"Thank You for Holding: The Caregiver Play Project" by Wonderlust Productions at 825 Arts

Wonderlust Productions is unique in the kind of theater that they make. Whether it's prison, or state government, or in this case caregiving, they spend a couple years researching a topic, specifically by interviewing people in the community who live in it. Then they create a new piece of theater, with both professional actors and these community consultants acting in the story. The result here is a very moving, raw, truthful depiction of caregiving, the pain and the joys and the endless bureaucracy of navigating a broken health care system. While I have never been a caregiver (yet, as this show reminds us), at least not to humans, I have been a witness to caregiving, and it is probably the hardest and most necessary job there is. But a thankless and often unrecognized one, so kudos to Wonderlust to shining a light on it, and letting caregivers tell their own story. Thank You for Holding continues at the new theater space 825 Arts on University in St. Paul through November 3.

"The Labyrinth and the Minotaur: The Incarceration Play Project" by Wonderlust Productions at Mixed Blood Theatre

Four years in the making, Wonderlust Productions' newest piece The Labyrinth and the Minotaur: The Incarceration Play Project reimagines the myth of the Minotaur and the Labyrinth in which it is kept as the Minnesota Corrections system. For this project they collected  stories from over 230 people who live and work within this system, and the huge cast (perhaps the largest I've ever seen) includes many of these people, alongside seven professional actors. It's a really beautiful, inspiring, and thought-provoking piece about an incredibly relevant issue - this country's broken, cruel, and racist system of incarceration. This is a theater company dedicated to elevating the voices of the unheard, and there are few voices less heard than those of the incarcerated. Here they get to tell their own stories in an empowering and powerful way. Although the play is a bit too long (three hours and 15 minutes on opening night) and would benefit from some editing, it's very worthwhile and important. See it through May 22 at Mixed Blood Theatre; only five more performances remain.

"Hopscotch: Pop-Up Plays about the Future" by Wonderlust Productions at Frogtown Farm and Park

Wonderlust Productions' newest project is popping up in St. Paul parks this weekend and next. They asked an intrepid group of playwrights to imagine a future world. Which, as co-Artistic Directors Leah Cooper and Alan Berks admitted in their pre- and mid-show talks, is a difficult thing to do right now. But these ten playwrights, some of #TCTheater's best, did just that. The result is Hopscotch, a series of ten ten-ish-minute plays presented in two sets. I caught one set on a perfectly gorgeous late summer afternoon in Frogtown Farm and Park, and it was an entertaining, inspiring, and at times worrisome look at our future, and through the imagined hindsight, our present. Click here for more information and to make a pay-what-you-will reservation for today's two sets at Frogtown, or next weekend at Newell Park.

"The Most Happy Fella" by Skylark Opera Theatre at the Historic Mounds Theatre

This fall, Skylark Opera Theatre brings us Frank Loesser's The Most Happy Fella, which is technically a musical, but one with operatic qualities to some of the music. And the fact that some of the songs are in Italian (or mixed English and Italian) also make it feel a little like an opera. It's an unabashedly romantic old-fashioned love story, but not without a few modern tweaks. Skylark's production in St. Paul's Historic Mounds Theatre is charming, intimate, engaging, and gorgeously sung by the 12-person cast.

"The Lady With A Lap Dog" by Fortune's Fool Theatre at Open Eye Figure Theatre

Attention lovers of small, intimate, beautiful new musicals! Fortune's Fool Theatre is presenting just such a piece at Open Eye Figure Theatre for two short weekends only, of which this is the final one. Unfortunately it opened on the same weekend as about a dozen other #TCTheater shows and I was unable to catch it until a few nights ago, and now just two performances remain. But if you hurry, there's still time to see The Lady with a Lap Dog. Based on one of Chekhov's best known short stories, with just a three-person cast and a three-piece orchestra and about 80 minutes long, it's a lovely little piece and shouldn't be missed by anyone who loves new (and locally created) musicals.

"Calendar Girls" at Park Square Theatre

"This is my favorite kind of play because it celebrates how deliciously human we are while also revealing how incredibly generous we can be when one of our own is in need of hope." This quote from director Mary M. Finnerty perfectly sums up the spirit of Park Square Theatre's Calendar Girls, the play based on the movie based on the real life story of a group of average, every-day, extraordinary women who come together to support one of their own by taking their clothes off. How does getting naked, or rather nude, help their friend? The calendar they pose for and sell raises hundreds of thousands of dollars, er... pounds, for Leukemia and Lymphoma research, the disease that took her husband. The play based on this inspiring story is truly a feel-good summer comedy with tons of heart and sisterhood. You'll laugh, you'll squirm in your seat, you'll shed a few (or many) tears, and you'll fall in love with these women (both the characters and the incredibly talented actors who play them) as they embrace their womanhood and their strength, and each other.

"Rough Cuts" at Nautilus Music-Theater: "Bold in Their Breeches" and "The Lady with a Lapdog"

Have you ever been to "Rough Cuts," Nautilus Music-Theater's monthly series in which they present readings of new works of music-theater? Even though they've presented 170 "Rough Cuts" over 23 years, you're forgiven if you've never been, or even if you've never heard of it. Their website is uninformative (but it appears they're working on improving it) and while they are on Facebook and Twitter, they're not very active on either. Maybe they like it that way, because even with this lack of publicity there was a standing room only crowd at their small studio space in St. Paul's Lowertown neighborhood last night. But that's why I'm here, to let you know about delicious well-kept secrets in the local theater world such as "Rough Cuts."

"Alice in Wonderland" by Flying Foot Forum at the Lehr Theater

Like the rabbit in Lewis Carroll's beloved novel Alice in Wonderland, I ran to the theater last night thinking "I'm late! I'm late!" A combination of forgetting I needed to get gas, construction that caused me to miss my exit, a determination to get my last IceCrema of the summer, and the theater entrance not being where I thought it was caused me to finally arrive where I was supposed to be at just after 7:30. But fortunately, Flying Foot Forum's adaptation of Alice in Wonderland is not your typical theater performance, with everyone sitting quietly in their assigned seat well before the curtain goes up, so I was actually right on time. The show begins not in the Lehr Theater but in the lobby (tip: do not go to the entrance under the marquee on 5th street, but rather the entrance around the corner on St. Peter), where a group of crazily costumed actor/singer/dancers lead you down the rabbit hole into this delightfully mad world.

Like the original, this Alice in Wonderland doesn't make a whole lot of sense and doesn't really have a throughline plot, other than Alice leaving her home in search of something more. Rather it is comprised of a series of odd vignettes with the various characters she meets down that rabbit hole and through the tiny door. From the lobby, we do eventually make our way to the Lehr Theater (named for the incomparable Wendy Lehr), which has been transformed into a Wonderland with colorful cartoonish sets (by Peter Baker, Robin McIntyre, and Joe Chvala) on all sides of the theater. There are just a few chairs for those who need them, otherwise take a seat on the floor or stand in the back, and be prepared to move around. Warning: this show, billed as "a new immersive musical event" is participatory; you will be asked to stand up and dance. And if you're like me, you might not find this amusing, but rather awkward and uncomfortable as you count the seconds until the lights go back down. But I appreciate the spirit of it all, and others seemed to be enjoying it, so consider yourself forewarned and prepare to either jump in with both feet, or find a quiet corner from which to observe the action.

All of our favorite characters are here, the White Rabbit (Ed Williams, Jr., an appealing host and guide), the Cheshire Cat (an incredibly agile Brian Evans who throws himself around the space with irrepressible energy), the Queen of Hearts (a completely unrecognizable Jake Endres), the Dormouse (an adorably sweet and simple Charles Robison), the Duchess (a deliciously creepy baby-tossing Bryan Porter), and of course, Alice herself, represented by the golden voice and childlike wonder of Laurel Armstrong (who is sharing the role with Courtney Miner on alternate dates). The energetic ensemble, who gamely throw themselves into this bizarre world, includes students from the St. Paul Conservatory for the Arts (in which the theater is located) and a rotating cast from area high schools. All are dressed in colorful and wacky costumes (by Mary Anna Culligan, Cindy Forsgren, and Joe Chvala) and outrageous make-up.

Creator/director/choreographer Joe Chvala (who also appears as Tweedle Dum and others) brings his signature "flying foot" percussive style of dance to some rousing group numbers, from a dance-off at the door of Wonderland to the falling pack of cards. In addition to the aforementioned audience participation, volunteers take part in a dance competition for the queen. All of this is accompanied by fantastic music performed by the band and cast, including the unmistakable vocals of Natalie Nowytski, lending an Eastern European flair to the music.

Flying Foot Forum's Alice in Wonderland is a wonderfully inventive adaptation of  a beloved story. If you've got little ones, bring them along, they seem to love it. Part of the fun was watching the kids watch the show, including a toddler in a leopard print skirt and red polka dot rain boots who was about the cutest thing ever, laying on the step with her chin resting on the stage, complete enraptured. Head to downtown St. Paul to experience this delightfully mad world, playing now through October 12.

"Les Miserables" at Bloomington Civic Theatre

I'm not one of those Les Mis fanatics. I first saw it on tour over a dozen years ago, and what I remember most about it is that it was really long. I liked it well enough to buy the soundtrack, which I listen to periodically; the score is gorgeous and includes some wonderful songs. But I've never really connected with it like I have other musicals (I'm more of a RENThead). That changed a little when I saw the movie last year, but that too felt long and a little exhausting. But after seeing Bloomington Civic Theatre's new production of Les Miserables, I finally see what all of the fuss was about. It does not feel long or tedious; every moment is completely engaging. The music soars in the hands of this talented cast of singers and the big gorgeous pit orchestra (Anita Ruth has written some new orchestrations to replace the synthesizers, adding bassoon and guitar and doubling some instruments), and the themes of redemption, forgiveness, and love are so compelling. I've seen just about every musical production at BCT for the last few years and I always enjoy what they do, but Les Miserables is the best thing I've seen there so far. It's absolutely thrilling.

In case you're unfamiliar with the theater juggernaut that is Les Miserables, here's a quick primer. The musical premiered in London in 1985 and arrived on Broadway in 1987, and became one of the longest running musicals in both locations. Based on the 19th century novel of the same name by Victor Hugo, it follows the life of Jean Valjean from the release from his 20-year imprisonment for stealing food, to his involvement in the French Revolution, and many points and characters in between. Always on the run from Inspector Javert, Valjean tries to make a good life for his adopted daughter Cosette while struggling with his past. As director Karen Weber (who went back to the original text to inspire the tone of this production) writes in a note in the playbill, "It is a sprawling morality play, set against a tumultuous period in French history. That setting illuminates and encapsulates the suffering and oppression of generations of the French people, the human spirit crying for an end to that suffering, and the desperate measures taken to end it."

Valjean and Javert
(Dieter Bierbrauer and William Gilness)

One of the reasons I was so excited to see BCT's production of Les Mis is the cast. As anyone who's read this blog with any regularity knows, I'm a big fan of Dieter Bierbrauer, and have been since I saw him play Tony in West Side Story at the Chan years ago. I will see him in anything (even a musical that takes me back to the 80s, my least favorite decade), and I love seeing him in iconic musical theater roles like Jean Valjean, the troubled hero of Les Miserables. In addition to Dieter's typically perfect vocals, this is a very physical performance as he transforms from a young man beaten down by years in prison, to a respected businessman, to an aging man who walks like he's lived long and suffered much (but can still easily sling a young man across his shoulders). He carries the character's suffering in his body and his voice. "Bring Him Home" is a highlight, so beautiful and heartfelt. I didn't think anything could top hearing Dieter sing "Being Alive," but this just might have.

Of course Dieter is not the only star in this show. There are so many characters who have great moments in song, and BCT has chosen the perfect actor for each one. William Gilness is a great adversary as Inspector Javert, strong and unmoving in his goal to find Valjean, until Valjean shows him mercy and he is unable to process it and doesn't know how to go on with life. Laurel Armstrong beautifully embodies the tragedy of Fantine. The talented Aly Westberg is an incredibly sympathetic Eponine, another tragic character, and her "On My Own" is another highlight. Riley McNutt has a strong voice as Marius, with Molly Jo Hall as his lovely Cosette. Carl Shoenborn and Sally Ann Wright are entertaining as the comic relief innkeepers. Dominique Wooten is magnificent in a scarlet jacket; his cries to war make me want to climb a pile of rubble and wave a red flag! From the oldest to the youngest, this cast brings these characters to life. In a post-show discussion, Karen said that she told her cast that it's not enough to sing beautifully (as they are all capable of doing), but they also need to tell the story in a compelling way. Mission accomplished.

Once again, Michael Hoover designed a functional and appropriate set. Stairs to a balcony provide many levels on which Karen effectively places the action. A rotating center piece allows set pieces to enter and leave the stage smoothly, most effectively the barricade in the second act. As it spins we see both sides of the barricade. Costume designer Ed Gleeman has dressed the cast in period clothing both desperate and opulent.

Les Miserables is such an inspiring story. Through a moment of kindness, a man's life is changed and he goes on to affect others' lives by passing on that kindness. But through it all he's still just a man, with doubts and regrets and struggles. In short, it's the human experience. I see a lot of theater, and it's not often that I'm moved to a standing ovation (in fact sometimes I resent it when everyone stands up and I'm obliged to follow). But this is one of those times when I was eager to stand up and applaud and show my appreciation for all the work that went into creating this marvelous theatrical experience. Les Miserables is playing at BCT through November 16, get your tickets now before it completely sells out! (If you have no plans for Halloween, discount tickets are available on Goldstar.)

"Camino Real" by Girl Friday Productions at the Minneapolis Theatre Garage

I love the plays of Tennessee Williams - from the well known A Streetcar Named Desire and Cat on a Hot Tin Roof, to the lesser known Summer and Smoke, to one of my favorite plays - The Glass Menagerie. He has a gift for creating these very real worlds full of complex characters (women especially), stories of such tragedy and beauty and emotion, set in a specific time and place in history. At first glance Camino Real, in a rare local staging by Girl Friday Productions, bears no resemblance to the Tennessee Williams plays I know - surreal instead of naturalistic, with a huge cast of characters, some drawn from literature, no linear storyline, set outside of time and place. It's a strange trip through the 16 blocks of the Camino Real (purposely mispronounced as CAMino REal). At the end of it I was a little perplexed, but also moved in a way I couldn't quite explain. Camino Real is about death, love, fear, loneliness, hope, just like all of Williams' plays, only in a more abstract sort of way. Stick with it through all the craziness, and you might just find those moments of beauty, truth, poignancy, and tragedy that Tennessee Williams does so well.

At the beginning of of the play we meet the familiar Don Quixote and his sidekick Sancho Panza. They somehow end up on the Camino and see some scary things, but Quixote decides to stay, sleep, and dream. So begins this strange and surreal trip, with Quixote often watching from the edge of the stage and occasionally wandering through the action. The play is broken up into 16 blocks, or scenes, which are announced by the narrator and man in charge of the Camino, Gutman (the only one who looks and sounds like he belongs in a Tennessee Williams play). The closest thing we have to a main character is Kilroy, representing the typical American from the 50s in a grease-stained white t-shirt, blue jeans, and a boxing champ belt. Kilroy has just left his wife, the woman he loves, to spare her grief when his sick heart (as big as the head of a baby) eventually gives out. He finds himself on the Camino and has to figure out how to survive in this strange world, with hopes of getting out. Other characters include Casanova and the woman he loves, the courtesan Marguerite Gautier, whose only desire is to get out; the poet/rock star Lord Byron; a gypsy and her daughter; a pair of "street cleaners" who function as Death; and various other odd creatures that populate the street. Eventually the dreamer (Quixote) wakes up and leaves, with these final words:

Don't pity yourself! The wounds of the vanity, the many offenses our egos have to endure, being housed in bodies that age and hearts that grow tired, are better accepted with a tolerant smile - like this! - You see? Otherwise what you become is a bag full of curdled cream - leche mala, we call it! - attractive to nobody, least of all to yourself!

the cast of Camino Real
(don't worry, no crazy make-up
or purple capes in the show

There's not a weak link in the 14-person cast, ably directed by Benjamin McGovern (who also designed the sparse and surreal set). Eric Knutson is a great Kilroy, the likeable and relatively normal presence that leads us through the crazy trip. Alan Sorenson is smooth as the all-knowing Gutman, and Craig Johnson is compelling as the dreamer explorer Quixote, as well as in an amusing turn as an old man. Kimberly Richardson is always entertaining as she physically transforms into one odd character or another. The hauntingly beautiful voice of Laurel Amstrong adds to the ambiance of the Camino. John Middleton and Kirby Bennett (Girl Friday's Artistic Director) play out the most emotional scenes, between Cassanova and Marguerite, who bears the closest resemblance to the familiar Williams heroine - desperately trying to get out of the situation she's found herself in.

I haven't read any yet, but I've heard that this play has received mixed reviews, with some critics loving it, and some not so much. If anything that made me more excited to see it and decide for myself. It's definitely odd, and I wouldn't say it's my favorite Tennessee Williams play, but I appreciate the opportunity to see more of his work, especially this piece that's so seemingly different, yet has moments of familiarity. I found a lot to like. But it's weird for sure, and I can see how it's not everyone's cup of tea. For a theater company that only does one production every two years, this was a big risk for Girl Friday to take, and I have to admire that. This is a much different Street Scene than the one they presented two years ago. In my opinion, the risk paid off, and I can't wait to see what 2015 brings! If you're also intrigued by the response and want to see what the fuss is about, the play continues through July 27 at the Minneapolis Theatre Garage, with discount tickets available on Goldstar.

"Latte Da in the Park" by Theater Latte Da at Lake Harriet

Outdoor music is my favorite part of summer.  And when that music is various selections from musical theater performed by some of my favorite local musical theater actors, it doesn't get any better.  Even though the weather didn't feel very summery, it was still a great night of musical theater at the Lake Harriet Bandshell as Theater Latte Da presented their annual cabaret show "Latte Da in the Park."  I've seen all five of the performers in the past year: Laurel Armstrong (Into the Woods, Flying Foot Forum's original new musical Heaven, On the Town), Sheena Janson (as the man-eating plant in Mu's Little Shop of Horrors), Randy Schmeling (Latte Da's Violet, one of my 2010 favorites, Joseph at the Ordway, TC Theatre Artists Support Japan), Erin Schwab (also in TC Theatre Artists Support Japan), and Max Wojtanowicz (as Cliff in Frank Theatre's wonderful Cabaret).  These talented performers were accompanied by, as always, Latte Da's Musical Director Denise Prosek, and Artistic Director Peter Rothstein was on hand to announce the upcoming 2011-2012 season.

"Alive and Kicking" was the opening act of the show - a chorus made up of men and women aged 61-94, directed by Latte Da resident choregrapher Matthew Michael Ferrell.  They sang a few rock classics with more energy than I can usually muster up, and they were kind of adorable.  Another big part of the entertainment was watching Matthew's one-man dance as he directed the chorus.  They were obviously having a great time (click here for a WCCO news story about the group).

On to the main act of the evening.  The performers sang an interesting selection of songs from musical theater, many of which I've never heard before.  I appreciate that because it introduces me to lesser-known musicals I might never have heard of otherwise.  (Unlike the man I heard complaining that they didn't sing any "showtunes," like from Fiddler on the Roof or Man of La Mancha.  You're in the wrong place, buddy, Theater Latte Da is about the future of musical theater, not the past.)  Laurel started off the show singing a song about falling in love with a boy who plays the clarinet, and later sang the Stephen Sondheim song "Girls of Summer."  Max sang "I Talk to the Trees" from the Lerner and Loewe musical Paint Your Wagon, and a beautiful song called "Lost in the Wilderness" from the musical Children of Eden.  Erin sang a couple of great musical theater songs that I actually have heard before - "It Won't Be Long Now" from In the Heights and "There's a Fine, Fine Line" from Avenue Q.  Sheena's selection of songs included the very funny "Crossword Puzzle" from the musical Starting Here, Starting Now.  Randy sang a really lovely song called "Favorite Places" which I discovered is from a new musical called Ordinary Days.  Here it is being performed by Hunter Foster (Urinetown and Little Shop on Broadway, and The Government Inspector at the Guthrie).

The cast also performed several numbers together, which was fun because it allowed their performer sides to really come out.  There was a bit of friendly rivalry as they sang a song from Drowsy Chaperone, with their actions belying the lyrics "I Don't Wanna Show Off No More."  Laurel and Randy dueted on the sweet and playful "You'll Never Get Away From Me" from Gypsy (a song I always sing to my cats when they try to sneak out the door).  The audience was treated to beautiful four-person harmony (the cast minus Erin) on "Dear One" from Kiss of the Spider Woman.  The first act ended with Erin's hilarious rendition of "Somebody to Love" (which she also performed at TC Theatre Artists Support Japan).  Erin has a great voice with amazing control.  She can do crazy things with her voice and play it for laughs, all the while making it seem effortless, while in reality I imagine it's quite difficult to do.  Erin's plea was answered by Randy's hilariously sincere rendition of  "I Would Do Anything for Love," which turned into a fun and entertaining duet (with some audience participation as well).

The second act featured a medley of songs from Latte Da's upcoming season, which includes the smart and silly musical The 25th Annual Putnam County Spelling Bee, their annual Christmas show All is Calm, the play Beautiful Thing featuring the music of the Mamas and the Papas, and the brilliant new musical Spring Awakening (in conjunction with the U of M).  The whole cast sang "Spelling Bee," and Sheena sang "My Friend, the Dictionary."  Laurel sang the haunting "Mama who Bore Me" from Spring Awakening, Randy sang my favorite song from the show (and my theme song), "I Don't Do Sadness," and Max led the cast in the closing number from the show, "Purple Summer."  The final two numbers were from Beautiful Thing.  Erin (who will be in the show singing the music of Mama Cass) sang "Dream a Little Dream of Me," and the rest of the cast joined her for "Make Your Own Kind of Music."  This is how much of a theater geek I am: most of the audience was singing along to the pop songs; I was singing along to "Purple Summer!"

The earth will wave with corn

The grayfly choir will mourn

And mares will neigh

With stallions that they mate

Foals they've borne

And all shall know the wonder
Of purple summer.

It's been just about a year since I started this blog, and last year's "Latte Da in the Park" was my first post.  Now I've come full circle.  I've seen so much amazing theater in the past year (just look to the right of this page for the list).  But I feel like I'm just getting started; there's so much theater out there to see!  And Latte Da's new season (especially Spring Awakening) is on the top of my list.

"Heaven" by the Flying Foot Forum at the Guthrie Theater

It was a last minute decision to see Heaven yesterday.  I had heard about this dance/music/theater piece about an American photographer in the Bosnian war and was intrigued.  So when I found myself with a free Sunday afternoon, I decided to do what I most love to do on a Sunday afternoon - see a matinee.  It turned out to be one of the best decisions I've made recently; I'm so grateful I had the opportunity to see this amazing, intense, beautiful show!

Heaven is a production by the dance company Flying Foot Forum, directed by Artistic Director Joe Chvala (pronounced koala, as the lovely woman sitting next to me who knew Joe as a child told me).  They specialize in a style of dance called "percussive dance," and while the dancing is definitely an integral part of the storytelling, I wasn't expecting Heaven to be as much of a classic musical theater piece as it is.  The music (written by Chan Poling) is of various styles, ranging from traditional music of Eastern Europe, to a classic musical theater love song.  I found the score to be inventive, original, moving, and memorable; if there were a soundtrack available, I would buy it!

But let me start at the beginning.  The Guthrie website warned audience members to be in their seats 15 minutes before the show started for the "pre-show entertainment."  The stage is set up as a cafe, and while the wonderful band (directed by Jake Endres and featuring the amazing vocals of Natalie Nowytski) plays traditional music, people start filtering into the cafe, greeting each other, talking, laughing, dancing.  It feels like a welcoming neighborhood sort of place; I wish this place were real and I were a part of it.  Then the dancing starts to get more aggressive, and like in the school dance scene in West Side Story, dancing turns into fighting turns into dancing again.  The proprietor of the establishment (played by Joe Chvala) breaks up the fight, and welcomes the audience to "Cafe Heaven," where "all are welcome."  But be careful, because the sentiment "all are welcome" also applies to "Cafe Hell" across the street.  And as the story unfolds, it becomes clear just how short a journey it is from one place to the other.

The protagonist of the story is Peter Adamson, an American photographer (played by the wonderful Doug Scholz-Carlson, who is so good I'm surprise I haven't seen him in anything before).  Peter is in Bosnia to serve as a witness to the atrocities of war, hoping he can somehow change the world.  After three years he's become jaded and convinced that no one can do anything to help.  A few days before shipping out, he meets a man named Faruk and agrees to go on one last mission to help him find his wife.  The experiences he has on the journey and the people he meets prove to be life-changing, in more ways than one.  He gets the one shot that lands him the front page of the New York Times, that might possibly bring awareness and an end to the senseless killing.  But he's conflicted about his success because he knows that there's much more behind the photograph.  In the end, he finds he can't leave this place and its people behind.

This is mostly an ensemble piece, and what a talented ensemble!  Most of the actors play multiple roles from soldiers to citizens and everything in between.  Joe Chvala and Sherwin Resurreccion serve as narrators and guides through much of the action, and display the percussive dance style to great effect.  The lovely-voiced Laurel Armstrong (whom I recently saw in Into the Woods at the Bloomington Civic Theatre, which Joe Chvala also directed) plays Lejla, a woman that Peter meets along the way (the afore-mentioned love song).  Eric Webster is the hardened and bitter soldier Faruk who wants nothing more than to live a life in peace, reunited with his wife.  All of the dancers are amazing, expressing the frustration and pain and hopefulness of the people through their dance.  It's quite impressive what that many dancers can do in such a small space as the Dowling Studio!

Another interesting feature of this piece is the use of images.  Often when Peter takes a photograph, that photograph is projected onto the backdrop of the set, giving the audience a chance to see the world through Peter's lens.

This is the kind of musical I wish were prevalent on Broadway today, instead of umpteen movie and TV show adaptations and jukebox musicals.  Original musical theater that uses music and movement to tell an interesting, relevant, meaningful, entertaining story, and to help us make sense of the world we live in.  That's what musical theater can, and should, do.  And when that happens, there's nothing better.

"Into the Woods" at the Bloomington Civic Theatre

Into the Woods at the Bloomington Civic Theatre was the first show on my list of productions I wanted to see this year.  There are two reasons I wanted to see it: 1) my New Years' resolution to see more Sondheim; and 2) I've been hearing good things about BCT lately, particularly in the bios of some of my favorite new actors, so I was curious to check it out.  I was not disappointed on either count.  As music director Anita Ruth pointed out before the show, Into the Woods is one of Sondheim's happier musicals, and this company of actors, musicians, and designers did a wonderful job with it.  There was a "talk back" after the show (love that!) where Anita and most of the actors came out on stage to discuss this show and the theatre in general.  BCT program director Bonnie Erickson was also available to answer questions.  Most of the actors have "day jobs," which makes their fine work with this challenging piece all the more impressive.  I hope to see some of them again, either on the BCT stage or on professional stages in the area.  Anita and Bonnie talked a little about the challenges of programming a season of musicals, balancing classic, familiar pieces that a portion of the audience wants, with more innovative and original pieces that appeal to another part of the audience (like me!).  It was interesting to hear about the life of this theatre and the work that they do.

Into the Woods, featuring music and lyrics by Stephen Sondheim and book by James Lapine, was first produced in 1986.  The plot is a mash-up of several well-known fairy tales, including Little Red Riding Hood, Cinderella, Jack and the Beanstalk, and Rapunzel, as well as an original story about a baker and his wife who want to have children but are cursed by a witch.  In the first act, the baker and his wife go on a quest to have the spell reversed and intersect with the tales of the other characters, all of whom go "Into the Woods" to begin their journey.  By intermission, everyone seems to have gotten what they wanted, but the second acts delves into what happens after the "happily ever after."  Sometimes the consequences of getting what you wanted are not all good.  As Glinda says in Wicked, "Getting your dreams, as strange as it seems, is a little, well, complicated."  The music is typical Sondheim: unusual and beautiful melodies with clever and fast-paced lyrics.

Highlights in the cast include Karen Weber as the witch, who later has her youth and beauty restored but her power taken away (you can't have everything).  She gets to sing the most well-known song, "No One is Alone," and does so beautifully.  Adam Qualls as the baker duets with the witch on that song, and is quite charismatic and natural on stage.  Colleen Somerville is his equal partner and wife, until she's charmed by the prince in the woods.  Laurel Armstrong is the Cinderella who comes to realize the fairy tale prince may not be the answer to her dreams after all.  Aleks Knezevich and Eric Heimsoth are the charming princes in "Agony" who, once they find their princesses, are not entirely satisfied.  Courtney Miner is a spitfire of a Red Riding Hood, and Joshua Hinck sings beautifully as the addle-brained Jack whose best friend is a cow, and who sets off a chain of events he didn't see coming.  The set was colorful and whimsical with moving pieces that functioned as beds, rocks, or trees depending on the scene.

Now that I've discovered BCT I'll definitely be keeping on eye on their schedule.  Their next show is the Cole Porter musical Kiss Me, Kate this spring, which might also be worth checking out.  I was very impressed with the all-around quality of the show and am glad to add BCT to my rotation of theaters.