"The Seven" by Ten Thousand Things at Open Book

Friends, I know I rave about Ten Thousand Things often on this blog, but I'm telling you, The Seven is crazy good. It's unlike anything I've ever experienced. Using an adaptation by Will Power, they've taken an ancient Greek tragedy and reinvented it as something entirely modern, fresh, relatable, energetic, contemporary, and understandable. The New York Times review of the 2006 premiere at NY Theater Workshop referred to it as "a hip-hop musical comedy-tragedy." This cast of eight includes some of the top talent in this town, and they all bring it. There's really no choice but to do so; in the small fully lit space at Open Book with minimal sets and costumes, there's nothing to hide behind. What you see is what you get, and in this case, what you get is awesome.

Artistic Director Michelle Hensley introduces the show, as she always does, and sets the stage for those of us unfamiliar with the story. The original play, Seven Against Thebes, tells the story of Oedipus' sons, upon whom he levied a curse - that they would kill each other. Despite their best intentions to avoid the curse, they of course fulfill it, as always happens in Greek tragedies. The Seven also shows us Oedipus, explaining his own curse (that he would kill his father and marry his mother) and bestowing it upon his sons after they cast him out, and later appearing to them to encourage them in falling victim to it. It's a universal tale of family, war, power, fear, and destiny.

The cast is comprised of eight talented actor/singer/rappers (most of whom I've seen in theaters around town), directed by Sarah Rasmussen, fresh off the completely delightful In the Next Room at the Jungle. We are guided through the story by the narrator/DJ, mixing tunes and tales, played by the fabulous Aimee K. Bryant. Bruce A. Young is strong and powerful as Kind Oedipus, with a scary turn as one of the Seven who wage war against Thebes. As his sons, H. Adam Harris and Kinaundrae Lee give their all, vocally, physically, and emotionally, as the loving brothers who unthinkably turn against each other. One tough and kingly, the other a nature-loving poet, but both sons of the cursed family. The excellent Greek chorus consists of Katie Bradley, Brian Sostek, Ricardo Vazquez, and Joetta Wright, who also play the worried people of Thebes and the titular Seven, a parade of superheroes. Particularly impressive is Ricardo (see also Next to Normal), who possesses a voice that was made for musical theater, ringing out across the room with no amplification necessary. He also has a pretty cool fight scene with himself.

Even though hip-hop and rap are not my favorite musical genres, the music here is fantastic (directed, as always, by Peter Vitale, who also accompanies on percussion). Fast raps are combined with more pop sounding tunes, much of it a capella, all ably performed by the talented cast. The costumes (by Annie Cady) are simple but effective, modern mixed with classic (and to-die-for green gloves worn by the chorus to represent nature).

I don't know how Ten Thousand Things does it. In a fully lit room with minimal sets and costumes, you're more aware that this is just pretend, but somehow, because of their particular brand of genius, it's so easy to be carried away into their world, and never want to leave. I was so engrossed in the world created in that room, that when it was over and I walked outside, I forgot for a moment where I was and what I was supposed to do next. Reality is jarring when you realize that what you truly believed was reality for a short space in time was only make-believe. That's theater at its best, and that's what Ten Thousand Things consistently does. Three more weekends of paid public performances remain (in addition to their usual schedule of performing in prisons, schools, and community centers). Go see it.

"Hairspray" at Chanhassen Dinner Theatres

I saw the musical Hairspray at Chanhassen Dinner Theatres yesterday, and I'm still singing and dancing!  I've seen the show several times and it's one of my favorite musical theater soundtracks, so it's no surprise that I loved it.  It's a great cast of Channhassen regulars and newcomers, and a really wonderful production.  I went with my family, a group of 15 people ranging in age from 4 to 66 (including several teenagers), and a good time was had by all.  But it's more than just a good time, it's a great message - togetherness, standing up for what you believe in, and the realization that despite the fact that we might look different, we all just want to dance and have fun and be free to live our lives.  It's easy to forget that segregation wasn't really that long ago in the history of this country.  Today I saw I Wish You Love at Penumbra Theatre (more thoughts on that coming shortly), which gives a much more brutal, realistic view of segregation.  Both shows are about using music and television to enact social change, but that's where the similarities end.  In real life, segregation didn't end cleanly and easily with everyone dancing happily together.  But like Director Michael Brindisi writes in the playbill, Hairspray "is a fairy tale, but it can come true."  Humor and music and dancing is a legitimate way of dealing with an important part of our history.

A few more thoughts:

• Chanhassen newcomer Therese Walth is the star of the show.  She plays Tracy with such energy and enthusiasm it's contageous, and her voice is big and beautiful.  Her energy is matched by another Chan newcomer, Kaija Pellinen, as Tracy's best friend Penny.  She's hilarious and endearing in her awkward lankiness and gum smacking as she follows her best friend and supports her in her adventures.
• David Anthony Brinkley and Jay Albright may be the best couple I've seen on the Chanhassen stages in some time. Their chemistry is so playful, fun, sweet, and believable, it's a thing of beauty to watch. They have an ad lib section in the middle of "You're Timeless to Me" in the second act.  I'm not sure what Jay was doing because his back was to me, but David was cracking up. I don't blame him; I don't know how anyone can look at Jay Albright and keep a straight face, he's such a clown! David usually plays a tall, distinguished, silver-haired gentleman so it was fun to see him play against type as a tall, big-haired, supportive Baltimore mother, and do it so well.
• Tom Rusterholz as Link Larkin is no Matthew Morrison (who is, really?), but he puts his Richie Cunningham charm to good use as the boy Tracy falls in love with, and who eventually proves he's worthy of her.
• Nice to see some new faces in the ensemble along with old faves, including my favorite Chanhassen dancer and perennial teenager Tony Vierling. In any of the big, fabulous dance numbers (choreographed by Tamara Kangas Erickson), my eyes naturally gravitate towards him.  Two more Chanhassen faves Julianne Mundale and Janet Hayes Trow play the two less than supportive, but very funny and entertaining, mothers.
• Kasano Mwanza has the moves as Seaweed, and the voice too.  Run and tell that!
• After I saw the Elvis jukebox musical All Shook Up at the Chan last year, I wrote this: "If Aimee K. Bryant was auditioning for the role of Motormouth Maybelle in next year's Hairspray, she won it in my book!"  Apparently it wasn't only in my book, as she is playing the role and doing an amazing job!
• We had an understudy for Corny Collins, Ben Johnson, and he was excellent.  He's everything Corny should be - suave and charming with a beautiful voice (he sings with the Minnesota Opera).  Speaking of understudies, I see Kinaundrae Lee is an understudy for the Dynamites, which I would love to see!  He played Angel in a local production of RENT last year so I know he can sing and dance in heels!

Hairspray has been extended through May so you have plenty of time to make the trip out to the Southwest suburbs to see this colorful production of a super fun show.  You'll laugh and dance, and maybe even be reminded that like Tracy, sometimes you need to take a stand to make a difference.  It may not end up with everyone happily dancing together, but it might get things moving.

"Where's My Tony?" at Hennepin Stages

Last night I attended a fun show that celebrated, while poking gentle fun at, musical theater. Where’s My Tony was a one-night-only show written and hosted by local actors Whitney Rhodes and Joshua James Campbell, both of whom appeared in Theater Latte Da’s The Full Monty last fall. They presented ten “alternate” Tony Awards, followed by a performance by one of the songs from the winning show. Whitney and Josh were great hosts, both very funny with great voices, and with a good chemistry between them. What I loved most about this show is that even though it was sponsored by the Hennepin Theater Trust and featured the big Broadway touring musicals that have passed through the Hennepin theaters, it also spotlighted several talented local artists and their upcoming projects at smaller theaters such as Theater Latte Da and Mixed Blood Theatre (I tried to provide links for everything, so if something interests you, you can click for more info or to order tickets). This evening was fine example of what a great theater town this is.

The show began with a medley of songs from each of the shows in the upcoming Broadway touring season (which I have season tickets for): Wicked, Rock of Ages, Billy Elliot, Shrek, Hair, Jersey Boys, and West Side Story. Josh and Whitney took turns singing the songs, complete with costume changes and pirouettes (from Josh during the Billy Elliot song).

Without further ado, the awards:

The Worst Title of a Musical: Urinetown. Before they even announced the nominees I knew this one would be the winner. I saw Urinetown seven years ago and loved it. It’s equal parts satire, social commentary (“people don’t want to be told their way of life is unsustainable”), and great music. I’m just waiting for a local theater to mount a production of it. Accepting the award was Jared Oxborough, who first caught my attention in Footloose at the Chanhassen Dinner Theatre earlier this year. He sang the best song from Urinetown, “Run, Freedom, Run.” He would make a great Bobby Strong, and an even better Che, which just happens to be his next role in Theater Latte Da’s upcoming production of Evita.

Most Controversial Musical: Avenue Q. Even though I was rooting for another nominee, the brilliant Spring Awakening, this is a good choice. Rose Le Tran (frequent performer with Mu Performing Arts) accepted the award and sang “I Wish I Could Go Back to College.” She will be appearing in Mixed Blood Theatre’s production of Avenue Q next spring, which I was really excited to hear about. I love this show but have only seen the Broadway/touring production, so I’m curious to see what a smaller production will look like.

Best Musical that Doesn’t Contain Any Original Music, aka Jukebox Musical: Jersey Boys. Catherine Battocletti (also in last year’s The Full Monty) accepted the award and sang “Oh What A Night” from the show, a fun song with audience participation!

Best Guilty Pleasure Musical: Starlight Express. I’ve never seen this show and don’t know much about it, but Josh and Whitney sang a song that was appropriately cheesy.

Most Epic Musical: Phantom of the Opera (which I’m proud to say I’ve never seen). Whitney and Josh again took this one, with Whitney playing the part of Christine and Josh growling the Phantom role. It ended with a fun disco version of the title song, complete with glow-sticks thrown out to the crowd.

After a brief intermission, Whitney and Josh announced awards that were given out previously, including:

Best Musical to Take Your Kids to, to Torture Them: Fiddler on the Roof
Musical that Makes you Think All Art and Creativity in Theater is Dead: 101 Dalmatians
Lifetime Achievement Award (for Continuing to Tour with that Tired Show): Phantom of the Opera

Back to the main awards:

Best Musical to Take Your Boyfriend to Who You Secretly Think is Gay: Mama Mia. The very talented Kinaundrae Lee (aka Angel in RENT at the Lab Theater earlier this year) took the stage to sing a dramatic rendition of the title song. He will be appearing in the Ordway’s production of Joseph and the Amazing Technicolor Dreamcoat (another nominee for worst title) this winter.

Best Show to Inspire Your Halloween Costume: Rock of Ages. Earlier in the show Josh had asked the crowd for names, verbs, body parts, etc. He inserted them into the song “Hit Me with Your Best Shot” which Whitney then sang. A sort of musical Mad Libs.

Best Male Diva (aka Divo) Song: “This is the Moment” from Jekyll and Hyde. Josh and Whitney tag-teamed this song, literally. One of them would sing a line or part of a line, then tag the other one who had to pick up where the song left off. It became very fast and funny, but they did a great job keeping up with it and sounded great too! I always admire the ability to maintain an amazing singing voice while playing for laughs (see Sara Ramirez in Spamalot).

The Best Show to Drink Through: Annie. Madde Gibba was called to accept the award but wasn’t responding. She was soon spotted behind the bar, and slowly (and drunkenly) made her way to the stage to sing a very funny version of “Maybe.” At one point she made her way into the audience and sat on a man’s lap to read a letter to her father. Madde is appearing in a few shows at the Fringe Festival this week.

The last award of the evening was Whitney’s choice, Best Song Typically Sung by a Woman that I Really Want Josh to Sing: “Maybe this Time” from Cabaret. This is the one of the all-time great musical theater songs, and Josh sang it beautifully. I'll next see Josh as the gentleman caller in The Jungle Theater's production of The Glass Menagerie next month.

The show concluded with the People’s Choice Award. There were ballot boxes on the bar where the audience could vote for “most anticipated show of the upcoming Broadway season.” I voted for Wicked, but only because I didn’t hear the question before I voted and I didn’t see all of the shows. The winner is the one I would have voted for had I been fully informed: Hair! My love for this show deserves an entire post to itself so I won’t go into it now; I’ll save it for a slow theater week (and yes I do have them!). But suffice it to say, I can think of no better way to end this show than a performance of “The Flesh Failures/Let the Sun Shine In” from Hair, with all of the above performers taking part. It was the perfect end to a perfect evening of musical theater.