"Camelot" at Chanhassen Dinner Theatres

The rain may never fall till after sundown.
By eight, the morning fog must disappear.
In short, there's simply not
A more congenial spot
For happily-ever-aftering than here
In Camelot.

Even in a musical, this idyllic world cannot last forever. The problems of the real world - war, greed, betrayal - come crashing in despite the legendary King Arthur's dreams of peace. Perhaps turning a blind eye to reality is not the best way to keep the peace, but it sure was nice while it lasted. Even though I have some issues with the book, Chanhassen Dinner Theatres beautifully brings the mystical and idyllic world of Camelot to life with gorgeous design, a fantastic cast, and beautiful music.

"Beauty and the Beast" at Chanhassen Dinner Theatres

Of all the Disney heroines, the odd girl with her nose stuck in a book is the one that I relate to most, especially since the 1991 movie Beauty and the Beast came out when I was a teenager and at my most odd bookishness. Belle is a heroine for all us normal girls who feel like we don't quite fit in. She meets another odd soul (who conveniently happens to be a handsome prince inside) and they make a connection, bringing out the best in each other. Yes it's a typical Disney fairy tale that ends in a wedding, but at least it's a meeting of equals who rescue each other. A few years after the movie, Beauty and the Beast was adapted into a successful Broadway musical (the 9th longest running musical on Broadway), and in 2005 Chanhassen Dinner Theatres was one of the first regional theaters to mount a production. Now, 11 years later, director Michael Brindisi and his team are revisiting this classic and beloved fairy tale with an energetic show that is flawlessly cast and beautifully designed. My inner odd bookish teenage girl (who's never very far beneath the surface) was quite pleased.

"Sister Act" at Chanhassen Dinner Theatres

While I was off in NYC seeing a bunch of Broadway musicals last week, Chanhassen Dinner Theatres opened a new show. I missed the Sister Act press night (the best press night in town), but they kindly let me attend last night - on my birthday! (I can now cross the Chan emcee wishing me a happy birthday off my bucket list.) Director Michael Brindisi has once again brought us a polished production, and one that's a lot of fun and also has a beautiful heart, I enjoyed it as much as anything I saw on Broadway last week. This is a relatively short run for the Chan (just four months), so make your plans now so you don't miss this wonderful and heart-warming musical. If you need more reasons to see it, I've got ten - read on.

"Mary Poppins" at Chanhassen Dinner Theatres

Mary Poppins is a classic and beloved movie. What child growing up in this country in the last 50 years didn't grow up with the no nonsense magical nanny? The surprising thing is that this original movie musical released in 1964 wasn't adapted for the stage until 40 years later. But when it finally was, it was a success; the Broadway production ran for six years and toured the country, including a stop in Minneapolis in 2013. While it's not a perfect adaptation, the stage musical does retain the magical quality of the movie and many of the most loved moments and song. Chanhassen Dinner Theatres' new production of Mary Poppins: The Broadway Musical is delightful and charming with a huge and talented cast.

The familiar story we know and love from the classic movie is mostly there on stage, except, sadly, the floating to the ceiling with laughter scene and the women's suffrage subplot. Mary shows up to the Banks family in London because they need her. Father George is too busy with his important job at the bank to spend much time or thought on his children Jane and Michael, who are acting out and scaring all the nannies away, and mother Winifred doesn't know what to do to help the situation (pretty much the definition of first world problems). Enter Mary Poppins, who takes the children on fantastical outings while teaching them to be more considerate and responsible. After a crisis at the bank, George learns to appreciate his family, and with the family unit healed, Mary Poppins departs as quickly as she arrived, on to help the next family.

When I saw Mary Poppins on tour two years ago, I thought it was too long, especially for a show that will draw a lot of kids. The songs, scenes, and storylines that were added are just not as compelling as those we're familiar with from the movie. I was hoping that director Michael Brindisi would trim some of the fat, but I don't know how much freedom a regional theater has to make changes when licencing a work such as this. So I'll blame the creators of the piece for making it feel a bit bloated and draggy in parts. But it certainly doesn't overshadow the wonderful moments in the show, which are many:

Ann Michels as Mary Poppins
(photo by Heidi Bohnenkamp)

• It's not easy to step into Julie Andrews' sensible shoes in her iconic portrayal of Mary Poppins, but the Chanhassen has found just the right actor to do so. There's no practically about it, Ann Michels is perfect in every way - her voice, her posture, her attitude, her comic timing, her look, even the way she holds the umbrella. She's an absolute delight to watch in this beloved role.
• As young Jane and Michael Banks, Isabelle Erhart and Jay Soulen (who share the roles with two other actors) are adorable, very present and expressive with lovely voices who fit right in with the veteran cast.
• Fantastic dancer Mark King plays Bert, who serves as a sort of narrator of the story, often on stage observing the action as well as taking part in it. He has a sort of melancholy about him, as if he knows that Mary will soon leave.
• Seri Johnson is, as always, hilarious as the frazzled housekeeper Mrs. Brill. She and Scott Blackburn, as butler Robertson Ay, make for quite the comedy team, like a warped version of Mrs. Hughes and Carson.
• Even though the Mr. Banks at the bank story is not very interesting, Chan favorite Keith Rice is a joy to watch as he transforms from a prickly and absent father to a more devoted family man, with the help of Janet Hayes Trow's sweet and caring Mrs. Banks, who I wish had more to sing about than "Being Mrs. Banks."
• Michelle Barber only has a few short scenes on stage, but her "Feed the Birds" is a lovely and quiet moment in the busy show.

Mary, Bert, and the children
in the sky (photo by
Heidi Bohnenkamp)

• Tamara Kangas Erickson's choreography shines in a couple of group numbers. In "Supercalifragilisticexpialidocious," the cast spells the crazy long word in song and with their bodies, and it's a thrill as the speed increases and the precision never wavers. "Step in Time" is a tap-dancing delight, with chimney sweeps popping up as if by magic in the audience and slowly making their way onto the stage for the ever increasing energy of the number.
• The entire show has a sort of magical, dreamlike quality. The set is dominated by a large moon, with ladders climbing to the sky. Low-tech theatrical tricks create the illusions of flying and large objects coming out of Mary's bag. Hundreds of tiny lights twinkle on the ceiling in the formation of the constellations, making one want to lean one's head back and get lost in the stars (set design by Nayna Ramey, lighting design by Sue Ellen Berger).
• The Chanhassen's resident costume designer Rich Hamson (who recently had his own moment to shine on stage) has clothed the cast in a wide array of London street garb, living life-size toy costumes, and other fantastical getups.
• Last but not least, I would be remiss if I didn't mention Music Director Andrew Cooke and his always fabulous onstage band, making this (mostly) familiar music sound great.

The Chanhassen's Mary Poppins is a joyful production (even if it is a bit too long), filled with great performances and plenty of theatrical magic. Playing now through the end of August, so you have plenty of time to get out to the suburbs and experience the magic.

It's a Jolly Holiday! (photo by Heidi Bohnenkamp)

"Hello Dolly!" at Chanhassen Dinner Theatres

Everyone loves Dolly. The title character of the popular musical Hello Dolly! is a matchmaker, dance teacher, entrepreneur - basically a woman who knows how to get things done. She "puts her hand in" here and there, and makes people's lives better with her helpful manipulative ways. You can't help but love her, and you can't help but love the Chanhassen's shiny new production of this 50 year old musical. It's charmingly old-fashioned, with a fantastic cast from the lead to the supporting players to every last member of the ensemble, wonderful dance numbers, gorgeous period costumes with those all important extravagant hats, and familiar music beautifully played by the orchestra. It's silly and fun and adventurous - a grand old time.

It's the late 19th Century in New York City, and Dolly is tired of working to make everyone else's lives better at the expense of her own. She decides to marry the noted "half a millionaire" Horace Vandergelder, and asks her beloved deceased husband for a sign to move on. In order to catch the gentleman, who is one of her clients, she sabotages the other matches. He's supposed to marry the widow Irene Molloy, owner of a hat shop, but Dolly quickly squashes that. Instead Irene falls in love with Horace's employee Cornelius who, along with his friend Barnaby, has come to New York City for an adventure. Said adventures include a parade, a dinner they can't pay for, a quick trip to jail, and falling in love. But this is Dolly's story, and when Dolly decides she wants something, she gets it, for better or worse.

Highlights of the show include:

the mother/daughter act - Michelle Barber
as Dolly and Cat Brindisi as Irene

• As I said, this is Dolly's show, and Michelle Barber owns the role and ably leads the show. The highlight is Dolly's moment "Before the Parade Passes By," her declaration to live her life to the fullest. But another wonderful moment is the title song, when Dolly is being serenaded by singing waiters. Michelle is so easy and comfortable in the role as she makes her way across the stage and through the audience, shaking hands, kissing my table-mate on the head, sharing little asides and knowing winks with the audience. She just is Dolly.
• The Chanhassen has always been a family affair, and never moreso than in this show. Michelle's husband, by the way, is the Chan's Artistic Director and director of this show, Michael Brindisi. And their daughter, Cat Brindisi, is making her adult debut on the stage on which she grew up, after proving that this is no act of nepotism with brilliant turns in such shows as Aida and Hair (by a theater company she co-founded). As Irene Molloy (a role her mother played the last time the Chan did this show), Cat is strong and spirited, and provides a quiet, lovely moment in the otherwise busy and high energy show with the song "Ribbons Down My Back." As my companion said, I only wish she had a chance to sing more.
• "It Only Takes a Moment" to fall in love with Tyler Michaels and his unique performance style, and if you haven't already done so in one of his previous appearances, most recently as the Emcee in Cabaret, Prince Eric in the The Little Mermaid, or Freddie in My Fair Lady, you will here. Watching him dance badly as Dolly teaches Cornelius to dance is more fun than watching most people dance well. He brings an awkward grace and boundless enthusiasm to the role of this young man who's determined to have the night of his life.

the boss and his hard-working employees
(Keith Rice, Adam Moen, and Tyler Michaels)

• Who else but Keith Rice, a longtime favorite at the Chan, could play Horace? Even though "It Takes a Woman" may be the most sexist song in musical theater history, it's somehow almost charming coming out of the mouth and person of Keith Rice. The last time I saw Helly Dolly! I did not get the appeal of Horace at all, but I do now. Of course no man is quite good enough for our Dolly, but he'll do.
• Several actors shine in smaller roles. As second fiddle Barnaby, Adam Moen holds his own with Tyler and is quite charming himself, and the two often dance and move in perfect unison. Jessica Fredrickson is sweet and adorable as Irene's assistant and friend, and as Horace's niece Ermengarde, Krysti Wiita wails perfectly on pitch. As per usual, Kersten Rodau steals her few brief scenes as Horace's (mis) match Ernestina, turning her beautifully powerful voice into something hilariously grating.
• All elements of the production are top-notch, from Tamara Kangas Erickson's choreography perfectly and precisely performed by the ensemble (oh, those dancing waiters!), to Rich Hamson's gorgeous costumes (spats! hats! gowns!), to the simple set by Nayna Ramey that lets the show shine, to Andrew Cooke's always wonderful onstage orchestra (with banjo!).

This fun, charming, entertaining, perfectly cast, and well performed classic musical plays all winter. The weather may be getting colder, but it's always warm and pleasant at Chanhassen Dinner Theatres*. Dolly will never go away again... until February, when Mary Poppins takes her place.

the cast of Helly Dolly! (all photos by Heidi Bohnenkamp)

*If you happen to go in the next month or so, you should also head over to the Arboretum for TigerLion Arts' lovely and poignant outdoor walking play Nature, about the friendship of Ralph Waldo Emerson and Henry David Thoreau.

"The Little Mermaid" at Chanhassen Dinner Theatres

The Little Mermaid was the first of the new Disney movies, and my favorite. I was a teenager when the movie came out in 1989, and "Part of Your World" is the quintessential teenage girl anthem (before my theme song was "I Don't Do Sadness" or "I'm Not That Girl," it was "Part of Your World"). Every kid I babysat at the time had the VCR tape (yes, VCR), so I've probably seen the movie hundreds of times. The soundtrack was the first cassette tape (yes, cassette tape) I ever owned, and I listened to it constantly, and even played "Under the Sea" in band because my tuba-playing band director loved the calypso rhythm and the bass parts ("guess who's going to be on the plate"). Even though I haven't seen the movie or listened to the music in many years, it all came right back to me while watching Chanhassen's production of the stage version of the movie. Now, as you might know if you read this blog with any regularity, I'm not crazy about the trend of turning every Disney movie (and every movie, for that matter) into a musical; I think it's an easy and risk-free way for Broadway producers to recoup their investment, and not necessarily about making art. Whether or not The Little Mermaid should have been made into a stage musical can be debated (the Broadway production ran for less than two years and received mixed reviews), but since it was, there's no place I'd rather see it than at the Chanhassen with a local cast that is perfection. They bring the movie and the wonderful songs to life with the usual Chanhassen flair, fun, and color.

The stage musical The Little Mermaid is based on the Disney movie, which is based on the Hans Christian Anderson story about a mermaid who falls in love with a human Prince and exchanges her voice for a chance to be human. In the Disney version, Ariel is a precocious teenager who doesn't feel at home under the sea with her father King Triton and six sisters. She longs to be part of the human world, and collects trinkets and visits the shore against her father's wishes. After rescuing Prince Eric from a shipwreck, she makes the fateful deal with her aunt Ursula, the evil sea witch, and must charm the Prince and get him to kiss her within three days, or she's doomed to an underwater hell. Unlike the original story, in this Disney version Ariel banishes the sea witch, gets her Prince, and lives happily ever after. A typical Disney fairy tale story, but with the following wonderful features:

• Caroline Innerbichler is so perfect for the role of Ariel. When you're a musical theater actress with long curly red hair and a lean torso, you're destined to play this role. Fortunately Caroline has the chops to back up the looks, not just a siren-like voice, but the spunk and awkward grace of this fish-turned-woman. The way that she tentatively takes her first steps on her new legs is really well done, and once she learns to walk, she runs and dances across the stage with ease. Caroline is also able to convey everything about the character while not speaking for most of the second act, although she does sing a few songs to show us what's going on in Ariel's head and heart.

"Kiss the Girl!" Caroline Innerbichler and Tyler Michaels
(photo by Heidi Bohnenkamp)

• Tyler Michaels never fails to impress in any role, large or small. On the heels of a brilliant (and perhaps, career-making) turn as the Emcee in Cabaret, he does a 180 to play a wholesome Disney prince, and once again transforms into the character. He's so charming as this prince fighting against his role, and even gets to throw in some of his aerial (no pun intended) tricks as he hangs upside down from a rope when Prince Eric falls off the ship. Rest assured that was put in specifically to play to Tyler's talent, anyone else plays this role and they'd do the scene differently (which makes me wonder what they'll do when he leaves the role to make his Guthrie debut as Freddy in My Fair Lady this summer, perhaps his replacement is already studying the art of aerial work).
• I am convinced there is not a better actress in Minnesota to portray Ursula than Kersten Rodau. Her deep, rich, and powerfully strong voice is perfectly suited to the temperament of the sea witch and the song "Poor Unfortunate Souls," and she's proven she can do broad comedy to great effect (see also Xanadu and Urinetown). My one disappointment is that my favorite line from the movie, uttered by Ursula, appears to have been cut: "Life's full of tough choices, isn't it?" dripping with sarcasm. (Kersten - can you please just ad lib that sometime?)

"Poor Unfortunate Souls!"
Michael Gruber, Caroline Innerbichler, Kersten Rodau, and Tony Vierling
(photo by Heidi Bohnenkamp)

• As usual, Jay Albright is an absolute scene stealer as the know-it-all sea gull Scuttle. The slow and practiced bird walk to exit the stage every single time and the way he mangles words is hilarious. Anytime he's onstage, it's impossible to notice anything else.
• Other perfectly cast supporting characters include Derek Prestly as the adorably sweet Flounder, the fish with an unrequited love for Ariel; a regal Keith Rice as King Triton, with his big beautiful booming voice; Michael Gruber and Tony Vierling as Ursula's deliciously evil and electric sidekicks; and Andre Shoals as Sebastian the comic relief crab (although the role was played as a bit too much of a fool for my taste, with the "uh oh" catch phrase verging into bad sitcom territory).
• Honorable mention to the six talented women playing Ariel's sisters (Ann Michels, Julianne Mundale, Emily Madigan, Emily King, Maura White, and Laura Rudolph), small roles that they each make the most of, swishing their tails with attitude. And they double as Eric's hilariously horribly voiced suitors in the Bachelor-like competition for his hand.
• About ten new songs were written for the stage musical by original score composer Alen Menken, with varying degrees of success. My favorites are "Positoovity," mostly because it gives Jay Albright a great opportunity to do his shtick; "Her Voice" because it gives Tyler more to do (when I heard he was playing the role I was concerned because I couldn't remember Eric singing much, if at all, in the movie, but rest assured he sings plenty here), and the lovely Ariel/Eric/Sebastian/Triton quartet "If Only." Some other numbers, including the hokey dancing song "One Step Closer," are forgettable. It's a little like going to see your favorite band, and you want to hear all their hits, but interspersed with the hits they play a bunch of new songs you've never heard, and you just want them to get back to the hits. I mostly just sat through the new songs waiting to hear the likes of "Kiss the Girl" and "Under the Sea" and "Poor Unfortunate Souls."
• The underwater world is presented quite successfully, and the costumes (by Rich Hamson) are superb. The mermaid effect is created with the tail sticking out behind the actress, over flowy light blue pants which blend into the pale blue set. They walk with tiny quick steps to skim across the stage; if you squint your eyes you can almost see them floating. Sebastion is in a full orangey-red crab costume, and octopus Ursula's darkly gorgeous dress ends in eight tentacles, two of which are connected to her hands and in constant motion. Birds, eels, fish - all fantastical and fun.
• Two highlights of the show are the ensemble numbers "Under the Sea" and "Kiss the Girl," with the cast adorned in crazy aquatic costumes wandering through the audience - dolphins, sea otters, starfish, seahorses, and the most colorful fish I've ever seen. In a show that's sure to draw a lot of children, it's a nice touch to have the cast in the audience so much, bringing the colorful underwater world a little closer.
• I view the story a little differently as an adult than I did as a teenager, but I'm not going to bring you down with the misogynist symbolism of a woman giving up her voice to win a man, or how frustrating I find the "fairy tale" ending that implies a woman's only goal is to get married. That's Disney for you, and this is Disney's The Little Mermaid.

The Little Mermaid is playing through August at the Chanhassen, so you have plenty of time to see it, with or without kids. But I do recommend you catch it before Tyler Michaels leaves the show, probably in May sometime. It's a colorful, fun, light, happy show with great music, familiar to those of us who grew up with the movie, performed by an energetic and talented cast. Six months is a long time to do the same show night after night, but if I know the Chanhassen, they'll continue to find fun and playful moments every night to keep it fresh.

"We got no troubles, life is the bubbles, under the sea!"
(photo by Heidi Bohnenkamp)

"Fiddler on the Roof" at Chanhassen Dinner Theatres

Chanhassen Dinner Theatres' new main stage musical Fiddler on the Roof feels like a bit of a change from recent fare. The last few shows (Joseph, Bye Bye Birdie, Xanadu) have been very high energy, fun, almost campy musicals. It's been quite a while since I've had a tear in my eye at the Chanhassen, but I did on Friday night. Tevye, the main character in Fiddler, has such love for his family, his traditions, and his village that when those things begin to be broken apart, you can't help but be moved by it. Don't get me wrong, there's still plenty of humor and great dancing (although of a different kind than the usual Broadway style), but this show has more of a deeper meaning and serious undertone that we've seen recently at the Chan. But what hasn't changed is the excellent cast of regulars (and a few newcomers) directed by Michael Brindisi, the fantastic onstage orchestra led by Andrew Cooke, and the high production values. This is a great production of one of the most popular musicals of the last century.

The 1964 musical Fiddler on the Roof is based on late 19th century stories by Russian Jewish writer Sholen Aleichem. Tevye is a poor and simple man with strong belief in his Jewish faith and traditions. He believes in doing things the way they've always been done, which means arranging marriages for his five daughters. But it's 1905, and the times, they are a-changin'. Oldest daughter Tzeitel wants to marry a man of her choice, a poor tailor. Despite the fact that Tevye has arranged for her to marry the wealthy (and much older) butcher, he gives in to Tzeitel. It's obvious that the girls have their papa wrapped around their little fingers and he would do (almost) anything to see them happy. In the struggle between tradition and his daughters' happiness, his daughters win. Second daughter Hodel moves further away from family tradition when she agrees to marry a man not from the village, a scholar and political activist who gets arrested and sent to Siberia, with Hodel to follow. Third daughter Chava goes a step too far when she wants to marry outside the faith, a Russian man named Fyedka (but he's one of the "good" Russians). It breaks Tevye's heart to do so, but he cannot accept this gross breach of tradition and the seeming rejection of the faith he holds so dear. But these are not the only problems poor Tevye is dealing with; 1905 Russia was not a welcoming place for Jews. Facing religious persecution and pogroms, Tevye and his family are forced to leave and find a new home. It's a sad ending, but there's also a feeling of hope that this family will stay together and continue their traditions, as well as begin new traditions, wherever they find themselves.*

Keith Rice as Tevye

At the heart of this production is Keith Rice as Tevye. He's long been one of my favorites at the Chanhassen, often hamming it up in a comedic role (such as his recent turn as the Pharaoh in Joseph), but this is the best I've seen him. He still plays the comedy in Tevye's friendly kvetching about his troubles as he talks to God (and the audience) like an old friend, but there's great heart there too. Keith possesses a beautiful rich baritone with which he can bring down the rafters, but he shows incredible restraint in "If I Were a Rich Man," pulling it in and making it a sort of conversational rumination on a daydream. Michelle Barber is a good match as his wife Golde, and they share a comfortable chemistry, especially in the sweet song "Do You Love Me?" The three daughters are well cast; they're charming, strong singers, and embody the different personalities of the girls (Serena Brook, Ruthanne Heyward, and Caroline Innerbichler). Also great and well cast are the men playing their suitors (Zachary Colton Schaeffer, Jared Oxborough, and Tyler Michaels**). The large ensemble provides great support, and Mary Sue McDonald is the titular Fiddler, who seems to represent Tevye's soul, always there at important moments.

The costumes (by Rich Hamson) are excellent and authentic-looking, and I couldn't help but think how hot the actors must be under the layers of coats, shawls, skirts, boots, hats. A fortunate story element - according to tradition everyone must keep their heads covered - eliminates the need for unflattering wigs. In addition to the muted everyday wear, there's also an opportunity for fun and colorful costumes in a fantastical dream sequence. The choreography (by Tamara Kangas Erickson) features some thrilling Jewish and Russian-style dancing, and the well-known score includes such favorites as "Tradition," "Matchmaker, Matchmaker," and "Sunrise, Sunset."

I wasn't that familiar with Fiddler before seeing this show, having never seen the entire 1971 movie and only having seen it onstage once before (pre-blog, which means I don't remember much about it). I found it to be a great musical about faith, family, tradition, resilience, and community. Head out to Chanhassen between now and February for something to warm your heart (and stomach - some great new menu items) this winter.




*If you want to know what happens to Tevye and his family upon immigrating to America, go see Theater Latte Da's Steerage Song, a new music-theater piece about the European immigrant experience in the 19th and early 20th centuries.
**Tyler Michaels is playing the role of Fyedka through Dec. 8, at which time he leaves the show to play the emcee in Theater Latte Da's Cabaret.

"Joseph and the Amazing Technicolor Dreamcoat" at the Chanhassen Dinner Theatres

celebrating 45 years at the Chanhassen
(can you name the actor who appears
three times, and the actor currently
starring in a Broadway musical?)

On last week's episode of A Prairie Home Companion from Town Hall in New York City, Garrison Keillor said a good musical can "pick you up and throw you up in the air." The Chanhassen Dinner Theatres' new production of Joseph and the Amazing Technicolor Dreamcoat is just such a show. While I was a little disappointed that they chose to do this show for the third time in the last seven years, I can see why they picked this one to repeat. In addition to being a big commercial success for them, it's a fun, light, happy show - just what you want to see in the summertime (that is hopefully coming). With a super high energy cast, great performances in lead and featured roles, fantastically performed music, and a colorful set and costumes, it's fun for all ages. You will leave the theater feeling a little lighter. And hopefully the success of this five-month run will give them the freedom to choose something a little bit risky and interesting for their next show.

Written by Tim Rice and Andrew Lloyd Weber in the late 1960s, Joseph and the Amazing Technicolor Dreamcoat is based on the biblical story of Joseph, youngest and favored son of Jacob.  He was sold into slavery by his jealous brothers, but because of his talent for reading dreams, he rose to power as the Pharaoh's second in command.  He led the country through bounty and famine, and forgave his brothers when they unknowingly came to him for help. In other words, it's just a fun romp about slavery and famine. This is an entirely sung-through musical, with no spoken dialogue. It's pretty intense musically, and the almost thirty-person cast and nine-piece onstage orchestra (under the musical direction of Andrew Cooke) sounds full and fantastic.

Some highlights of the show:

• The show may be named after Joseph, but the main character is nameless. Jodi Carmeli reprises her role as the Narrator and is completely comfortable in the role, vocally and from a character standpoint. She carries the show and is a wonderful friendly guide for the audience (and the two lucky children picked to join the actors on stage*) as she leads us through the story with a winking, knowing look (you'll be OK Joseph, we've been outside and seen the marquee).
• In a completely different role from the last time I saw him (Theater Latte Da's Aida), Jared Oxborough is a delightful Joseph - childlike and almost goofy (my friend compared him to Keanu Reeves in Bill and Ted's Excellent Adventure). His voice sounds fantastic as always. "Close Every Door" is the one somber moment in the show, a bit of a tonal disconnect with the rest of the show, which is almost giddy. This is an angsty song, but there's zero angst in this show, so it doesn't quite fit. Still, it's a nice vocal moment for Jared.

the Pharaoh (Keith Rice) with his many admirers
(photo by Rick Spaulding)

• Keith Rice may have let his hair go gray, but he's still got it! He steals the show as the Elvis-like Pharaoh, making the women faint by flexing his jewel-nippled pecs, doing the splits, thrusting his hips, curling his lip, and singing in that great baritone voice of his. He really hams it up in the best way.
• Joseph's eleven brothers sing in full and beautiful harmony in a variety of styles - the twangy "One More Angel in Heaven," the mock-mournful French "Those Canaan Days," and the tropical "Benjamin Calypso." In the latter song, the brothers are pleading for mercy for Benjamin (Tyler Michaels, with his usual expressive physicality), who has been wrongly accused of stealing. As Benjamin tries to escape the accusation, Tyler non-chalantly whistles "Bye Bye Birdie," a nice nod to the last show at the Chan, in which he also appeared.
• The choreography by Tamara Kangas Erickson is fun and fast, and very ably performed by the energetic young ensemble. Julianne Mundale, one of the best dancers to ever grace the Chanhassen stage, gets her fantastic dance scene (in which I swear she almost kicks herself in the face).
• In a show with the phrase "technicolor dreamcoat" in the title, you expect color. And costume designer Rich Hamson delivers. The coat is indeed technicolor, and everyone from the Egyptian slaves to the brothers to Joseph in his sparkly gold loincloth are well-clad (almost making one forgive the bad wigs and fake beards). The set (by Nayna Ramey) is dominated by huge letters on rollers spelling out "JOSEPH" that are cleverly used as various set pieces.

Joseph and the Amazing Technicolor Dreamcoat is a safe choice for the Chanhassen, but they really deliver. Director Michael Brindisi says in a note in the playbill, "I think we'll just do it and have fun." Light, fun, happy, and highly entertaining - sometimes that's all you need from a musical. The show continues through August so you have plenty of time to make your way out to the Southwest suburbs and check it out. (I only hope it's not snowing when you see it, like it was when I did.)

Joseph (Jared Oxborough) with his pleading brothers
(photo by Rick Spaulding)

*If you have a little one with a yen for the theatrical, you can enter them into a drawing before the show in the lobby. Two lucky kids are chosen each night to join the cast on stage and take part in the show. You might also want to consider the Chanhassen's summer musical theater camps.

"Bye Bye Birdie" at Chanhassen Dinner Theatres

"We love you Conrad, oh yes we do,
We love you Conrad, and we'll be true,
When you're not with us, we're blue,
Oh Conrad we love you!"

That little ditty has been stuck in my head since seeing Bye Bye Birdie at the Chanhassen* last night. This is the first time this classical musical from the 1960s has played on the Chanhassen stage, and the first time I've seen it. In fact, I really only knew of it from that episode of Mad Men where Peggy imitates Ann-Margaret singing the title song of the movie, trying to live up to the early 60s ideal of womanhood (in that brilliant way Mad Men has of breaking down the social mores of the time, that aren't as different as we think from today). So the show was all new to me, and I really enjoyed it. It's a big, old-fashioned, fun musical with a huge cast and fantastic dance numbers. There's nothing deep about it, but it's highly entertaining.

the happy couple, Rose and Albert
(Ann Michels and Michael Gruber)

For those of you who, like me, are unfamiliar with the story, Bye Bye Birdie is about an Elvis-like singer named Conrad Birdie (Frank Moran with a brilliantly high pompadour and a suitable charismatic nonchalance) who is drafted into the Army. His agent, Albert (a charming Michael Gruber), and secretary/ girlfriend, Rose (Ann Michels in a feisty performance that includes a pretty spectacular dance number), come up with a publicity stunt in which Conrad kisses one lucky fan chosen at random to promote the release of the song "One Last Kiss," before shipping out overseas. That lucky fan is Kim (the sweet-voiced Jessica Fredrickson) of Sweet Apple Ohio, who was recently "pinned" by her boyfriend Hugo (my new fave Tyler Michaels, who gets to show off his unique physical style of acting in a drunken scene). Conrad and company arrive in the small town and cause a hubbub. Turns out Conrad's not the innocent all-American boy he seems to be, preferring to drink, dance, and party. Hugo is jealous of Conrad, and Rose is jealous of Albert's new secretary (Xanadu's Jodi Carmeli in a small but memorable role), so they both scheme to prevent the kiss. Which, by the way, was to take place live on The Ed Sullivan Show! Both of our couples are on the outs as the second act begins, and there's a wild night of partying at the Ice House ("what's there?"  "I don't know, ice?"). But of course, since this is a traditional musical, both couples find their way back to each other by the final curtain.

The Telephone Hour

This is a huge cast full of many Chanhassen faves and a few newcomers, all of whom are entertaining and fun to watch. Standouts, in addition to the ones mentioned above, are Seri Johnson as Albert's long-suffering martyr of a mother (or at least that's how she sees herself), Keith Rice and Michelle Barber as Kim's strict but loving parents, and Tod Petersen as the fawning mayor. The teen girl chorus is particularly fabulous (Hairspray's Therese Walth, Emily Madigan, Caroline Innerbichler, Ruthanne Heyward, and Larissa Gritti) as they swoon over Conrad, dance, and sing the aforementioned little ditty. The group dance numbers are energetic and bouncy in that 50s style, especially "The Telephone Hour," "Honestly Sincere" (in which the entire town, including the mayor's wife, ends up at Conrad's feet), and "A Lot of Livin' to Do." The score also includes a couple of familiar songs "Put on a Happy Face" and "Kids" (I don't know what's wrong with these kids today).

It's no secret that I loved the Chanhassen's summer musical Xanadu, which was a bit of a departure for them in that it's a new musical with a smaller cast and a little bit of a wicked, sarcastic tone (which is probably why I loved it). But with Bye Bye Birdie they return to their standard (which is not a bad thing) - a classic musical with a huge cast and fun musical numbers. Playing now through March 30, it'll make your winter a little warmer and brighter.

the town of Sweet Apple Ohio swoons over Conrad Birdie

*I received two complementary tickets to the Opening Night of Bye Bye Birdie.

"Xanadu" at the Chanhassen Dinner Theatres

I was fortunate enough to be invited to Press Night* at the Chanhassen for the Midwest premiere of their summer musical, Xanadu, and I have to say, I think it's the most fun I've ever had at the theater! Xanadu is a parody of the 1980 Olivia Newton-John movie flop of the same name, and Douglas Carter Beane (who wrote the book of the show) has done a fantastic job of creating a clever, funny, silly, campy piece of theater that manages to make fun of itself at the same time that it celebrates creation and the arts. The Chanhassen always does a good job with their shows, but this is a really excellent production, the best I've seen there in years. The cast completely commits to the camp of the piece, as directed by Artistic Director Michael Brindisi, and that's what you have to do. There's no halfway with this show, you have to go all in or it doesn't work. And they do.

The plot of the show is an odd mix of Greek mythology and 80s references, with some 40s dance numbers thrown in. Sonny is a Venice Beach artist who has lost his inspiration, when Clio the muse (along with her sisters) steps out of a mural and disguises herself as the roller-skating legwarmer-wearing Australian-accented Kira to help him. Together, they fix up an old theater to open a roller disco, where music, art, dance, and athletics combine. Meanwhile, Kira's evil sister curses her to fall in love with the mortal, which is forbidden by their father Zeus, so she is exiled to the netherworld. Sonny follows Kira through the mural to Mount Olympus to declare his love for her. (Yes, I know, it's ridiculous, but just go with it!) Amidst all of this silliness is some clever commentary on the current state of musical theater (all of the muses left in 1980, leaving only poor cinematic adaptations, and the box that is juke), including an Andrew Lloyd Webber dig! This is a show that doesn't take itself too seriously; it's in on the joke.

Kira (Jodi Carmeli) and her sister muses
photo by Act One, Too Ltd

Jodi Carmeli as Kira is the star of this show. Totally immersed in the camp, she floats around the stage on her skates, speaking with an exaggerated Australian accent, and her gorgeous singing voice sounds uncannily like Oliva Newton-John at times. Dieter Bierbrauer (one of my faves) is an excellent choice to play Sonny. He also walks that fine line of camp and sincerity as the sweet but slightly stupid California artist dude (and he's a natural on roller stakes, methinks he's done this before). A silver-maned, big-voiced Keith Rice is great as always, playing a business man who once had a muse of his one. In a flashback, we see his younger self (the Gene Kelly-esque Mark King) singing, dancing, and being inspired by a muse who looks an awful lot like our Kira. The muses are all wonderful, especially Kersten Rodau, who totally hams it up as the evil muse, and Seri Johnson, as her slightly nerdy sidekick (and a second role that's equally hilarious). The two of them cackling and plotting together are a hoot! Finally, I was waiting the entire show to see Cat Brindisi (aka Wendla from Theater Latte Da's brilliant production of Spring Awakening), but she only appears briefly at the end. Still, it means that she hasn't moved back to New York City yet and is helping out with the family business this summer. Maybe we can keep her around a little longer.

Kira (Jodi Carmeli) inspires Sonny (Dieter Bierbrauer)
photo by Act One, Too Ltd

The set is pretty simple and the stage is considerably smaller due to the onstage seating. The costumes (by Rich Hamson) are super fun, ranging from drapey Greek gowns, to bad 80s cliches, to a centaur and Medusa! And you gotta love a musical that has both a choreographer and a skating coach. The music (by Jeff Lynne and John Farrar) is from the 1980 movie, so it has that great cheesy nostalgia (I just downloaded the soundtrack and will likely be singing along with it in the car with the top down all summer!).

Xanadu is the perfect summer show - light and fun, clever and silly, very refreshing and entertaining. There are limited seats available onstage, which on Press Night seemed to be reserved for local TV celebrities, including Don Shelby (aka the narrator of The Rocky Horror Show). So if you'd like to be part of the action, call the box office for details (but don't say I didn't warn you!). There are also participation kits available for purchase (ala The Rocky Horror Show), which include disco balls, glow sticks, and other assorted goodies. All of this, along with the great material and spot-on execution, makes for a ridiculously fun summer party at the theater. This is a fairly limited run for the Chanhassen, just four short summer months, so get out to the Southwest suburbs while you can!

the Xanadu "X-Box" participation kit, available for purchase 

*I received two complementary tickets to Xanadu, along with food and drinks (thanks to the official drink sponsor of the show, I now have a new favorite summer drink). But I loved the show so much that if I lived closer, I'd happily pay full price to see it again!