"Come From Away" at the Guthrie Theater

The documusical Come From Away, about the ordinary people of Gander, Newfoundland who showed us the best of humanity when they took in 7000 people diverted to their airport when the US airspace was closed on 9/11, opened on Broadway in 2017 and ran for five years (give or take a pandemic), and then continuously toured up until last year. Then it was released for regional productions, and it immediately became the most produced play in America. It's a story America needs, it's a story America is hungry for. I was fortunate to attend the meet and greet of the cast, crew, and design team at the Guthrie Theater where director Kent Gash talked about his vision for the show (which you can also read about in the program). He said that while Come From Away is about 9/11, it's about so much more than 9/11, it's about our shared humanity, and the power of storytelling to remind us of that. This production succeeds in that, in a big way. I've seen the Broadway/touring production five times, and can almost picture every scene in my mind. It's a thrill to see a fresh new take on the story with new direction, costumes, and staging, that is familiar to the original but with enough tweaks to make it a unique retelling of this story. Come From Away is a brilliantly written piece of music-theater, one that probably stands up to the many different iterations happening all over the country. But this version, at our own Guthrie Theater, lives up to the material and succeeds on so many levels. It's very funny, and thoroughly engaging, and utterly heart-wrenching. If you need your faith in humanity restored, go see Come From Away at the Guthrie Theater this summer.

"Lumberjacks in Love" at Lyric Arts

Lyric Arts is easing into their ambitious season with the charmingly corny musical comedy Lumberjacks in Love. In the vein of Deer Camp the Musical or the Don't Hug Me series, Lumberjacks is full of local humor (northern Wisconsin, but that's pretty close to Minnesota*), dumb but amusing humor, and goofy songs. But thanks to the amiable cast you can't help but fall a little in love with these oddball characters in their search for (or running scared from) love. 

"Runestone! A Rock Musical" at History Theatre

Who else but the History Theatre can take a bizarre Minnesota legend and turn it into a super fun, entertaining, and even thought-provoking musical? Who else would even attempt such a thing? In the vein of their smash hit Glensheen (returning to St. Paul this summer after a tour through outstate Minnesota), History Theatre brings us the new original musical Runestone! A Rock Musical, a show many years in the making about the Kensington Runestone. I first saw a reading of it in 2019 and was so intrigued that I visited the original Runestone in its museum the next time I was in Alexandria. The musical's 2020 premiere was postponed along with so many things, but it's finally seeing the stage in a terrific production continuing through the end of the month.

Park Square Theatre's Special Zoom Performance of THE DIARY OF ANNE FRANK

Out of all the streaming theater performances I've watched at home in the past seven weeks, none has affected me as much as Park Square Theatre​'s special zoom performance of their annual production of THE DIARY OF ANNE FRANK. This is their 21st year presenting this for student audiences, and I commend them for finding a way to get this ever more relevant and inspiring story out to students (and others) in such a uniquely moving way. It's really well done, with each actor emoting from their own separate little box, but somehow creating a cohesive story as if they were in the same room. The cast and creative team put much thought and care into their at-home costumes, lighting, and props, as well as the way actors appear and disappear from the screen. Anne and her family's horrific experience really puts our temporary isolation into perspective. I highly recommend it for your at home quarantimes (or anytime) theater viewing.

"Awake and Sing!" at Artistry

I love sad plays. I love stories of miserable families who love each other but don't know how to express it in healthy ways. Awake and Sing!, now playing at Artistry's black box theater, is one such tragically beautiful and beautifully tragic play, like Tennessee Williams set in the Bronx. Or rather, since Clifford Odets' 1935 play predates Williams' major works, I guess I should say that Tennessee Williams is like Odets set in the South. The multi-generational Berger family has become beaten down by life, with the younger generation trying to break free and make a new life in this new country, if only it will let them. With a strong cast and detailed design in an intimate space, Artistry's production is beautiful and heart-breaking.

"Sweet Land, the Musical" at History Theatre

Every place has a story
Every person has their time
Every tale has an ending
Don't know yours
Don't know mine
Every end has a beginning
All beginnings have an end
In between come all the hours
We can barely comprehend
And we hope what came before us
Was a story born of love
Trust the earth
Trust the sun
Trust in god above

"An Octoroon" at Mixed Blood Theatre

The word octoroon is defined as "a person of one-eight black ancestry." The Octoroon is a 19th Century play by Irish playwright Dion Boucicault about which Wikipedia says, "among antebellum melodramas, it was considered second only in popularity to Uncle Tom's Cabin." An Octoroon is a new play by playwright Branden Jacobs-Jenkins, who adapted the play and added himself as a character, writing the play and playing all the white male parts in white face, with the original playwright and his assistant playing roles in redface and blackface, while a rabbit seems to pull the strings behind the scenes. Got all that? Believe me, it's a lot to take in, and the play says some pretty profound things about race and racism in the past and present. But despite being a little perplexing and intentionally offensive (in a way that's not really offensive because it's satire), the whole thing is kinda brilliant in a crazy sort of way.

I'm not going to describe the plot of the play to you; it's one of those things you just have to see for yourself (and you should). Suffice it to say, this adaptation actually hews quite close to the original in the middle play-within-a-play bit, in which a kindly slave owner dies and leaves his kindly wife and heir with no money to save the plantation or its slaves, including the kindly dead slave owner's octoroon daughter whom his wife loves and they both treat like a daughter (because that happened). But before we get to all of that, the "black playwright" sets the scene by telling us the origins of this play, and why he was forced to play all the white male parts himself. Then the play begins, done in an exaggerated melodramatic style that points out the silliness of this depiction of the Old South, complete with piano accompaniment to heighten the mood (beautifully and cleverly composed and performed by Eric Mayson). In the fourth act of the play-with-a-play, the playwright and some of the other actors break out of character to describe the scene that's too difficult to stage, and to offer commentary on it. It's all very meta, and also offers some comments on theater itself (as well as some nifty pyrotechnics).

Director Nataki Garrett somehow keeps all of these timelines and realities moving together smoothly and making sense, and the cast fully commits to the melodrama of the piece. William Hodgson gives several excellent performances - as the playwright and both the kindly slaveowner's heir and the evil slaveowner, sometimes playing multiple characters in one scene, and even having a fight with himself (kudos again to Annie Enneking for her fight choreography). Jon Andrew Hegge is ridiculous (in the best way) as the Irish playwright in redface; Ricardo Vázquez portrays every stereotype of blackface; Jamila Anderson, Chaz Hodges, and Jasmine Hughes are amusing as the modern-talking slave women; and Jane Froiland is an absolute hoot as the stereotypical and overly dramatic Southern Belle. Megan Burns as the titular octoroon Zoe is the straight woman in this crazy scene, bringing dignity and humanity to her character. Last but not least, I'm not sure what Br'er Rabbit has to do with any of this, but Gregory Parks is nimble and slightly creepy in that oversized rabbit head (with movements delightfully punctuated by the aforementioned Eric Mayson's music).

William Hodgson and Megan Burns (photo by Rich Ryan)

At one point the playwright character complains that there's no novelty in the theater anymore. Which any theater-goer in this town knows is not true, and this play is Exhibit A. At the end of the play another character says, "we were just trying to make you feel something." An Octoroon will most definitely make you feel something, it will likely make you feel many things, some of them uncomfortable or even unpleasant. But that's not a bad thing in theater, in fact sometimes it's necessary. An Octoroon continues at Mixed Blood Theatre through November 15. Tickets are free through their Radical Hospitality program, or you can reserve tickets in advance for $20.


This article also appears on Broadway World Minneapolis.

"Best Little Whorehouse in Texas" at the Old Log Theatre

Having opened in 1940, The Old Log Theatre is the oldest theater in Minnesota. But it's also a long drive out to Excelsior, so I don't get there as often as I'd like. They've stepped up their game in the last few years, pulling in top area talent, adding a new restaurant, and remodeling the lobby. There were a number of shows this season I wanted to see, but just wasn't able to work the 70-mile round trip into my busy theater schedule. So I was happy that I finally made it out there this weekend for their fun and energetic production of the charmingly corny 1978 Broadway musical The Best Little Whorehouse in Texas (later made into a movie starring Dolly Parton* and Burt Reynolds).

The title pretty much tells you what this show is about. But you may not know that it's based on the story of a real life Texas brothel known as the Chicken Ranch (during the Depression the Madam would accept chickens as payment) that was largely tolerated by law enforcement and government until a TV reporter investigated and demanded it be shut down. In the musical version, Miss Mona (a strong performance by Julia Cook) runs the Ranch with a strict set of rules and presides over her girls, most of whom seem happy to be there, although some have dreams of a better life. Ed Earl (an excellent Jefferson Slinkard) is the sheriff and her sometimes beau, and is torn when given orders to shut the Ranch down after it's exposed by the TV star reporter Melvin Thorpe (a very funny Jon Andrew Hegge in a Colonel Sanders wig). It's a sad ending as the girls all move on, but there's plenty of fun to be had before that with cheerleaders, football players, and a general hoedown atmosphere.

Miss Mona (Julie Cook), Jewel (Whitney Rhodes), and the girls

This is one of those musicals where many supporting characters get one song, and everyone in the large and talented cast steps up. Highlights include Whitney Rhodes as Jewel singing "Twenty-Four Hours of Lovin'," Maisie Twesme's lovely "Doatsy Mae," Britta Ollman and the girls singing my favorite song in the show, the poignant "Hard Candy Christmas," and John Paul Gamoke's brief but memorable appearance as the Governor in the hilarious and all too true song "The Sidestep." All of the songs have a twangy Country-Western sound (which I happen to love, as I did the great old Country songs played before the show and during intermission). John Lynn directs the band behind a screen at the back of the stage.

the boys high-stepping it

With Regina Peluso as the choreographer you know there are going to be some fantastic dance numbers, especially with several members of her company (Collide Theatrical Dance Company) in the ensemble. The group numbers are lots of fun and well performed by the cast. As you would expect of a musical set in a whorehouse, there is a bevy of scantily clad women, but the boys have a shirtless singing and dancing number, which is only fair. ;) Sara Wilcox's costume design takes advantage of the '70s era (I love a jumpsuit!) and gives each character a distinct personality.

The Texas accents are so much fun to listen to. I don't know how accurate they are to reality, but they sound like the Southern accents you hear on TV (in fact the entire show is almost like an episode of Dukes of Hazzard). Greg Eiden is especially good at it in his dual roles as a senator and a diner patron, milking every line for laughs, and getting them.

If you live in the East metro like I do, Excelsior is a bit of a hike, but it's worth it to see the work that Old Log is doing, and this fun summer musical in particular. I recommend heading over to the charming lake town in the afternoon to avoid traffic (if such a thing is possible in this busy summer construction season), checking out the shops or sitting by the lake, and dining at one of the many area restaurants (I had yummy vegetarian sushi at Yumi's Sushi Bar) before seeing the show. It's a great idea for a staycation and checking out another beautiful part of the Twin Cities metro area.

The Old Log has an interesting line-up for next season, and I'm particularly excited that they're producing the regional premiere of the smart, funny, poignant two-person play The Velocity of Autumn, which I saw last year during it's too-short Broadway run. Starring Melissa Hart as a 79-year-old woman who has barricaded herself in her Brooklyn home and Paul de Cordova as her son who climbs in the window to try to talk her down, it's definitely going to be worth the drive.


*I was seriously derailed in writing this blog when I went down a black whole of Dolly Parton youtube videos, starting with "Hard Candy Christmas" and ending with the best country duet of all time, "Islands in the Stream."

"Sweet Land" at the Lundstrum Center for Performing Arts

I've been following the progress of the new musical Sweet Land, based on the Minnesota made movie of the same name, since the first reading I attended last spring.* If you've seen the movie, you know what a beautiful, sweet, funny, simple, honest story this is. Creators Perrin Post (book), Laurie Flanigan Hegge (book and lyrics), and Dina Maccabee (music) have done a wonderful job adapting Sweet Land and retaining that wistful, nostalgic, romantic tone, only enhancing it with the addition of music. But their work isn't done yet. With an Artist Initiative grant from the MN State Arts Board, they've continued to develop the work in recent months, culminating in a week-long workshop with actors and musicians and a public staged reading. Songs have been cut and added, but perhaps the biggest change is the addition of movement, created by my favorite local dancing pair Megan McClellan and Brian Sostek. Another addition is orchestration and music direction by Robert Elhai (who was nominated for a Tony for a little show called The Lion King). The reading was very much a work in progress (they would occasionally stop, explain, and set up the next segment), but it's quite obvious even at this phase that this musical is a unique and special gem. I cannot wait until it is polished into a full production that I'm certain will be thrilling!

If you've never seen the 2005 movie Sweet Land, you should go directly to Netflix or Blockbuster or however you get your movies and watch it! Filmed near Montevideo, MN and including cameos by local actors (including the Stephens D'Ambrose, Pelinski, and Yoakam), it's the quintessential Minnesota story of Norwegian and German immigrants forging a life on the farm, with all the difficulties and rewards that entails. In this particular story, Norwegian immigrant Olaf Torvik needs a wife, so his family in Norway send him one. When Inge arrives, Olaf is surprised to find out that she is actually German, which is not well accepted by the community so soon after WWI - Germans are the enemy and she could could be a spy. The pastor refuses to marry the couple, and Inge is forced to stay at the neighbors farm with Frandsen, his wife Brownie, and their many children. It doesn't take long for Inge to get fed up with this crowded living arrangement and long for a space of her own, so she makes her way across the field to Olaf's farm and take up residence there, helping him with the farm. Despite the fact that Olaf sleeps in the barn, this arrangement is frowned upon and the couple is shunned by the community, until their hard work, perseverance, and generosity slowly win everyone over. They are accepted and allowed to live their life together as man and wife and an important part of the community.

The creators of the musical have stayed true to the plot of the movie, with many of my favorite moments and lines represented, or better yet - turned into song. The good-natured Frandsen calls Inge "ducky" and she doesn't quite understand, which has been turned into a fun light-hearted song. At the end of the movie, after living and working together for so long, Inge declares that she and Olaf are already married without any ceremony or legal documents necessary, which has become a beautifully moving ballad. The moment when Olaf first really looks at Inge through the camera lens, the auction, Olaf's declaration that "farming and banking don't mix," the threshing scenes, Inge's rebellious bath, all of these are songs. They really did take all of the best and most memorable moments in the movie and turn them into songs, which is really the best way to make a musical.

The music is all wonderfully Americana, with a couple of guitars, a fiddle, an upright bass, and an accordion in the band. In this year's reading, they moved closer to the intention for the full production, with band members doubling as ensemble members, playing some of the smaller roles and joining in on the singing. This is similar to the new musical Once, also an adaptation of a sweet and simple but lovely movie, in which the musicians are also the ensemble; perhaps this multiple Tony winner has defined and allowed for a new type of musical. A musical like this one in which there is no differentiation between actor, singer, and musician, with a style of music that strays far from "Broadway" into territories of folk, country, and Americana.

Much of last year's cast returns, with a few changes/additions in the 7-person cast and 5-person band (who are really also part of the cast). Ann Michels is once again the perfect Inge (and in fact is the muse for this piece), with the spark and strength and humor of the character, while also showing her vulnerable longing side. Robert Berdahl returns as her Olaf, a typical Norwegian farmer hiding his feelings deep down inside but allowing them to come to the surface at pivotal moments. Tinia Moulder once again brings heart and humor to the role of Brownie, this time with Jon Andrew Hegge as comic relief Frandsen. New ensemble members include Michael Gruber, Holly Schroeder, and Jefferson Slinkard, and doing double duty as band and ensemble were Matt Riehle, Kellie Rae Nitz, Mathias Becker, Ben Wagner, and Sarah Burk. (It should be noted that these busy performers took time off of their "day job" to do this - Ann is in the middle of a many months long run as the Chan's Mary Poppins, Robert, Tinia, and Michael are in the Guthrie's scrumptious production of The Music Man, and Jon, Jefferson, and Mathias can be seen at the Old Log in Best Little Whorehouse in Texas).

Some of the scenes in this year's reading included movement, with minimal and efficiently used props consisting of suitcases, trunks, old chairs, and a child's wagon. Highlights of these scenes include the baseball/church social/dance scene, which very specifically created the world of the play, and a small taste of the church/threshing scene that only whet the appetite for more. At the end, Brian and Megan also presented an option for the opening of Act II, in which Olaf and Inge wordlessly become closer through shared living and working. This piece is so rich, with so much potential, it's just a matter of figuring out the best way to tell this lovely little story. And I have faith that they will do so.

Sweet Land is such a special little movie, a small story but one that's so moving and timeless and beautiful. It's a piece of our history as Minnesotans, one that I, as a descendant of German immigrant farmers, feel a special connection to. The musical is everything I hoped it would be, retaining what was so special about the movie and its wistful, funny, romantic tone, and only adding to it with the wonderful new original music of the Americana style that I love so well. I am confident we will see a full production, hopefully in the not too distant future. Visit the Sweet Land musical website or become a fan of their Facebook page for more information about the piece, future productions, and how you can help with the next phase of development.


*Much of this post is copied from what I wrote about last year's reading.

"Radio Man" at the History Theatre

Full disclosure: I'm a huge fan of Garrison Keillor and A Prairie Home Companion (I even worked as an unseen extra on the 2006 movie). He's the Mark Twain of our generation, and is Minnesota's best export. You know how the Dixie Chicks infamously said that they were embarrassed to be from the same state as George Bush? It's exactly the opposite for me where Garrison is concerned - if A Prairie Home Companion is one of the things that Minnesota is most known for, I am proud to be a Minnesotan. So of course, I absolutely love his new play Radio Man, the first he's written. I saw a reading of it early this year as part of the History Theatre's Raw Stages festival and loved it then, but this full production, now playing at the History Theatre, is so much more polished and complete, and really a thing unto itself and not just an episode of A Prairie Home Companion on stage. Yes there is the familiar music, the jingles for Powdermilk Biscuits, rhubarb pie, and ketchup, stories from Lake Wobegon, and beloved characters including Dusty and Lefty and Guy Noir. But there's also a story and a character (the host of a radio show called A Prairie Home Companion who bears a striking resemblance to Garrison) who we get to know as he reminisces about his past and contemplates his future. Radio Man is A Prairie Home Companion come to life before our eyes, but with the added depth of a theatrical story and arc.

the host, present and past
(Pearce Bunting and Jonah Harrison,
photo by Scott Pakudaitis)

Radio Man is comprised of four elements woven together. There is the present reality, in which the host and his guests are performing an episode of a radio program called A Prairie Home Companion. In this reality, he interacts with the stage manager, the head of the radio station, and an old flame. The second element is the coming to life of the stories told in the radio program, from Lake Wobegon to Guy Noir. Another important element is memory; the boy version of the host appears onstage as he reminisces about growing up listening to radio and longing to be part of that world. Finally, the host hallucinates conversations with his characters, such as the "Norwegian bachelor farmer." This may sound confusing, but it's woven together artfully, clearly directed by the History Theatre's Artistic Director Ron Peluso, with costume changes, sets, and music to make clear the transitions. New songs written by Garrison and his APHC bandleader Richard Dworsky are performed both within the radio program (a sister duo and a quartet, both with lovely harmonies) and by the ensemble, musical theater style, as exposition or commentary, with the ensemble doubling as members of the band.

the Hopeful Gospel Quartet (Laurie Flanigan Hegge,
Kendall Anne Thompson, Jon Andrew Hegge, and Jay Albright,
photo by Scott Pakudaitis)

The dream cast includes Pearce Bunting who, as the host, is not just doing a Garrison Keillor impression, but is providing his own interpretation of this character that's so familiar and beloved. A character that is introspective, befuddled, charming, amusing, and ever present as he watches his life and his fictional creations play out before him. Filling the role of Rich Dworsky is Jay Albright who, it turns out, is not just a brilliant comedic actor/singer but also a talented pianist and musical director. Angela Timberman brings her perfect dry humor and withering looks to the role of the beleaguered stage manager, and also steals scenes as a couple of very different characters in the Lake Woebegon story. Rounding out the excellent ensemble and playing multiple characters (and instruments) are Jon Andrew Hegge, Laurie Flanigan Hegge, Kendall Anne Thompson, and Peter Thomson, with a clear-voiced and enthusiastic young Jonah Harrison as the child version of the host and Sandra Struthers Clerc as a woman from his past.

Chris Johnson's set portrays the radio stage like an empty runway, with the two dimensional buildings that form the backdrop slightly askew to hint at the changing realities in the play. E. Amy Hill's costumes are a crisp black and white with touches of Garrison's trademark red, with costume changes taking us to Lake Wobegon or the new Old West.

If you like A Prairie Home Companion, you'll love Radio Man. And if you don't, well, you call yourself a Minnesotan?!  Radio Man is everything we love about APHC and so much more, and is a chance to experience Garrison's unique, folksy, poignant, nostalgia-tinged humor in yet another format (playing now through October 26 at the History Theatre in downtown St. Paul).


This article also appears on Broadway World Minneapolis.

"The Working Boys Band" at the History Theatre

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

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

Here are a few highlights of the show:

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

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

the Professor with the boys
(photo by Scott Pakudaitis)

"Cyrano" at Park Square Theatre

The story of Cyrano de Bergerac is one everyone knows, even if you haven't seen one of the many dramatic interpretations of this 17th Century French poet's life. Despite being familiar with the story (Cyrano is in love with Roxane but fears that she could never love him back because of his unusually large nose, so he agrees to supply the poetic words of love to the handsome Christian that cause Roxane to fall in love with him), I hadn't seen the play before last year (although I have seen the 1987 Steve Martin/Daryl Hannah flick Roxanne, if that counts). Bradley Greenwald's musicalized translation of the original late 19th Century play, presented as part of Theater Latte Da's new work initiative last year, was my first exposure to the full story. Park Square Theatre is currently presenting another new-ish translation by Michael Hollinger, and with a fantastic cast, impressive set, and "immediate, rhythmic, and lively" language (as the playwright himself notes in the program), it's a wonderful interpretation of this story that is a great mix of comedy and tragedy.

There's a feeling of a-play-within-a-play as actors wander on stage before the show begins and start prepping, dressing, and adjusting wigs. The character of Le Bret (Shawn Hamilton) functions as a sort of narrator, setting the stage and introducing characters. Cyrano (J.C. Cutler) and Christian (Sam Bardwell) are soldiers in the same regiment, the former known for his skill with words and the sword, and the latter a bit of an unknown as newcomer to the regiment. Cyrano is in love with his beautiful cousin Roxane (Emily Gunyou Halaas), so when she tells him that she loves the handsome Christian, he agrees to look out for him. Unbeknownst to Roxane, he also agrees to write letters to her from Christian, who is not blessed with the gift of poetry as Cyrano is. Roxane continues to fall in love with Christian through his (Cyrano's) letters, culminating in a lovely balcony scene reminiscent of Romeo and Juliet. The second act sees Cyrano and Christian going off to war, with Roxane in pursuit, unable to be parted from her love. When she tells Christian that she loves him for his soul, and would love him even if he were ugly, he realizes that it's Cyrano she truly loves, not him. It's a tragically bittersweet ending, as truths are revealed too late.    

Roxane and Cyrano
(Emily Gunyou Halaas and J.C. Cutler)

There are many reasons to see this show, but the number one reason is J.C. Cutler's beautiful and nuanced performance as the titular hero. His impressive talent (see also last season's Red) is a perfect fit for Cyrano; he's everything you want Cyrano to be. His voice is loud and commanding or soft and gentle, he's smart and witty, an ace swordsman, and speaks entrancing words of love. It's easy to see why Roxane falls in love with him, albeit unknowingly. The always great Emily Gunyou Halaas is a Roxane worthy of his affections, smart and spirited. Sam Bardwell is perfectly charming as Christian; even though he may not be able to put words together very well, there are still plenty of reasons to love him, and you almost wish that Roxane could see and love him for who he really is.

This wonderful cast of nine seems much larger, as everyone except for J.C. plays multiple roles, quickly coming and going from the stage with dizzying speed. Of special note are Jon Andrew Hegge and Craig Johnson who each create such different characters they're almost unrecognizable from one to the other, with fast and fantastic costume changes happening backstage. Jon transforms from the town drunk to the kindly nun, and Craig from the theater owner to Roxane's over-protective and fluttery pastry-loving nurse, and several characters in between.

When the director is also a choreographer as Joe Chvala is, you know that movement is going to be an interesting and integral part of the show, as it is here. One example is Cyrano's famous battle against 100 thugs, which is a delight to watch (with fight choreography by Annie Enneking). The period costumes (by Matthew J. LeFebvre) are gorgeous, from Roxane's flouncy dresses to the men in tall boots and capes. The set (by Robin McIntyre) is dominated by two large set pieces with stairs and a balconies that move and turn to create different shapes and spaces on stage. Lastly, there are also a few musical interludes that feel organic and are quite fun and lovely.

Cyrano is many things in one play - great comedy, a tragically beautiful love story, sword fights and epic battles, and beautifully poetic language. This impressive production is playing at Park Square Theatre now through April 6.

"Radio Man" by the History Theatre at Minnesota History Center

The final installment of what has been an excellent new works series sponsored by the History Theatre is Radio Man, by Minnesota’s own radio man Garrison Keillor. In case you've been living under a rock for the past 40 years, Garrison is the creator/writer/host of a radio variety show called A Prairie Home Companion. This 40-year Minnesota institution has spun off countless books, CDs, DVDs, a movie (for which I was a never-seen extra), and now - a play. I admit I'm biased because I love Prairie Home in all of its form, so I can't objectively view it as simply a play, as someone who's unfamiliar with the show would. Having said that, I found it to be another great way to experience the truly delightful world of A Prairie Home Companion.

Radio Man is like watching an episode of APHC play out on stage, with the addition of glimpses into the back-stage goings-on, as well as musings about the host's childhood. Led by a very familiar seeming host, we meet other familiar characters such as cowboys Dusty and Lefty and private eye Guy Noir. The host's child self also appears onstage, telling stories about the origin of his love of radio and his desire to live and work in that world. The "Lake Wobegon" story about the death of Byron Tolefson blends into the real life of the play as the ghost of Byron appears and ponders the meaning of life and death. In addition, the host is confronted by the station manager, his sister, and a woman from his past. Over the course of one evening and one episode of this ongoing radio show, the host experiences something much more - an existential rumination on life itself.

Once again, an extremely professional and talented cast of actors breathes life into the written words. Pearce Bunting plays the host, with a spot-on Garrison Keillor impression. From the red socks and the glasses, to the way he holds his hand to his face while talking, to the shuffling dance as he's taken by the music. The adorable Noah Deets plays the host's 10-year-old self, with remarkable maturity and ability in this unusual format for someone so young. Various characters real and imagined are portrayed by Jon Andrew Hegge, Laurie Flanigan-Hegge, Jake Endres, Summer Hagen, and the dryly hilarious Angela Timberman. Of course APHC would not be complete without music, and there's much of that here, successfully woven into the story in the form of jingles and performances by guests (with musical direction by Andrew Cooke).

In the post-show discussion (a lovely feature of Raw Stages that allows the audience to share feedback with the creators), Pearce was asked what it felt like to play a real person who was sitting in the room. Pearce responded that Garrison's words resonate with so many of us because he's telling our story, so in a way he's in all of us, or all of us are in him. He said if he continues in the role (which I sincerely hope he does), the trick will be to find a little bit more of himself in the character and less of Garrison. A few other people pointed out that the ending went on a little too long. I agree with that, but after a little tightening and restructuring (Garrison was busily taking notes throughout the reading), this has the potential to be a charming play about a familiar and beloved Minnesota institution. I consider Garrison to be the Mark Twain of our generation, a folksy humorist telling stories of Americana that ring true. It's lovely to hear that voice coming from a theater stage through the mouths of actors, and to experience the wonderfully quirky world of A Prairie Home Companion in a theatrical format.

This was my first time attending History Theatre's annual Raw Stages festival, and I enjoyed it so much and was very impressed by the creators and actors putting together such professional and entertaining readings in such a short time. Each one of the four works presented is so different, showcasing great variety in the history of Minnesota and in its theater. I hope to see each one of them further developed and given a full production. (Read about all four plays here.)

"Boundary Waters" by the History Theatre at Minnesota History Center

Last night I attended the first of four new works being presented by the History Theatre as part of their Raw Stages festival. On a bare stage with just a few chairs and music stands, actors read the play from the script. But with fine accomplished actors such as these, it becomes something more than just a reading, although not a fully staged production. In a reading with no visual stimulation, it's all about the words, and in this case they are beautiful descriptive words that paint a picture of a landscape and the people who inhabit it.

Boundary Waters, written by Carlyle Brown and directed by Marion McClinton, uses a real-life event in Minnesota history as a metaphor for exploring several ideas. George Bonga was a fur trader of African-American and Native American descent living in Northern Minnesota in the 19th century who became a legendary figure. One of his more famous exploits was tracking down and capturing a suspected murderer, an Ojibwe man named Che-ga-wa-skung, who was then sent to trial at Fort Snelling. This event is at the center of the play as we learn how these events changed the two men and bonded them.

The play opens in the late 1860s (post Civil War and US-Dakota War, both of which are referred to), when George Bonga (beautifully voiced by James A. Williams) is being haunted by dreams about the man he once tracked across the frozen Minnesota winter. He tells his wife (George Keller) the story, and the action flashes back to the chase in 1837. After capturing Che-ga-wa-skung (who, thanks to the writing and Jake Waid's talent in bringing him to life, becomes a sympathetic character despite being a murderer), the two have many deep discussions as they try to survive the cold. Che-ga-wa-skung asks Bonga a simple question, "who are you?" Bonga doesn't really have an answer, he's always living on the boundaries, the son of an Ojibwe mother and a black father, and living the "white ways" as a fur trader. Bonga struggles with the question until the two men meet again later in life and continue the discussion. Rounding out the cast are Jon Andrew Hegge as two colleagues of Bonga's, and Michael Terrell Brown in a too small role as Che-ga-wa-skung's brother.

I very much enjoyed the reading of this new play; it's a fascinating exploration of a chapter of Minnesota history I was previously unfamiliar with, as seen through two well-drawn characters. That's not to say my mind didn't wander on occasion during the dense political sections, but for the most part the captivating and descriptive language held my attention and painted the world so well that I could almost see it. The lakes area north of Brainerd is one of my favorite places on the planet, where I've spent many peaceful and contemplative weeks. It's a thrill to hear that place come alive and to learn a bit more about the region's rich and complicated history. Most of all, I love getting a glimpse into the creative process of what it is to have an idea, write a play, and bring it to life. I look forward to the next incarnation of Boundary Waters.

The History Theatre's Raw Stages festival continues at the Minnesota History Center tonight with Debutante Ball (about a Filipino-American Valentine's Day ball), followed by Glensheen (a musical retelling of the murder in the mansion) and Radio Man (a new play by one of my favorite Minnesotans, Garrison Keillor).

"Baby Case" at the History Theatre

We live in the media age, with the proliferation of the internet, Facebook, Twitter, and 24-hour cable news channels. Or at least that's what we believe. But the musical Baby Case, receiving its regional premiere at the History Theatre, shows us that 80 years ago the media, and its customers the American public, were just as celebrity-crazed, crime-obsessed, and scandal-hungry as we are today. The only thing that differentiates the current "media age" from past ones is the format, frequency, speed, and availability of the media. In 1932, the celebrity was famed aviator Charles Lindbergh, and the crime was the kidnapping of his 20-month-old son. This "crime of the century" and subsequent trial of the man accused of committing it stirred a media sensation very similar to what we see today. The media and the American public's reaction to the crime and its effects on the people involved are the subject of the musical, rather than the crime itself. Baby Case is a fascinating and fantastic original musical that explores the ideas of fame, crime, and the relentless obsession of the media, told through music in a classic musical theater way.

The musical begins with establishing Lindbergh as a celebrity and a reluctant hero, and quickly progresses to the disappearance of Charles Jr. from his nursery one night. The first act deals with the search for the baby and the kidnappers, and the sad conclusion to the former search. In the second act, Bruno Hauptmann is accused and tried two years after the crime, with the primary evidence being possession of bills from the ransom money. The media interferes with all of this, as do Lindbergh's famous and powerful friends (including president Hoover). It's a tragic story with no happy ending for anyone, except perhaps for the newspapers. All of this is told beautifully and powerfully through song, with little spoken dialogue. It's a traditionally structured musical, with big ensemble numbers ("Hauptmann Murdered the Lindbergh Baby!") and quieter moments of internal reflection ("Lullaby," "Over the Sea"). Baby Case proves that you can make any story into a musical, if done right, as this one is. It's funny, moving, entertaining, informative, relevant, thought-provoking, and with tunes you will leave the theater humming.

The 11-person cast is wonderful across the board, all of them playing multiple characters. Peter Middlecamp and Kendall Anne Thompson play both couples at the center of the story - the Lindberghs and the Hauptmanns (the man convicted of the crime and his wife, who devoted her life to clearing his name).  They have great chemistry as both couples, and both Peter and Kendall have beautiful voices and really bring out the complicated emotions of their characters. In the second song of the show (the moment I knew this was going to be a good one) they form a powerful trio with Kym Chambers Otto as the Nurse who discovers that the baby is missing. Other standouts in the cast include Jon Andrew Hegge, transitioning between famous radio gossip Walter Winchell and a judge with a deft turn and removal of a hat; Gary Briggle as the man who facilitated the ransom delivery, the questionable defense attorney, and Phil Donahue; Emily A. Grodzik as an accused servant and Ginger Rogers; and Paul R. Coate, providing a bit of comic relief as a lady socialite duped into paying ransom money to con artists.

The production elements are also all top-notch. The Hooverian set is simple, efficient, effective, and evocative, with newspapers in the background reflected in mirror image on the floor, as well as a ladder and fireman's pole for easy movement to the second story area. The wardrobe by E. Amy Hill reflects this color palate of yellowed newspapers - black, white, tan, neutrals, with pops of red or maroon and nary a green or blue to be seen. Lovely period clothing and a fabulous aviator jacket that makes me want to find one for myself (in faux leather of course). Jake Endres leads the sparse four-piece orchestra, just off stage, through this great music.

Baby Case is a promising new musical (it was a hit at last year's New York Musical Festival) with shades of Ragtime (the first "Crime of the Century!"), Floyd Collins (another early 19th century media circus), even Next to Normal (mourning the loss of a child). In the second act I had flashbacks to another musical on that very stage - the Theater Latte Da/MN Jewish Theater co-production of Parade, about another man falsely (?) accused of the murder of a child. This is not to say Baby Case is derivative; it's an original creation that fits well in the musical theater anthology. If you're a fan of musical theater, you should not miss this fantastic production of a great new musical (playing through Nov. 3 at the History Theatre in downtown St. Paul, discount tickets available on Goldstar).

"Deal! The Musical" by Tyrol Hills Music at the Ritz Theater

One sign of a good musical is when the audience leaves the theater singing, humming, and whistling the songs from the show* which they've never heard before.  Such was the case when I attended** the new, original, and very Minnesotan musical Deal! The Musical by Tyrol Hills Music.  Not only are the songs catchy and hummable, but the story is heart-warming and wickedly funny, and it rings true to anyone who grew up in this state.  It's a little like a Garrison Keillor story come to life, and in my opinion Garrison Keillor is an American treasure, so that's a very good thing.

Deal! The Musical was written by local playwrights Jerry Seifert and Tom Broadbent, who also wrote the music.  I gather from a note in the playbill, as well as the appearance of the name Broadbent in the real newspaper clippings that are displayed between scenes along with old photos, that this is at least a semi-autobiographical show for Tom.  The story takes place over a ten-year span in the late 1950s and 1960s in the town of Stacy MN, not too far north of the Twin Cities on I35.  Art and Elsie have just moved into town, having hit a snag in their dream to own their own farm.  Elsie's newly widowed friend  Pearl along with Art's brother Oscar and his "pal" Millie come over to the house to play poker every week, where much is discussed.  Art and Elsie's two daughters grow up over the course of the play - from proms and first loves to babies and illness.  Life changes and grows, and the only thing that stays the same is the weekly poker game that brings this family together.

This capable cast (directed by Josh Campbell) is led by real life husband and wife team Jon Hegge and Laurie Flanigan-Hegge as Art and Elsie.  Laurie has a beautiful voice that's featured in several songs, and Jon gives a nuanced performance as the head of the family who's struggling with not being able to provide as he had hoped, especially after an accident leaves him unable to work.  He sings about feeling useless, and finding inspiration in his hero, Twins great Harmon Killebrew (as a lifelong Twins fan, any musical that includes a song called "Harmon Killebrew" is definitely one for me!). David Roberts' Oscar is a bit of a drunk and a loveable jerk, but we get to see a more vulnerable side when he sings about "The Lost and Found Tavern."  Aly Westberg and Max Wojtanowicz share a couple of lovely duets as one of the daughters and her beau, who grow from an awkward prom couple to a married couple facing very real problems.  The scene-stealer of the show is Kim Kivens (who was also great in Spelling Bee last fall) as the boozy, bawdy Millie, tottering on her high heels and constantly skiping off to the bathroom after uttering another cute euphemism ("time to tinkle!" "I feel a rain delay coming on!").  Millie's a cutesy, funny character, but Kim gives her depth (especially in the lovely "Lord's Prayer") and makes the audience root for her.

Don't let the ads you might have seen fool you - Deal! The Musical is not a flashy Vegas musical; it's a sweet and funny Minnesota story about a family in a small town and people that will seem familiar to you.  Yes, they cram a lot of hardships and romances into two and a half hours, so that some of them get short shrift, but that's forgivable when the overall show is this satisfying. Check it out at the Ritz Theater in Northeast Minneapolis (free parking across the street!), and you'll see a lovely little story set in a small Minnesota town, where the women are strong, the men are good-looking, and the children are above average.


*I woke up morning after the show singing "Deal, dammit, deal, dammit, deal dammit deal!"  And here's the song that I heard people humming and whistling at intermission, echoing what I was hearing in my own head:




**I received one complementary ticket to see Deal! The Musical.

"On the Town" by Skylark Opera at the E.M. Pearson Theatre

As much as I love new, edgy, innovative musical theater, I also love a good classic musical.  On the Town, about three sailors on leave in New York City for 24 hours in 1944, is a classic.  I'd never seen it before on stage (the playbill notes that this is probably the first time it's been professionally produced in the Twin Cities) or screen (for a musical theater fan, I haven't seen many classic old movie musicals).  With my love for musical theater and NYC, it's about time I saw this one!

Skylark Opera is presenting On the Town in repertoire with The Vagabond King in their summer festival at the E.M. Pearson Theatre.  The two shows have overlapping, but not identical, casts and musicians, and different directors and choreographers.  Leonard Bernstein wrote the music for On the Town based on an idea of Jerome Robbins, who also choreographed the original Broadway production (the two most famously collaborated on West Side Story, coming to the Orpheum this summer).  Comden and Green wrote the book and lyrics (and now I understand one more reference in the musical about musicals, [title of show]).

The plot follows three sailors in NYC for one short day: the organized and determined sightseer Chip (Paul R. Coate, who appeared in one of my favorite shows of 2009, Theater Latte Da's The Full Monty), the playboy Ozzie (Jon Andrew Hegge, a constant in the Guthrie's annual production of A Christmas Carol), and the naive farm boy Gabey (Dieter Bierbrauer, a favorite from the Chan, Latte Da, and several other theaters).  While riding the subway, Gabey falls in love with a girl on a poster and is determined to find her.  The boys split up in their search for "Miss Turnstiles," and each meet a girl of their own.  Chip runs into taxi driver Hildy and the two sing a charming duet in which he asks her to drive him to see various sights in NYC, and she slams on the brakes of the cab and tells him it's no longer there, so "Come Up To My Place."  Sarah Gibson as Hildy really looks the part of a tough, tall, 1940s broad, and can really belt out a tune (including the fabulous "I Can Cook Too").  Ozzie meets Claire (Jennifer Eckes), an anthropologist who's studying men in an effort to get them out of her system and settle down with her fiance.  I like that Hildy and Claire aren't your typical movie/musical girlfriends; they're both career women who go after what they want.  Maybe this is a reflection of the times, when women filled the employment vacancies left by men off fighting in WWII.

Back to the main love story.  Despairing of ever finding his "Miss Turnstiles," Gabey laments how lonely the city can be, and the audience is treated to Dieter's beautiful voice in the sad and lovely "Lonely Town."  But since this is a musical, he does find Ivy (Sarah Lawrence), at her singing lessons with the hilarious and boozy Madam Dilly (Kinsey Diment).  They make a date for that evening, but what Gabey doesn't know is that Ivy has a job "dancing" at Coney Island, and she stands him up because she can't afford to miss work.  Gabey is reunited with his friends and their dates, and they take him out on the town and try to cheer him up with the fun friendship song "You Got Me."  It doesn't work, and when he finds out where Ivy is, he takes the train to Coney Island to see her.  The other two couples follow, and on the long train ride they realize how short-lived their romances must be in the poignant "Some Other Time."  Gabey and Ivy reunite and the three couples enjoy the rest of their short time together, in and out of jail.  The sailors say their goodbyes to the girls and the city, as a fresh batch of sailors arrives on shore.  And the story begins anew.

This production features a large and capable ensemble, including Laurel Armstrong and Jake Endres (who opens the show with the low and lovely "I Fell Like I'm Not Out Of Bed Yet"), both of whom recently appeared in Flying Foot Forum's beautiful and moving original musical Heaven.  The ensemble scenes celebrate NYC nightlife and the activities and people of Coney Island.  (They remind me a bit of Annie, which also features ensemble scenes celebrating NYC life.)  There are also a few beautifully choreographed and performed "dream ballet" sequences, one during "Lonely Town" and one when Gabey's riding the subway to Coney Island to confront Ivy.  The traditional orchestra in the traditional pit was great; I love entering a theater and hearing the cacophonous sounds of the orchestra warming up and tuning.  I also loved the 40s era costumes and hats!

This is a perfectly delightful show.  Leonard Bernstein's gorgeous score, Comden and Green's witty lyrics, great performances by all of the leads and a strong ensemble backing them up, and fun choreography.  You can't ask for more from a classic piece of musical theater.