girl in late 19th century Nebraska, through the eyes of her childhood friend Jim. The adult Jim narrates the story as he's returning home to visit, and his memories of his time on the frontier and the girl that he loves come to life on stage. Joel Liestman is a wonderful narrator who seamlessly steps into the action to play various characters, from Antonia's father, to Jim's teacher, to Jim himself at the end of the play. Dustin Bronson portrays the young Jim from the age of ten through his college years, hopelessly in love with the older girl but meant for a life that's bigger than the small town they live in. There's a continuity between Joel and Dustin's performances; it's easy to believe they're the same person at different stages in their life. Emily Gunyou Halaas (who starred in another story of pioneer life, The Master Butchers Singing Club) beautifully portrays Antonia in her journey from young immigrant girl, enthusiastic about everything, to a hard-working pioneer woman who still retains that love of life, but in a quieter way. Jim and Antonia are two people who love each other deeply and have a great effect on each other's lives, even though they end up on vastly different paths. The Nebraska prairie will always join them together. (To quote one of my favorite musicals Wicked, "So much of me is made from what I learned from you, you'll be with me, like a handprint on my heart.") The rest of the cast fills in the story playing various roles, changing from one to another just by donning a different hat or accent. The accents, by the way, are excellent - Czech, German, Norwegian, a cacophony of voices from the past.
I found myself (unsuccessfully) fighting back tears through much of the play, and I'm not even sure why. Mostly I blame the music (composed by Roberta Carlson with musical direction by Eli Bender), which so specifically brings you to that time and place, tinged with memory. The language of the play (which I assume was largely taken from the book) paints such a picture I that almost wanted to close my eyes to better see it, but then I would have missed the simple but effective images of waving grass or a plow against the sunset projected onto the backdrop. All of the pieces added together create an experience that is so nostalgic and wistful. It makes me feel nostalgic for a past I never knew, but that is in me somehow. My ancestors immigrated to Minnesota from Germany and Poland in the 19th century, so I felt like I was watching my own history. I have that same feeling of connection to Little House on the Prairie. Laura Ingalls Wilder's experience was probably no different, no more important or exciting, than anyone else's who was living on the frontier in those times. But she wrote it down, which my ancestors did not, so it's all many of us have to remember that time in our collective history. Willa Cather also wrote about those times, and I think it's wonderful to bring this work to the places where it happened, to people who have a connection to it. One of his friends tells Jimmy that he has a romantic view of country life, because he only lived on the farm for a short time and didn't have to work, and lived most of his life in town. Maybe that's why the story has such a nostalgic, romantic feeling, but it also portrays the hardships and struggle that frontier people went through.
Monday, January 23, 2012
"Broadway Songbook: Words and Music of Contemporary Broadway" at the Ordway
The Ordway is presenting a series of informal cabaret-style concerts this season called Broadway Songbook. The first one featured the music of Irving Berlin, and was an entertaining and informative look at the history of musical theater. The second installment, featuring music of "Contemporary Broadway," was the one I was most looking forward to, and I thoroughly enjoyed it. It was a fairly accurate representation of the state of Broadway today - the good (The Book of Mormon), the bad (Priscilla Queen of the Desert), and the ugly (Spiderman: Turn Off the Dark). I'm not a big fan of jukebox musicals or adaptations of blockbuster movies; it seems like an easy way for producers to make money without taking any risks. But that's a lot of what's popular on Broadway these days, so it's only fair that they included it in this show. Fortunately there were also plenty of original musicals and revivals featured to balance things out.
The host for the series is Ordway Artistic Director James Rocco, and once again he introduced each song with a little background or a funny story about the show or composer. Accompanied by Raymond Berg on piano, the talented singer/actors included Joel Liestman, Robb McKindles (both of whom also appeared in the Irving Berlin show last fall), Kym Chambers Otto, Allison Tilsen-Kassabian, and Cinderella herself, Jessica Fredrickson.
Some highlights of the show:
The host for the series is Ordway Artistic Director James Rocco, and once again he introduced each song with a little background or a funny story about the show or composer. Accompanied by Raymond Berg on piano, the talented singer/actors included Joel Liestman, Robb McKindles (both of whom also appeared in the Irving Berlin show last fall), Kym Chambers Otto, Allison Tilsen-Kassabian, and Cinderella herself, Jessica Fredrickson.
Some highlights of the show:
- The opening number was a beautiful, soaring song that I was unfamiliar with (and I thought I'd know all the songs!), from a musical called Songs for a New World by Jason Robert Brown.
- Jessica sang several musical theater songs that always get me teary-eyed. "The Beauty Is" from Light in the Piazza by Adam Guettel, "There's a Fine Fine Line" from Avenue Q, "For Good" from Wicked (a duet with Kym), "Supercalifragilisticexpialidocious" from Mary Poppins. OK maybe that last one doesn't quite fit with the others, but she was definitely channeling Julie Andrews! James announced that Jessica will soon be moving to New York City. I'll be sad not to see her on local stages, but I wish her well and hope to see her on Broadway one day!
- In addition to the duet with Jessica, Kym sang the beautiful ballad "I Get a Kick Out of You" from Anything Goes, currently running on Broadway (and I'm kicking myself for not seeing it when I was there last fall - sadly I can only fit so many shows into 5 days in NYC). She also led the cast in "Day by Day," the 1970s pop hit from the musical Godspell, also currently being revived on Broadway.
- Two of the shows I did see on Broadway last year (and adored) were featured in the show. Joel sincerely and hilariously sang "I Believe" from the brilliant original musical by the creators of South Park, The Book of Mormon (there are only a few songs from that show that you can sing at the Ordway on a Sunday afternoon), and James himself sang the classic "Broadway Baby" from the divine revival of Stephen Sondheim's Follies.
- A newbie to the Twin Cities theater scene, Allison has a fabulous voice and personality to match. She got one of the biggest rounds of applause for her rendition of "When You're Good to Mama" from Chicago, and closed the first act on a high with "I Will Survive" from Priscilla Queen of the Desert, which I earlier referred to as "the bad" because: 1) it's a movie adaptation, 2) it has no original music, and 3) they use some canned music instead of a full live orchestra. That's three strikes and you're out in my book. But despite the origins of the song, it was still a fabulous rendition of a classic pop song.
- Joel and Robb made for an entertaining Pumbaa and Timon in the super fun song "Hakuna Matata" from The Lion King. Too bad they didn't also sing this song's counterpart from The Book of Mormon, "Hasa Diga Eebowai." Oh wait, that's one of those songs you can't sing at the Ordway on a Sunday afternoon. Slight digression: I've been seeing the ads for The Lion King everywhere, but I will not be seeing it. Don't get me wrong, I've seen the show several times and love it. It's that great familiar music from the movie but with a much richer and deeper orchestration, and the puppets/masks are truly a sight to behold. But for the price they're charging for tickets ($100+ for just about every seat in the house), I can see 2-3 local shows that are just as good, if not as splashy. So I'm choosing to spend my time, money, and blog space on supporting local artists and new work.
- Joel sang the beautiful and dramatic song "Music of the Night" from Phantom of the Opera, a show I'm proud to say I've never seen (I seem to be the only person on the planet who hasn't). He also sat down at the piano to channel Billy Joel in the title song from the jukebox musical Movin' Out (which I have also never seen and don't plan to).
- Robb and the cast sang "Steal Your Rock and Roll" from the Tony award winning musical Memphis, a show I am looking forward to seeing on tour at the Ordway in a few months. He also sang one of my favorite songs from Jersey Boys, "Can't Take My Eyes Off of You." I know I said I'm not a fan of jukebox musicals, but Jersey Boys is the exception that proves the rule. I've seen it twice and I love it. I think the reason it works for me is that the book is really clever; it's the true story of The Four Seasons' rise to fame (and subsequent fall), not some silly story made up to fit into the body of songs.
- Finally, you can't really talk about contemporary Broadway without at least mentioning the spectacle that is Spiderman: Turn Off the Dark (aka "the ugly"). James gave a brief history of all the trials and tribulations (and expense and injuries) the show has gone through, describing the songs as guitar-heavy Bono songs. "Let's do a song... no, let's not do a song from the show." Wise choice!
It was another great afternoon of exploring the world of musical theater at the Ordway. The only shows I thought were missing were two of my recent faves - Next to Normal and Spring Awakening (Bloody Bloody Andrew Jackson is probably too much to hope for). But other than these two absences, it was a truly wonderful selection of the best of Broadway, performed by some fantastically talented local actors, singers, and musicians. Next up: the music of Johnny Mercer.
Saturday, November 5, 2011
"Joan of Arc" at Nautilus Music-Theater
This week has been a week of one-woman shows for me. First The Edge of Our Bodies at the Guthrie, a beautiful coming-of-age story, and then Joan of Arc by Nautilus Music-Theater. I'm not sure if it could technically be called a one-woman show, there are beautiful voices and music coming from backstage, but the only person the audience sees in front of them is Jennifer Baldwin Peden of the famous Baldwin sisters (I saw her sister, Christina, most recently as Buttercup in H.M.S. Pinafore this summer). Jennifer narrates the story of Joan of Arc and also embodies her. It's a fascinating and inspirational story that I was only vaguely familiar with, and this 70-minute music-theater piece beautifully conveys her courage, spirit, doubts, and determination.
I saw my first Nautilus production at Fringe this summer and loved it, but this is the first regular season show I've seen. This is their first show produced in their tiny studio space in St. Paul's Lowertown neighborhood, and it was in fact designed for the space. It is without a doubt the smallest room in which I have ever seen theater; it's about the size of a living room. Two rows of chairs are lined up on either side of the room (seating about 40 people), with a catwalk stage running between them and two small stages on either end. It's incredibly intimate; no microphones needed (except when the disembodied voices portray accusers and are projected into opposite corners of the room). At times Jennifer was literally three feet in front of me singing. As I've said before, I find that there's something magical about the unamplified human voice, and when the voice is Jennifer's and you're three feet away from it, it's a pretty amazing experience. That's another benefit of such a small, intimate space; you're not just an observer watching the show, you're part of the experience.
Joan of Arc follows the historical and mythical figure as she enters battle for her native France and is captured by the English. She's put on trial for heresy (claiming that God and his saints and angels speak to her), wearing men's clothes, and generally being a strong woman who doesn't obey the conventions of the day (aka "a witch"). She's burned at the stake at the age of 19, as many such women were in 15th century Europe. I'm not sure about the idea of hearing voices, but this is a young woman of strong faith and conviction who helped her people at a time they needed it. The men in power feared her strength and conviction, and so ended her. Through the beautiful expressive music, Jennifer creates a picture of this young woman, clinging to her faith and overcoming her doubts, refusing to back down from what she believes.
At first it was a little disconcerting to hear the music (sung by Joel Liestman, JP Fitzgibbons, and Laurie Flanigan-Hegge, with Music Director Sonja Thompson on piano and Randall Davidson on cello) and not see the musicians. I kept turning my head, expecting to see the singers come out from behind the wall. But they never did; they're Joan's voices, even she couldn't see them. It was like being in her head and hearing the voices of the angels along with her. At times they went silent (when she renounced them as her accusers demanded), and you could feel the silence and Joan's loneliness, and her happiness and fulfillment when they returned to her.
This is what musical theater is to me. Not some big, loud, over-produced adaptation of a children's movie, but original, challenging, creative, moving. Or in the words of Nautilus Artistic Director and director of this piece, Ben Krywosz, "telling simple stories through songs that are musically expansive, favoring emotional realism over theatrical naturalism, and creating a dramaturgical context that requires an audience's involvement, even investment." The short run of the show closes this weekend. They're virtually sold out for the few remaining performances, but they said to call and they might be able to squeeze a few more chairs into the space. It's worth it.
I saw my first Nautilus production at Fringe this summer and loved it, but this is the first regular season show I've seen. This is their first show produced in their tiny studio space in St. Paul's Lowertown neighborhood, and it was in fact designed for the space. It is without a doubt the smallest room in which I have ever seen theater; it's about the size of a living room. Two rows of chairs are lined up on either side of the room (seating about 40 people), with a catwalk stage running between them and two small stages on either end. It's incredibly intimate; no microphones needed (except when the disembodied voices portray accusers and are projected into opposite corners of the room). At times Jennifer was literally three feet in front of me singing. As I've said before, I find that there's something magical about the unamplified human voice, and when the voice is Jennifer's and you're three feet away from it, it's a pretty amazing experience. That's another benefit of such a small, intimate space; you're not just an observer watching the show, you're part of the experience.
Joan of Arc follows the historical and mythical figure as she enters battle for her native France and is captured by the English. She's put on trial for heresy (claiming that God and his saints and angels speak to her), wearing men's clothes, and generally being a strong woman who doesn't obey the conventions of the day (aka "a witch"). She's burned at the stake at the age of 19, as many such women were in 15th century Europe. I'm not sure about the idea of hearing voices, but this is a young woman of strong faith and conviction who helped her people at a time they needed it. The men in power feared her strength and conviction, and so ended her. Through the beautiful expressive music, Jennifer creates a picture of this young woman, clinging to her faith and overcoming her doubts, refusing to back down from what she believes.
At first it was a little disconcerting to hear the music (sung by Joel Liestman, JP Fitzgibbons, and Laurie Flanigan-Hegge, with Music Director Sonja Thompson on piano and Randall Davidson on cello) and not see the musicians. I kept turning my head, expecting to see the singers come out from behind the wall. But they never did; they're Joan's voices, even she couldn't see them. It was like being in her head and hearing the voices of the angels along with her. At times they went silent (when she renounced them as her accusers demanded), and you could feel the silence and Joan's loneliness, and her happiness and fulfillment when they returned to her.
This is what musical theater is to me. Not some big, loud, over-produced adaptation of a children's movie, but original, challenging, creative, moving. Or in the words of Nautilus Artistic Director and director of this piece, Ben Krywosz, "telling simple stories through songs that are musically expansive, favoring emotional realism over theatrical naturalism, and creating a dramaturgical context that requires an audience's involvement, even investment." The short run of the show closes this weekend. They're virtually sold out for the few remaining performances, but they said to call and they might be able to squeeze a few more chairs into the space. It's worth it.
Tuesday, September 27, 2011
"Broadway Songbook: The Words and Music of Irving Berlin" at the Ordway McKnight Theatre
This season the Ordway is doing a new series called Broadway Songbook, all about the music of Broadway - my favorite thing! The first selection featured the music of one of the greatest American composers, Irving Berlin. Even though I haven't seen very many of his shows or movies (he composed for both the stage and screen), I knew most of the songs in the program because his music is so ingrained in popular culture. This is the second Irving Berlin themed musical event I've attended this year; his early immigrant experience was featured in Theater Latte Da's Steerage Song this summer.
The music of Irving Berlin was brought to life by the narration of James Rocco (Artistic Director of the Ordway), piano accompaniment by Raymond Berg, and four talented singers. Actually, to call them "singers" is selling them short. They're all accomplished musical theater actors who really brought the songs to life. The wonderful thing about Berlin's music is that even songs that were not written for musical theater tell a story, making them perfect for a musical theater cabaret like this. The cast included Joel Liestman, who's made frequent appearances in Ordway productions, including last year's super fun Joseph and the Amazing Technicolor Dreamcoat. I think I first saw Robb McKindles as Leo Bloom in The Producers at the Chanhassen a few years ago, and most recently as a tap-dancing* sailor on the H.M.S. Pinafore at the Guthrie. I still remember Kersten Rodau as half of the conjoined Hilton sisters in Side Show at Park Square almost ten years ago (she'll be appearing there again in Ragtime in January), and she also appeared in Pinafore this summer, as a fabulously dressed sister/cousin/aunt. I don't recall seeing Maria Stukey before, although she's appeared at the Chan a few times, but I'll be sure to take note next time she's in a show.
The music was arranged more or less chronologically, with James leading the audience through Berlin's life, from his days as an immigrant child, to his first hit song ("Alexander's Ragtime Band"), to his stint in the army during World War II which led to a couple of musicals written for all soldier casts, to his popularity as a composer in Hollywood. Highlights include the Joel's beautiful version of the ballad "How Deep as the Ocean" (written shortly after Berlin's first wife died on their honeymoon), Kersten's gorgeous "Always," Robb's rousing "Let Me Sing and I'm Happy," and Maria singing the often cut "Mr. Monotony." That seemed to be a theme; Berlin would write a song for one show only to cut it, and resurrect it years later. Such as the failed song "Smile and Show Me Your Dimple," which later became the hit "Easter Parade." Another uber-popular holiday song is, of course, "White Christmas." Robb sat down on the edge of the stage to sing it, and then led the audience in a sing-along. That song evokes such a sense of nostalgia; it's a beautiful thing. Another song from the movie White Christmas was featured when Kersten and Maria dueted on one of my favorites from the movie, "Sisters."
The cast sang a medley of songs from Irving Berlin's most popular stage musical, Annie Get Your Gun, which sadly I've never seen. Perhaps some local musical theater company should do a production of it, and soon. Kersten has my vote to play Annie for her convincing performance of "You Can't Get a Man with a Gun," as well as beating Joel at the playful competition song "Anything You Can Do." Robb can join her in the cast; his performance of "They Say It's Wonderful" was heart-breaking.
This was a wonderful afternoon of musical theater; I learned some things I didn't know, and heard some new songs along with old favorites. I'm really looking forward to the next selection in the Broadway Songbook series - The Words and Music of Contemporary Broadway in January. That's right up my alley, and I'm sure it will again feature great local musical theater talent.
*Robb is teaching a ten-week tap-dancing class at the Guthrie this fall, for beginners and experienced tappers, which I find extremely tempting. But I'm not sure I'm up to the commitment of being in downtown Minneapolis by 10 am every Sunday for 10 weeks. But it sounds like a lot of fun!
The music of Irving Berlin was brought to life by the narration of James Rocco (Artistic Director of the Ordway), piano accompaniment by Raymond Berg, and four talented singers. Actually, to call them "singers" is selling them short. They're all accomplished musical theater actors who really brought the songs to life. The wonderful thing about Berlin's music is that even songs that were not written for musical theater tell a story, making them perfect for a musical theater cabaret like this. The cast included Joel Liestman, who's made frequent appearances in Ordway productions, including last year's super fun Joseph and the Amazing Technicolor Dreamcoat. I think I first saw Robb McKindles as Leo Bloom in The Producers at the Chanhassen a few years ago, and most recently as a tap-dancing* sailor on the H.M.S. Pinafore at the Guthrie. I still remember Kersten Rodau as half of the conjoined Hilton sisters in Side Show at Park Square almost ten years ago (she'll be appearing there again in Ragtime in January), and she also appeared in Pinafore this summer, as a fabulously dressed sister/cousin/aunt. I don't recall seeing Maria Stukey before, although she's appeared at the Chan a few times, but I'll be sure to take note next time she's in a show.
The music was arranged more or less chronologically, with James leading the audience through Berlin's life, from his days as an immigrant child, to his first hit song ("Alexander's Ragtime Band"), to his stint in the army during World War II which led to a couple of musicals written for all soldier casts, to his popularity as a composer in Hollywood. Highlights include the Joel's beautiful version of the ballad "How Deep as the Ocean" (written shortly after Berlin's first wife died on their honeymoon), Kersten's gorgeous "Always," Robb's rousing "Let Me Sing and I'm Happy," and Maria singing the often cut "Mr. Monotony." That seemed to be a theme; Berlin would write a song for one show only to cut it, and resurrect it years later. Such as the failed song "Smile and Show Me Your Dimple," which later became the hit "Easter Parade." Another uber-popular holiday song is, of course, "White Christmas." Robb sat down on the edge of the stage to sing it, and then led the audience in a sing-along. That song evokes such a sense of nostalgia; it's a beautiful thing. Another song from the movie White Christmas was featured when Kersten and Maria dueted on one of my favorites from the movie, "Sisters."
The cast sang a medley of songs from Irving Berlin's most popular stage musical, Annie Get Your Gun, which sadly I've never seen. Perhaps some local musical theater company should do a production of it, and soon. Kersten has my vote to play Annie for her convincing performance of "You Can't Get a Man with a Gun," as well as beating Joel at the playful competition song "Anything You Can Do." Robb can join her in the cast; his performance of "They Say It's Wonderful" was heart-breaking.
This was a wonderful afternoon of musical theater; I learned some things I didn't know, and heard some new songs along with old favorites. I'm really looking forward to the next selection in the Broadway Songbook series - The Words and Music of Contemporary Broadway in January. That's right up my alley, and I'm sure it will again feature great local musical theater talent.
*Robb is teaching a ten-week tap-dancing class at the Guthrie this fall, for beginners and experienced tappers, which I find extremely tempting. But I'm not sure I'm up to the commitment of being in downtown Minneapolis by 10 am every Sunday for 10 weeks. But it sounds like a lot of fun!
Tuesday, April 26, 2011
"Twin Cities Theatre Artists Support Japan" at the Ordway McKnight Theatre
The Ordway took their fun and colorful production of Joseph and the Amazing Technicolor Dreamcoat on tour to Tokyo, Japan earlier this year, and a few days after their arrival, the earthquake hit. The experience obviously affected the cast and crew greatly, which inspired them to pull together much of the top musical theater talent in the Minneapolis/St. Paul area (including many of my favorites) to perform in a benefit concert at the Ordway's McKnight Theatre last night. It was a wonderful evening of music and entertainment that raised money for the Red Cross. (And it almost made up for the Guthrie not doing their annual Cabaret show this year.)
The evening began with Joseph castmember Brian Kim singing "Something's Coming" from West Side Story. Next, local actor Linda Kelsey gave us a few sobering facts about the earthquake and its continuing repercussions, and introduced the evening's hosts, Kimberly Wells and Kristine Kvanli from ShopNBC. The singers were accompanied by four talented pianists: Mindy Eschedor, Denise Prosek (Music Director of Theater Latte Da), Gregory Theisen, and George Maurer (more about him later).
Back to the performances. Dennis Curley from local theater company Table Salt Productions sang a very funny song about a dinner party that got a little out of control, "I Should Have Said No." Jennifer Eckes sang about her love of bald men in "I Want Them." The next performance featured a delightful dance number by Brian Sostek and Megan McClellan of Sossy Mechanics, preceeded by a cute little voice from the audience crying, "Mommy! Daddy!"
Local director Austene Van introduced her performance by saying that she usually stays behind the scenes, but was recently encouraged to share her voice with an audience. It became clear a few seconds into the performance that she was joking, as she sang in a very over-exaggerated style with a very dramatic dancer behind her. Very funny.
The next singer, however, was no joke. I recently saw Melissa Hart in Frank Theatre's fabulous production of Cabaret. A Broadway veteran, she was also involved in the original Broadway production of Cabaret. She sang "Make Someone Happy," and her years of experience shone through in the way she emoted through the performance and sang to the audience. Lucky for us, she now calls the Twin Cities home.
Joel Liestman was part of the Joseph cast and one of the people behind getting this event together. He performed a comic ode to his lawn. Next, Michael Gruber and one of my favorite Chanhassan regulars Tony Vierling performed "Moses Supposes" from Singing in the Rain (which Tony starred in a few years ago at the Chan). In addition to some tongue-twisting lyrics, the performance included some pretty impressive tap-dancing.
The penultimate performance of the first act was by another one of my favorites, Bradley Greenwald. He was brilliant as the emcee in Frank Theatre's Cabaret, among many other performances. He sang the opening number from The Music Man, you know, the one that sounds like a train and includes the line "but he doesn't know the territory!" It's super fast and contains a ton of lyrics, and was masterfully performed (although I'm glad I wasn't sitting in the front row at that point ;). I'm pretty sure there's nothing Bradley can't do.
The first act ended with the always thrilling Mu Daiko. A Japanese drumming group that's part of Mu Performing Arts, their presence seemed appropriate to the theme of the evening and was an entertaining and rousing combination of percussion and choreography.
The second act began with a performance of "Any Dream Will Do" by the cast of Joseph. Another one of my favorites, from Theater Latte Da, the Chanhassan, and other theaters, Randy Schmeling, sang the lead (I also happened to be sitting next to Randy's biggest fan - his mom). Connie Kunkle joined him, as did much of the cast, including a few children.
Ann Michels, who's been in too many amazing shows to mention, sang a beautiful song called "Christmas Lullaby." She was accompanied on the piano by George Maurer, with whom she frequently performs as part of the George Maurer Jazz Group. George later performed an original solo piece called "Purple Muppets," which combined classic rock, TV theme songs, and classical piano pieces. In a very funny intro to this song, he said he wrote it as therapy for his "pianist's envy." I have a few of his CDs but have never seen him live; I'm thinking now I need to make sure that happens soon.
James Rocco proved that he's not just the man behind the scenes as the Artistic Director of the Ordway when he sang a fast, jazzy song called "Cloudburst." Connie Kunkle came back to center stage to sing "I've Got No Strings."
I just adore Jim Lichtscheidl; he never fails to crack me up. He's currently appearing as Captain Bluntschli in Arms and the Man at the Guthrie, but he's recently made a name for himself by playing multiple characters in one piece. He's brilliant at differentiating the characters through the tone of his voice and the carriage of his body. Now I know he can do it in dance too! He performed a hilarious dance/comedy routine in which his partner dropped out at the last minute, leaving him a "Dear Jim" letter which he sheepishly read on stage. He then proceeded to do both parts of the dance, holding a dress on a hanger in front of him when he was doing the female part. Brilliantly entertaining, as usual.
I had just seen Regina Marie Williams the day before in Ten Thousand Things' delightful Man of La Mancha, in which she plays the prostitute Aldonza, aka the lady Dulcinea. She's wonderful in that role, and last night sang a beautiful, jazzy rendition of "Come Rain or Come Shine." Erin Schwab followed that with a wacky performance of "Somebody to Love" (because nothing puts you in the mood to give like a hootenanny Queen song). She had the audience help her out with the chorus, which I was able to do because I knew the song from Glee (my window into the world of popular music). In addition to being very funny, she has a killer voice too.
The next performance featured my favorite local actor, Dieter Bierbrauer, in a performance from his recent Off-Broadway show Power Balladz. His co-star from the 2009 Lab Theater version of the 80s jukebox musical, Randy Schmeling, joined him for "Wanted, Dead or Alive" (one of the few 80s songs I know despite never being featured on Glee). They gave a very hammy, sincere performance of the song with dramatic poses and facial expressions. But they both have outstanding voices individually that blend together beautifully, so even though they were playing it for laughs, it sounded gorgeous and rich.
The final individual performance of the night was given by Tokyo native Momoko Tanno. It was very moving to hear her talk about her home and family, and then sing a Japanese song which translated to "My Country Home." It made the recent tragedy seem a little more real.
Finally, all of the performers joined Jen Burleigh-Bentz and Jake Endres singing "You'll Never Walk Alone." It was just thrilling to hear all of those amazing voices blend together in this inspirational song. Which brings me to the business portion of the evening. The Japanese people need our help. If you're like me and you've been meaning to make a contribution to the Red Cross, but just haven't gotten around to it, maybe this will serve as a good reminder, as it did for me. If so, you can go to the Red Cross website and click on "Donate Now" in the upper right-hand corner. You can then check "Japan Earthquake and Pacific Tsunami" if that's where you want your donation to go.
Thanks to all of the artists and behind-the-scenes people who donated their time to bring this wonderful evening to reality and raise money for a good cause. I only wish more people had been there to see it!
The evening began with Joseph castmember Brian Kim singing "Something's Coming" from West Side Story. Next, local actor Linda Kelsey gave us a few sobering facts about the earthquake and its continuing repercussions, and introduced the evening's hosts, Kimberly Wells and Kristine Kvanli from ShopNBC. The singers were accompanied by four talented pianists: Mindy Eschedor, Denise Prosek (Music Director of Theater Latte Da), Gregory Theisen, and George Maurer (more about him later).
Back to the performances. Dennis Curley from local theater company Table Salt Productions sang a very funny song about a dinner party that got a little out of control, "I Should Have Said No." Jennifer Eckes sang about her love of bald men in "I Want Them." The next performance featured a delightful dance number by Brian Sostek and Megan McClellan of Sossy Mechanics, preceeded by a cute little voice from the audience crying, "Mommy! Daddy!"
Local director Austene Van introduced her performance by saying that she usually stays behind the scenes, but was recently encouraged to share her voice with an audience. It became clear a few seconds into the performance that she was joking, as she sang in a very over-exaggerated style with a very dramatic dancer behind her. Very funny.
The next singer, however, was no joke. I recently saw Melissa Hart in Frank Theatre's fabulous production of Cabaret. A Broadway veteran, she was also involved in the original Broadway production of Cabaret. She sang "Make Someone Happy," and her years of experience shone through in the way she emoted through the performance and sang to the audience. Lucky for us, she now calls the Twin Cities home.
Joel Liestman was part of the Joseph cast and one of the people behind getting this event together. He performed a comic ode to his lawn. Next, Michael Gruber and one of my favorite Chanhassan regulars Tony Vierling performed "Moses Supposes" from Singing in the Rain (which Tony starred in a few years ago at the Chan). In addition to some tongue-twisting lyrics, the performance included some pretty impressive tap-dancing.
The penultimate performance of the first act was by another one of my favorites, Bradley Greenwald. He was brilliant as the emcee in Frank Theatre's Cabaret, among many other performances. He sang the opening number from The Music Man, you know, the one that sounds like a train and includes the line "but he doesn't know the territory!" It's super fast and contains a ton of lyrics, and was masterfully performed (although I'm glad I wasn't sitting in the front row at that point ;). I'm pretty sure there's nothing Bradley can't do.
The first act ended with the always thrilling Mu Daiko. A Japanese drumming group that's part of Mu Performing Arts, their presence seemed appropriate to the theme of the evening and was an entertaining and rousing combination of percussion and choreography.
The second act began with a performance of "Any Dream Will Do" by the cast of Joseph. Another one of my favorites, from Theater Latte Da, the Chanhassan, and other theaters, Randy Schmeling, sang the lead (I also happened to be sitting next to Randy's biggest fan - his mom). Connie Kunkle joined him, as did much of the cast, including a few children.
Ann Michels, who's been in too many amazing shows to mention, sang a beautiful song called "Christmas Lullaby." She was accompanied on the piano by George Maurer, with whom she frequently performs as part of the George Maurer Jazz Group. George later performed an original solo piece called "Purple Muppets," which combined classic rock, TV theme songs, and classical piano pieces. In a very funny intro to this song, he said he wrote it as therapy for his "pianist's envy." I have a few of his CDs but have never seen him live; I'm thinking now I need to make sure that happens soon.
James Rocco proved that he's not just the man behind the scenes as the Artistic Director of the Ordway when he sang a fast, jazzy song called "Cloudburst." Connie Kunkle came back to center stage to sing "I've Got No Strings."
I just adore Jim Lichtscheidl; he never fails to crack me up. He's currently appearing as Captain Bluntschli in Arms and the Man at the Guthrie, but he's recently made a name for himself by playing multiple characters in one piece. He's brilliant at differentiating the characters through the tone of his voice and the carriage of his body. Now I know he can do it in dance too! He performed a hilarious dance/comedy routine in which his partner dropped out at the last minute, leaving him a "Dear Jim" letter which he sheepishly read on stage. He then proceeded to do both parts of the dance, holding a dress on a hanger in front of him when he was doing the female part. Brilliantly entertaining, as usual.
I had just seen Regina Marie Williams the day before in Ten Thousand Things' delightful Man of La Mancha, in which she plays the prostitute Aldonza, aka the lady Dulcinea. She's wonderful in that role, and last night sang a beautiful, jazzy rendition of "Come Rain or Come Shine." Erin Schwab followed that with a wacky performance of "Somebody to Love" (because nothing puts you in the mood to give like a hootenanny Queen song). She had the audience help her out with the chorus, which I was able to do because I knew the song from Glee (my window into the world of popular music). In addition to being very funny, she has a killer voice too.
The next performance featured my favorite local actor, Dieter Bierbrauer, in a performance from his recent Off-Broadway show Power Balladz. His co-star from the 2009 Lab Theater version of the 80s jukebox musical, Randy Schmeling, joined him for "Wanted, Dead or Alive" (one of the few 80s songs I know despite never being featured on Glee). They gave a very hammy, sincere performance of the song with dramatic poses and facial expressions. But they both have outstanding voices individually that blend together beautifully, so even though they were playing it for laughs, it sounded gorgeous and rich.
The final individual performance of the night was given by Tokyo native Momoko Tanno. It was very moving to hear her talk about her home and family, and then sing a Japanese song which translated to "My Country Home." It made the recent tragedy seem a little more real.
Finally, all of the performers joined Jen Burleigh-Bentz and Jake Endres singing "You'll Never Walk Alone." It was just thrilling to hear all of those amazing voices blend together in this inspirational song. Which brings me to the business portion of the evening. The Japanese people need our help. If you're like me and you've been meaning to make a contribution to the Red Cross, but just haven't gotten around to it, maybe this will serve as a good reminder, as it did for me. If so, you can go to the Red Cross website and click on "Donate Now" in the upper right-hand corner. You can then check "Japan Earthquake and Pacific Tsunami" if that's where you want your donation to go.
Thanks to all of the artists and behind-the-scenes people who donated their time to bring this wonderful evening to reality and raise money for a good cause. I only wish more people had been there to see it!
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