"West Side Story" at the Ordway Center

I might have watched the 1961 movie adaptation of the 1957 Broadway musical West Side Story a few too many times as a dreamy teenager. So much so that I know every word, every note, every iconic dance step by heart. I'm happy to report that the Ordway's new production doesn't disappoint this West Side Story mega-fan. In fact, It's positively thrilling to see this musical I love so much live on stage with some of my favorite local talent. The cast (which also includes some national talent) is phenomenal, Leonard Bernstein's stunning score sounds beautiful as played by the nearly 20-piece orchestra directed by Raymond Berg, and the dancing, oh the dancing! Jerome Robins' iconic and ground-breaking choreography is easily identifiable here, and this cast just nails it (choreography by Diane Laurenson, who has frequently paired with director Bob Richards on WSS). This West Side Story is so gorgeous, I wish I could see it every night of its two-week run!

"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.

"42nd Street" at Bloomington Civic Theatre

"Come on along and listen to the lullaby of Broadway."

"Come and meet those dancing feet, on the avenue I'm taking you too, 42nd Street."

"We're in the money, we're in the money, we've got a lot of what it takes to get along!"

Those are just a few lines from the classic musical 42nd Street, which I was surprised to learn first appeared on Broadway in 1980, having been adapted from the 1933 original movie musical. I've seen it twice before, on tour and at the Chanhassen, and what I remember most about it is wanting to tap-dance down the sidewalk to my car after the show. There's something about tap-dancing that's so infectious and invigorating; it makes me want to go sign up for the first tap-dancing class I can find, even though I've never worn tap shoes in my life! From the moment the curtain rises to reveal more than a dozen pairs of tap-dancing feet, to the rousing performance of the title song at the end of the show, Bloomington Civic Theatre's 42nd Street never loses that energy.

42nd Street is one of those great musicals about musicals, where the unknown becomes a star. Peggy Sawyer arrives from Allentown, PA, lands a role in the chorus of a new Broadway musical, and takes over the lead role when the veteran Dorothy Brock is injured. The show-within-a-show format allows for several musical numbers that have no bearing on the plot but are just fun to watch.

Highlights of the show include:

• First and foremost, the amazing choreography by Michael Matthew Ferrell, who also directs. This show is all about the tap-dancing, and the choreography here meets that challenge - sharp and fast and thrilling.
• A talented ensemble that very capably performs that intricate choreography.
• Fabulous 1930s period costumes by Ed Gleeman.
• One of my favorite things about BCT is the full orchestra that always sounds rich and beautiful under the direction of Anita Ruth. Yay for the pit orchestra!
• Larissa Gritti is quite charming as our heroine Peggy, with a lovely voice and super fast feet.
• Michael Fischetti, last seen as Colonel Pickering, again impresses as the famous and fearsome director who finds new life and love of the theater through his young star.
• Last but not least - Bonnie Erickson as the veteran actor who passes the torch to Peggy, and the very funny team of Betti Battocletti and Steve Zehr as the writers of the show-within-a-show who also provide the comedy bits.

In the last year or so, I've learned that you can always count on Bloomington Civic Theatre for quality productions of classic musicals. Even if much of the cast is comprised of "amateurs" with day jobs, they obviously pour their hearts and souls into the theater every night. 42nd Street runs through September 16 - check it out if you love a classic musical.  Next up - a Sondheim show I've long been wanting to see, Sunday in the Park with George.

the cast of 42nd Street

"Sweet Charity" at the Bloomington Civic Theatre

I had never seen Sweet Charity and didn't know much about it, other than it was written and set in the 1960s, and the Christina Applegate 2005 Broadway revival got its start in Minneapolis (which sadly I didn't see).  So I decided to make the trip down to Bloomington (which really isn't as long as I think it is) to see the show.  I was not disappointed.  I discovered I love the show, from the music and choreography to the great 60s look of the set and costumes, and BCT presents a great production of it.

If you're unfamiliar with the show, here's a brief plot summary.  The titular character is a dance hall girl in NYC in the late 1960s.  She believes in love, even though she doesn't have much reason to.  In the beginning of the show her boyfriend steals her purse and pushes her into the lake.  But Charity gets right up again, and makes friends with an international movie star who's in love with someone else.  Determined to improve her life, she meets the sweet awkward Oscar when she decides to take a class at the local community center.  It seems as if she's found what she's been dreaming of - someone to love her.  But it turns out he's not worthy of our sweet Charity, so she keeps looking.

Highlights of the show include:

• A star performance by Emily Herringshaw as Charity.  Her voice is beautiful and effortless, as is her dancing.  She really shines in "If My Friends Could See Me Now," a tentative expression of joy and disbelief at the situation she finds herself in (hanging out with an international movie star!) that grows into a full dance number with top hat and cane.  Emily makes Charity extremely likeable and showcases her endless hopefulness in the face of continual setbacks, that should make her seem like an idiot but somehow doesn't.  Charity doesn't get her happy ending, but she keeps hoping and looking for it.
• A great supporting cast.  Angela Fox as Nickie and Larissa Gritti as Helene are Charity's two best friends, spunky and funny but with a vulnerability as shown in the beautiful and sad song "Baby Dream Your Dream."  Paul R. Coate (whom I saw in another classic NYC musical On the Town this summer) is suave and funny as the movie star Vittorio Vidal, and later as the leader of the hippie Rhythm of Life Church.  Jeff Turner's bio in the program is short, but his performance as Charity's possible one true love is not.  Oscar is charming, nervous, slightly awkward, and totally loveable.
• Fabulous dance numbers, as expected in a show conceived by Bob Fosse.  Choreographer Tracy Doheny Erickson keeps much of Fosse's style intact in the many and diverse numbers.  In the signature song "Hey Big Spender," the bored dance hall girls in short colorful dresses and big hair make small, precise, meaningful movements.  My favorite number is "Rich Man's Frug," which seems to goes on and on and on (in a good way).  The dancers strike a fabulous pose, the music stops, the audience applauds, and then it begins again!  The dancers look fabulous in their mod 60s black dresses and tuxes (designed by Ed Gleeman), like they stepped right out of some TV show from the 1960s.  Sweet Charity suddenly turns into Hair for one number when Charity and Oscar attend a hippie church.  And towards the end of the show the ensemble becomes a marching band in "I'm A Brass Band."

Sweet Charity is a great show with big fabulous dance numbers as well as more intimate heartfelt moments.  It's only playing for another week, but it's a fun evening of theater if you can make it.