"Into the Woods" at Lyric Arts Main Street Stage in Anoka

The more I see the Stephen Sondheim/James Lapine fairy tale mash-up musical Into the Woods, the more I like it. I'd seen it on stage twice (BCT and Mu) before the big star-studded movie came out a few months ago, which I also enjoyed, but seeing it on stage again is even better. Like most pieces written for the stage, it works better as a stage experience. With repeated viewings, I'm able to appreciate even more Sondheim's clever lyrics and complicated melodies and Lapine's funny and poignant book, which can be best summed up by the statement "be careful what you wish for, you just might get it." A new production* opens tonight at Lyric Arts, a community theater in Anoka that has continued to improve over the last few years. This show continues on that trajectory and is perhaps the best thing I've seen at Lyric Arts, except of course for the fantastic production of my favorite musical RENT last summer. The cast is all-around excellent with not a weak link among them, the production design includes inventive puppetry, and Sondheim's gorgeous and intricate score sounds so beautiful it sent me out of the theater singing and inspired me to finally download the cast recording (OBC, of course). If you have not yet made the drive out to Anoka to visit Lyric Arts, this might be a good time to start.

Into the Woods is a mash-up of familiar fairy tales, but with a twist. We have Cinderella with her handsome prince and missing shoe, Jack and his beanstalk that leads to a kingdom of giants, Rapunzel with her unusually long and strong hair, and a little girl in a red cape going to visit her Granny. Tying these stories together is a Baker and his Wife, who long to have children but were cursed by their neighbor, who happens to be a witch. The witch promises to reverse the spell if the couple completes a series of tasks, which will allow her to become the beautiful young witch she once was. Everyone heads into the woods to accomplish their task, where their stories intersect. At the end of the first act, everyone seems to have accomplished their "happily ever after." But the second act shows us what happens next. Happiness is complicated, actions have consequences, and things are not always what they seem. It's a little like growing up; as children we're told these fairy tales, but when we grow up we learn that life is not like fairy tales, it's complicated and messy, and "sometimes people leave you halfway through the wood." But the good news is, "no one is alone," not even witches and giants.

It's hard to pick out standouts in this large ensemble cast that is excellent across the board, under the direction of Matt McNabb, who also directed the aforementioned RENT, as well as the outrageous Young Frankenstein. Alyssa Seifert is a lovely Cinderella, Nykeigh Larson is at her most adorable as Little Red Ridinghood, Molly Jo Hall is the angelic voice in the tower as Rapunzel, Kyler Chase and Daniel Vinitsky are hilariously pompous and shallow as the dueting princes in "Agony," Joseph Pyfferoen and Kelly Matthews bring much humanity to their roles of the Baker and his Wife, Sam Sanderson is a sweet and open-faced Jack, Lara Trujillo's witch is creepy and deliciously over-the-top, and last but not least, 13-year-old Carter Skull is a great narrator, leading us through this story, always onstage, observing or taking part in the action.

In addition to the great cast, the production elements are all well done. The stage is dominated by a large tree, with wooden stairs and platforms leading from the floor of the stage to the top of the tree, all well-utilized by the cast (set design by Ben Olsen). The animals (and some of the humans) are represented by charming puppets reminiscent of Avenue Q. Most of the puppets don't have legs, and the puppeteers are visible and as much a part of the performance as the puppets. The wolf is particularly fun, with two puppeteers manipulating the puppet and performing an intricate waltz (Kyler Chase and Gabriel Gomez, who also designed the puppets and plays Milky White). Finally, Jeff Geisler's sound design creates some ominously loud giant steps, as well as cool and mysterious echoing effects.

Lyric Arts is a community theater, but their productions are often at professional levels. Now that Bloomington Civic Theatre has transitioned from a community to a professional theater (which seems to be a bit of a blurry line in most cases), Lyric Arts is stepping up to be the top community theater in the region, one that serves as a stepping stone for new young talent. I really can't ask more of a production of one of Sondheim's best musicals than a talented, enthusiastic, and dedicated cast, music that sounds beautiful (music director Louis Berg-Arnold leads a nine-person off-stage orchestra), and creative sets, puppets, sound, costumes, and choreography.

Into the Woods is a musical that tickles your funny bone, tugs at your heartstrings, and challenges your brain, all set to beautiful music. If you've only seen the movie, you owe it to yourself (and the show) to see it on stage, where it was meant to be seen. Into the Woods opens tonight and continues Thursdays through Sundays through March 8 at Lyric Arts on Main Street in Anoka (if you've never been to this theater before, check out my venues page, with info and tips on thirty venues around town).


*Lyric Arts' Into the Woods is the first of two local productions this year. Theater Latte Da will be presenting their version of the show, set in a German beer garden, at the Ritz Theater, opening in March.

"A Hunting Shack Christmas" at Yellow Tree Theatre

Christmas at Yellow Tree is always a wonderfully wild and ridiculous affair. Now in their seventh season, the little theater that could is continuing in their tradition of hilarious, heart-felt, and very Minnesotan Christmas plays. But this year they're taking a break from their popular Miracle on Christmas Lake series (two installments so far) to venture to a new location - the hunting shack. Yellow Tree co-founders Jessica Lind and Jason Peterson have combined to write and direct, respectively, this funny and charming new play, and have assembled a fantastic cast to bring these quirky and familiar characters to life. I'd tell you to go see it, but it's sold out for the rest of the run, despite the fact that they've added a bunch of shows. So make your plans early for next Christmas, because Yellow Tree Theatre is a wonderful place to be at this time of the year.

Like the Christmas Lake plays, A Hunting Shack Christmas centers on a relatively normal couple facing a possibly life-changing event who encounters some ridiculously Minnesotan characters. Charlie and Jennifer live a perfectly comfortable life in "The Cities," but perhaps one that's lacking a bit of adventure. On the eve of their 10th anniversary vow renewal, Charlie skips town to head to his grandfather's hunting shack to contemplate his life and the changes he's being forced to make. Jennifer is upset that he left, and follows him to the rustic shack. Much to their surprise, Charlie's eccentric uncle Paul and (sort of) aunt June and cousin Ham are squatting in the cabin, and are none too happy to have their lives interrupted by this "citiot." Charlie and Ham bicker like boys, and even engage in some hilarious slow-mo childish fighting. But at the insistence of Aunt June, everyone makes peace with each other, and Charlie and Jen decide to make a change for the better. This oddball family lives happily ever after in their cozy hunting shack (at least until the sequel).

John Haynes, Greta Grosch, and
Sasha Andreev (photo by Keri Pickett)

A Hunting Shack Christmas is told in informal narration, with narrator Charlie often speaking directly to the audience and fully acknowledging that we're in the theater, directing the sound and lighting and calling for memories. This structure allows a charming and likeable Sasha Andreev to play with the audience and draw us into the story. Daisy Macklin Skarning (in a role that's the complete opposite of the one she played in Gremlin Theatre's Rocket to the Moon this spring) also brings great charm and enthusiasm to the role of Jennifer, making Charlie and Jen a couple to root for. The character of Ham tells the audience he's the comic relief, and understudy Joseph Pyfferoen is just that, committing fully and hilariously to the role of this oddball young man who lives with his parents, wants to start a jerky company, and is engaged to marry a woman from Norway who rides a reindeer. Greta Grosch and John Haynes both have a strong comedy/improv background, which they bring to the roles of Aunt June and Uncle Paul. Greta especially is a hoot as this stereotypical hotdish-making kombucha-growing Minnesota woman. The entire cast works and plays well together with a great energy, showing no signs of the exhaustion one would think might set in when doing so many added shows.

I've never been to a hunting shack, but Katie Phillips' set design looks pretty authentic to me, in fact it looks quite appealing (minus the alleged smell, anyway). Walking into the theater you go through the entry way of a typical cabin (or Minnesota home), with various coats, jackets, snowsuits, and other warm weather gear. The stage is populated with an ugly couch with mismatched afghans, a wood-burning stove, and kitchen appliances that looks rustic and barely functional. And oh yes, there are the deer heads and mounted fish one would expect at a hunting establishment. Lori Schwartz's costumes are entirely appropriate to this world, from the citiots' puffy vests to the comfy nightwear to the warm but not so stylish outerwear.

Yellow Tree Theatre has done it again - created an original holiday show, written by someone* who obviously has familiarity with and affection for Minnesota, that delights and entertains its loyal audience. Their last play featured a couple of Ivey winners, and their next play stars a brilliant actor currently playing Scrooge at the Guthrie, but Yellow Tree hasn't forgotten who their audience is and what they want to see at the holidays. With A Hunting Shack Christmas, they've delivered a thoroughly enjoyable play worthy of its popularity.

Sasha Andreev and Daisy Macklin Skarning (photo by Keri Pickett)

*For more of Jessica's funny and folksy Minnesota writing, check out her blog
Unfamous Minnesota Girl.

"Five Course Love" by Minneapolis Musical Theatre at New Century Theatre

Minneapolis Musical Theatre's Five Course Love is billed as "a tasteful tasty musical comedy." This is truth in advertising - it's definitely not a tasteful show, with lots of raunchy, campy, over-the-top comedy, but it is quite tasty, with fantastically committed performances by the three-person cast and clever, funny, and occasionally lovely songs.

The evening plays out as five different love stories set in five theme restaurants, with three actors playing a different character in every scene. Amanda Weis and Ryan McGuire Grimes are the couple in love (or something), and Joseph Pyfferoen is the waiter, although these characters take different forms in each scene. All three actors are excellent at a very difficult skill - singing for comedic effect while still sounding fantastic (the gold standard of this skill is of course Sara Ramirez as the Lady of the Lake in Spamalot). They do some pretty crazy things with their voices (accents and affectations), but they always sound great. The "love stories" include a blind date, an affair, a love triangle, and unrequited love. They're played to pretty broad effect, some funny, some sweet, and some just plain ridiculous. The music follows the style of the restaurant, from Country-Western to Italian to German to Mexican to '50s. It's equal opportunity offensive comedy, as all ethnicities are exaggerated and made fun of. But the commitment of the actors makes it work as they play it for camp, and the songs for the most part are catchy and clever. My favorite are the catchy '50s-themed diner songs (with shades of Grease), the lovely and melancholy "The Blue Flame," and the show opener and closer "A Very Single Man" and "Love Looking Back at Me," as things come full circle.

Amanda Weis, Joseph Pyfferoen, Ryan McGuire Grimes

The set (by Darren Hensel) looks like a Valentine's Day card exploded. Five doors open to reveal the name of the five restaurants in which the scenes take place. The quick-change costumes (by Joshua Stevens) help the actors and the audience differentiate the characters, so that you almost forget it's the same actors in every scene. The three-piece band keeps things moving along.

In an interview with Broadway World, Gregg Coffin, creator of the piece (which premiered Off-Broadway in 2005) was asked, "When the audience leaves the show, what do you want them to take away?" His response was:

The thrill of three incredible actors running you through a mine-field of love as quickly as they possibly can. And love would be good, it would be good if they took love away from it all. And maybe if they were humming something from the show as they went off into the night. That would be icing on the cake.

Mission accomplished on #1 and #3, #2 not so much, but it's definitely an entertaining ride and I went off into the cold night humming. And sometimes that's enough. Minneapolis Musical Theatre's Five Course Love runs through Valentine's Day weekend at the New Century Theatre.

Coming up next for MMT is the most anticipated (by me) show of their season - the very funny political satire as emo-rock musical, Bloody Bloody Andrew Jackson. I'll definitely be returning to the New Century this summer for some "Populism, Yea, Yea!"

"The 25th Annual Putnam County Spelling Bee" by Theater Latte Da at the Ordway McKnight Theatre

The 25th Annual Putnam County Spelling Bee, or in the case of Theater Latte Da's new production, The 25th Annual Seven County Metro Area Spelling Bee, is a delightful, hilarious, clever look at a middle school spelling bee and the characters that inhabit it.  (And if you think this show is an exaggeration, check out the marvelous documentary Spellbound - truth is stranger than fiction.)  I had seen the show twice before, once on tour and once on Broadway, so I already knew I loved it.  And as usual, Latte Da's production of it is practically perfect in every way.

One of the things I love about Latte Da is their impeccable casting, which is beautifully on display in this show.  With the exception of Tod Petersen (creator and star of the funny, sweet, and very Minnesotan A Christmas Carole Petersen), this is a cast of Latte Da newcomers.  And many of the actors who play the kids are kids themselves - college students or recent graduates.  Artistic Director Peter Rothstein is intentionally focusing on casting young actors this season (a season which ends with one of my favorite new musicals Spring Awakening).  And I think he may have discovered several stars of the future in this cast.

My favorite of the six Spelling Bee finalists is Leaf Coneybear, with an adorably spirited and loopy performance by Alan Bach.  Poor Leaf isn't your typical smart kid, he sort of ended up there by accident, and is having the time of his life.  Logainne Schwarzandgrubenierre (Mary Fox, one of my Yellow Tree faves, who fully commits to creating a quirky character) is the lisping daughter of two dads, always trying to please them.  Derek Prestly as last year's champion Chip Tolentino gets his (slightly embarrassing) glory moment after Chip is eliminated from the competition.  Marcy Park (Sheena Janson, aka the sultry seductive man-eating plant Audrey II, in a totally opposite role here) is the stereotypical Asian student who's good at everything, but learns it's more fun not to be perfect.  William Barfee (convincingly played by Joseph R. Pyfferoen) has nasal congestion issues and a magic foot, and unexpectedly develops a sweet friendship with a competitor.  As the other half of that relationship, the slightly neglected Olive Ostrovsy, Cat Brindisi proves she has inherited her parents' many talents (her dad is Michael Brindisi, Artistic Director of the Chanhassen Dinner Theatres, and her mom is actor Michelle Barber), but has a spark and a spirit all her own.  It's a pleasure to watch these six "kids" light up the stage with their talent.

The "adults" aren't too shabby either.  The hosts of the Bee are Vice Principal Panch (Tod Petersen) and former champion Rona Lisa Peretti (Kim Kivens).  Tod and Kim are both spot-on in their characterizations of the tightly wound VP and the woman who looks back on her Spelling Bee win as the highlight of her life.  Brian Frutiger plays convict-turned-counselor Mitch Mahoney, who hands the losers a juice box and escorts them off stage.  He has a great voice; he's a member of the Metropolitan Opera in NYC "slumming" it in musical theater here in Minnesota.  Whether stage veteran or relative newcomer, this show is perfectly cast.

This show involves some audience participation; three audience members are called up to join the competition, which allows for some hilarious ad libbing by our hosts.  It's great fun to watch the people on stage being led around by the cast, to see their reactions to the show going on around them, as well as the always in-character reactions of the actors playing with them.  I'm not quite sure how it works, but I assume you can put your name in the hat before the show, so look for that in the lobby if you want to take your chances at the Bee.  The 25th Annual Seven County Metro Area Spelling Bee is playing through the end of the month - catch it while you can.  I'm going again at the end of the month, and I'm looking forward to seeing how the show has grown as well as the differences that new audience members onstage bring.




Celebrity Sighting
Yellow Tree Theatre co-founders Jason Peterson and Jessica Lind were in the audience to support their friend and frequent collaborator Mary Fox, who is also responsible for the sound design in Yellow Tree's current show Steel Magnolias.