"Jefferson Township Sparkling Junior Talent Pageant" at Park Square Theatre

This summer, Park Square Theatre is all about supporting new works of music-theater created right here in #TCTheater. Last weekend saw the closing of one remount of a locally created new original musical (the gorgeous and moving dance musical about the Bosnian War, Heaven) and the opening of another remount of a locally created new original musical. More than a remount, this iteration of Jefferson Township Sparkling Junior Talent Pageant is an expanded version of the 2017 Fringe hit that has been doubled in length, fun, and emotion. Created by uber-talented young composer/lyricist/playwright Keith Hovis, Jefferson Township is a darkly hilarious and surprisingly poignant look at a group of millennials turning 30, as seen through a super creepy small town Minnesota youth pageant. It's extremely clever, very funny, and the super talented well-balanced quartet of actors are having so much fun that it's impossible for the audience not to have fun too. Jefferson Township Sparkling Junior Talent Pageant is the perfect fun summer musical.

Fringe Festival 2017: "Jefferson Township Sparkling Junior Talent Pageant: A New Musical"

Day: 1

Show: 2

Title: Jefferson Township Sparkling Junior Talent Pageant: A New Musical

Category: Musical

By: Devious Mechanics

Written by: Keith Hovis

Location: Mixed Blood Theatre

Summary: In search of something, a woman returns to her small town home and decides to finally continue an interrupted junior talent pageant from 20 years ago.

Highlights: This is another fun, fringey musical from the brilliant (and perhaps slightly warped) mind of Keith Hovis (see also Teenage Misery and Shakespeare Apocalypse). This one centers around the residents of a small town in Jefferson County, Iowa, and the late-20s former classmates who reunite to reenact the junior talent pageant they participated in 20 years ago, cut short due to a tragic accident. Frannie (Kelly Houlehan) had some success in "the Cities," and now finds herself living with her dad in the town where she grew up, where the first male pageant competitor Liam (Ryan London Levin), past his prime jock Travis (Zach Garcia), and spoiled little rich girl (and reigning champion) Val (Leslie Vincent) still live. In a Keith Hovis musical, we know there will be fun, catchy, clever tunes, dark humor, and blood, and this show fulfills all of those expectations. With fantastically broad and fully committed performances by the cast, a good time was had by all (note: unlike my first Fringe show, this one is decidedly not family-friendly!).

Read all of my Fringe mini-reviews here.

"Teenage Misery" by Revisionary Theatre Collective at Sandbox Theatre

There's another new theater company in town. They're called Revisionary Theatre Collective, and they're making their debut with a remount of the 2013 Minnesota Fringe musical Teenage Misery. It was one of my favorite Fringe shows that year, about which I wrote:

What do you get if you combine the Stephen King novels Misery and Carrie with the musicals Sweeney Todd and Bye Bye Birdie? You get this odd and delightful mishmash of a musical, that doesn't shy away from the material it borrows from (the opening song is "attend the tale of Carrie Black," and Conrad Birdie is replaced by Shane West). A little rough around the edges, but the songs are great, with clever commentary on what it's like to be a young person growing up today, and winking jokes about "no time for proper character introduction, we only have an hour."

"Wait Until Dark" at Lyric Arts

Anoka's Lyric Arts Main Street Stage opens their 2016-2017 season with an updated version of the 1960s thriller Wait Until Dark. Living on the north side of the Twin Cities, it's a pretty easy jaunt up Highway 10 to Anoka, and I've come to enjoy the trip. Lyric Arts may be a community theater in the suburbs, housed in an old movie theater in charming downtown Anoka, but much of what you'll see there is as good as anything you could see on a professional stage in the Twin Cities. Wait Until Dark is one such example. It's a technically challenging show, with the very specific "dark" and fights and suspense and all, and this team pulls it off beautifully. I was literally on the edge of my seat with my hands over my mouth, terrified of the sounds coming from the stage as we sat in complete and utter darkness. If you're a Lyric Arts fan, or have never been, you don't want to miss this one, especially if you're on the north end of town. You may need to sleep with the light on for a night or two, but it's worth it.

"Fiddler on the Roof" at Artistry

Tradition! The opening song of Fiddler on the Roof speaks of the traditions in the little Russian town of Anatevka in the early 20th Century, setting the stage for a story steeped in tradition, when to hold on to it and when to let go and embrace a new way of doing things. The new production at Artistry (formerly known as Bloomington Civic Theatre) is also steeped in tradition. There's nothing really new or innovative about this production; it's a faithful interpretation of this classic musical that, though a bit too long, is full of beautiful and familiar music and much heart in this universal story of a specific family. Artistry has assembled a huge and talented cast, and as always the score sounds gorgeous coming from the nearly 20-piece pit orchestra. If well done traditional classic musical theater is your thing, you might want to check this one out before it closes on May 8.

"Musical Mondays" at Hell's Kitchen, March 2016

American Idol might be ending this year, but Musical Mondays at Hell's Kitchen is still going strong after 3+ years! You don't need some TV talent search to see talented performers, you can head down to Hell's Kitchen in downtown Minneapolis the first Monday of the month to see some of our very own top talent. While I've only attended 7 of their 36 shows, this cabaret show featuring beloved and obscure songs from musical theater never disappoints. 

"Pioneer Suite" by Freshwater Theatre at nimbus theatre

A new original musical, Minnesota history, a gorgeous score written in an early Americana style, a wonderful cast, beautifully rustic period costumes and set, and the real stories of three women who are given a voice. What's not to love about Freshwater Theatre's aptly titled Pioneer Suite? This piece, that is in effect three one-act musicals woven together with a similar theme, time period, and musical style, was written by Keith Hovis, who also music directs and plays keyboard in the three-piece band. I loved Keith's Minnesota Fringe musicals Teenage Misery and Shakespeare Apocalypse, which were both fringey delights, but Pioneer Suite is on a whole different level and proves that he can do more than write catchy songs and a silly and entertaining story. Pioneer Suite is a beautiful and fully formed musical, with moments of humor, darkness, depth, desperation, and heart.

The first act, or movement, is about "Mrs. Housel* of Suicidal Fame," and was presented as part of Freshwater's Archival Revival. Kelly Matthews performed this song at the Ivey's last year, and I'm so glad those of us who missed the original production have a chance to see it again, and more! Based on a newspaper clipping about a woman who attempted suicide nine times, Mrs. Housel is finally able to tell her own story, in her own words. It's obvious that Kelly has spent time with this character, as she makes the audience feel every note and emotion in Mrs. Housel's tragic story.

In the second act we meet Martha Angle Dorsett, the first woman lawyer in Minnesota. Actually we meet two Marthas, one at the ripe old age of 36 (Kendall Anne Thompson), and one a youthful 26 (Gracie Anderson). The younger Martha is facing a decision by the judge whether or not to admit her to the bar, which seems like the most important thing in life. The older Martha has decided to quite practicing law, and tries to convince her younger self that there's more to life than "success." They have some interesting song-conversations, and combining the powerhouse voices of Kendall and Gracie leads to some gorgeous sound. Philip Matthews as her husband Charlie completes the charming trio.

The final act is about Mary (Gail Ottmar), a farmer's wife, who has suffered great loss in her life and would most likely be diagnosed with clinical depression today. But in the late 19th century, all her husband (Jim Ahrens) and son (Zach Garcia) know is that mother spends a lot of time in bed. The visit of a beloved daughter (Libby Anderson) and her fiance (Lars Lee) serves to cheer her up for a time, until she learns that they're leaving the city to start their own farm, the same difficult life that has nearly destroyed Mary. This family drama provides some nice moments for everyone in the cast, from the sweet young couple in love, to the family eagerly preparing for the visit, to Mary singing about her "Melancholia."

Each one of these three mini-musicals could stand on its own (and I'd have a hard time picking a favorite), but putting them together creates an even more powerful and fulfilling experience. The music really evokes that pioneer feeling of the late 19th Century Midwestern frontier, and it's a beautiful thing to hear the stories of three everyday women, who didn't necessary do anything newsworthy in their lives, except that they lived. The closing song allows Mrs. Housel, the Marthas, and Mary to sing together about the power of telling one's story and being heard. I definitely won't forget these three remarkable women soon. Head to nimbus between now and October 18, and you won't either.




*Listen to Keith Hovis talk about the process of writing Mrs. Housel on the Twin Cities Song Story podcast, hosted by Mark Sweeney.

"River Road Boogie" at History Theatre

Does the name Augie Garcia ring a bell? Unless you were a young person who frequented the local Rock and Roll clubs in 1950s St. Paul, probably not. Augie is considered the Godfather of Minnesota Rock and Roll, but unlike his contemporary Buddy Holly, he was a one-hit wonder who never achieved national fame, whether by choice or happenstance is unclear. A new play at the History Theatre, written by local actor and playwright Joe Minjares, sheds light on the fascinating story of this man who was not just a pioneering Minnesota musician, but also a Korean War vet and a devoted family man. Like The Buddy Holly Story (a History Theatre hit remounted last fall), River Road Boogie tells the story of Augie's life through his music as performed by this fabulous cast, but unlike The Buddy Holly Story the music takes a back seat in the second act as Augie's life starts to turn away from a music-focused one into a family-focused one. As always at the History Theatre,* this play is a wonderful opportunity to learn about a great Minnesotan you might never have heard of, but whom you will certainly admire and appreciate after seeing him brought to life on stage.

Augie Garcia grew up in a tight-knit Mexican-American family in St. Paul's West Side neighborhood, specifically an area know as The Flats across the river from downtown St. Paul. He and his friends were such loyal St. Paulites that they refused to drink Grain Belt beer (brewed "across the river"), only Schmidt or Hamm's would do! Our story picks up when Augie returns from a few harrowing years serving in the Korean War. He's happy to be home with his family, friends, and music, and channels his conflicting feelings about the war into his music. He starts a band called the Augie Garcia quintet (inexplicably with six members) and they become quite successful in the local music scene, with a standing gig at the River Road Club in Mendota. In what was perhaps the highlight of their career, Augie and the boys opened for Elvis and were famously kicked off the stage by Colonel Parker because they were coming dangerously close to upstaging the King. Soon after, fame came a-callin' with the promise of bigger gigs and national attention, forcing Augie (in this interpretation of his life) to do some serious soul-searching and decide what he truly wanted in life. Jersey Boys showed us what happens when you succumb to the dangers of fame and success, but Augie chose a different path. As a result most people today don't know his name, but those who saw him perform remember, and thanks to the History Theatre, so will I.

a '50s dance party on the History Theatre stage

Augie released a handful of singles in the mid-50s, the most successful of which is "Hi Yo Silver," inspired by the popular Lone Ranger TV series. The show incorporates five Augie Garcia originals, including this hit and the title song, as well as a few other hits of the time and traditional Mexican songs. All are performed in the context of a concert, rehearsal, or just singing around the house or bunker with friends, making this more of a play with music than a traditional musical. This along with the fact that the cast doubles as the band (a mix of actors and musicians) means that the music feels organic to the story, rather than an add-on. The big Rock and Roll numbers all come in the first act and are fabulously performed by cast, band, and dancers. The second act only features a few quieter songs, the musical spectacles of the first act fading into memory as did Augie's musical career. The tone of the piece shifts as Augie grows up and deals with his demons.

Ricardo Vázquez channels Augie Garcia
(photo by Scott Pakudaitis)

The Ivey Awards 2013 Emerging Artist Ricardo Vázquez is the perfect choice to play Augie Garcia. He embodies the man physically, emotionally, and musically. Augie's music inhabits his body in a specific way, particularly in the song "Ivy League Baby," when he's all over the stage energetically performing crazy dance moves in Augie's trademark shorts (in the post-show talk back Ricardo said he was able to watch a video of a performance Augie gave in the '90s, and extrapolated that back a few decades with his own unique spirit). In addition to the music, Ricardo also brings depth to the character, particularly in Augie's emotional breakdown after a local tragedy reminds him of the hell of war. The excellent supporting cast includes Matt Rein with a couple of diverse performances as Augie's tormented war buddy and band mate (playing the upright bass), and a sleazy radio DJ; Lara Trujillo and Pedro R. Bayón as Augie's supportive parents; Kelly Matthews as Augie's girlfriend Nancy in a sweet love story; and Shawn Hamilton as the sax player who serves as a sort of narrator of the story. Like they did for Buddy Holly, History Theatre has brought in some students from St. Paul Conservatory for Performing Arts to serves as dancers and concert attendees, bringing a youthful energy to the stage.

Tom Mays' cool scenic design provides a perfect backdrop for the story. A replica of the Robert Street Bridge, so important in Augie's life and memories, dominates the back of the stage, with the outline of a huge guitar behind it (something I didn't actually notice until I attended the "hiatus concert" by my favorite local band Storyhill on the same stage later that day). The stage on which Augie and the boys perform rolls out for the concert/rehearsal scenes, and then rolls back again to allow room for scenes in Augie's house, a bar, or other locations.

I truly appreciate the History Theatre for bringing to life people who are important in the history of my beloved home state of Minnesota, but who may not be written about in the history books. Augie Garcia is one such Minnesotan, and it's a treat to watch him shine on stage in the person of the uber-talented Ricardo Vázquez, supported by all these great actors, musicians, and dancers. River Road Boogie continues through May 31 (discount tickets available on Goldstar).


*The History Theatre recently announced their new season, and I'm super excited that the season opens with my favorite Raw Stages reading Glensheen, a musical about the famous Duluth mansion and the strange murder mystery that occurred there. My favorite Minnesota playwright Jeffrey Hatcher sets just the right tone, with some really great songs by Chan Polling. Another very promising reading from this year, Complicated Fun, closes out the season next spring. And if you missed Buddy Holly last time around - don't worry, he's back this fall.

"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.

Fringe Festival: "Teenage Misery: A Horror Musical"

Day: 6

Show: 18

Title: Teenage Misery: A Horror Musical

By: Devious Mechanics

Written by: Keith Hovis

Location: Theatre in the Round

Summary: A young woman in college and her two best friends kidnap their idol Shane West. It ends badly, and they go on a killing spree across the country.

Highlights: What do you get if you combine the Stephen King novels Misery and Carrie with the musicals Sweeney Todd and Bye Bye Birdie? You get this odd and delightful mishmash of a musical, that doesn't shy away from the material it borrows from (the opening song is "attend the tale of Carrie Black," and Conrad Birdie is replaced by Shane West). A little rough around the edges, but the songs are great, with clever commentary on what it's like to be a young person growing up today, and winking jokes about "no time for proper character introduction, we only have an hour." The young actors in the cast may be a little green, but there's a ton of raw talent on that stage, and they perform with such enthusiasm and energy that it's impossible not to have fun watching them. Kelly Houlehan as Carrie has a strong voice and lights up the stage, Jordan Oxborough plays the not-so-smart idol well and sounds great too (talent runs in the family), and Shana Berg is a scene-stealer as the woman with a psychic connection to Shane (their psychic duet is hilarious). It's everything you want a Fringe musical to be - fun, clever, over-the-top, with strong performances and catchy tunes. Musical theater lovers - go see this one!

Read more of my fringe fest reflections…

… including my top 5 shows