"Guys and Dolls" at Chanhassen Dinner Theatres

When the Guthrie did Guys and Dolls as their summer musical in 2019, I wrote that the Guthrie should not be doing a dated musical like this. The Guthrie should be doing the Sondheim masterpiece Sunday in the Park with George (as they did in 2017), a stunningly relevant Cabaret (last summer), and regional premiere musicals like Come From Away (coming this summer). But Guys and Dolls, which is a beloved, well-known, and comforting classic, is exactly the kind of show that Chanhassen Dinner Theatres, the comfort food of #TCTheater, should be doing. I still think the show is dated and misogynist and chock full of gender stereotypes from the title to the characters to the lyrics, but as summer escapist entertainment, it's fantastically fun. It wasn't that long ago that the Chan did three regional premiere musicals in a row (The Prom, Jersey Boys, and Beautiful), so I hope that they continue to mix in some newer shows, but a return to this classic that they first did in 1969, just the second year of the theater, and last did in 1989, is not a bad choice. And Tamara Kangas Erickson, in her main stage directing debut, has assembled an incredibly talented cast of Chan favorites and also newcomers to the Chan. The highlight of the show is the outstanding choreography and this infectious score full of endlessly singable songs that are just delightful, as long as you don't pay too close attention to the lyrics. Guys and Dolls plays all spring and summer and into September, so you have plenty of time to head West and see a really great production of a classic; the Chan really can't be beat for group dinner-and-a-show outings.

"How the Grinch Stole Christmas" at Children's Theatre Company

I came home from a weekend down South in Nashville where it was a balmy 45 degrees to find that winter had arrived in Minnesota. And I'm not just talking about the snow and freezing temperatures. I'm talking about holiday #TCTheater that seems to start earlier and include more shows every year. But I'm here for it; it's a big season for local theater and I love all of the holiday offerings, from sweet to salty. My first of four holiday* shows this weekend, and probably about a dozen this season, is the recurring fave How the Grinch Stole Christmas at Children's Theatre Company. This is the 10th production at CTC since this beloved Dr. Suess adaptation premiered in 1994, the 5th time with the incomparable Reed Sigmund as the furry green grouch we all love to hate, and then just plain love. This show is full of such joy, humor, and nostalgia, that it's impossible not to feel your heart grow a size or two. The gorgeous design and super talented cast of all ages bring this beloved familiar story to life before our eyes. The Grinch continues through the first week of January, but it's a popular show so make sure to get your tickets early, and look for cheaper tickets with better availability on weekdays. And remember, plan to arrive 30 minutes prior to showtime because traffic and parking can be difficult in the area (pro tip: continue on 3rd Avenue south of 26th Street and look for street parking there).

"Matilda" at Children's Theatre Company

Please read about my decision to join the boycott of Children's Theatre Company here.

The successful musical Matilda (it ran for four years on Broadway, eight years and counting in the West End) is a musical led by child actors, so of course it's the perfect choice for Children's Theatre Company. Although they have a lot of talented adults on stage, and some of their shows even have entirely adult casts, what they do best is nurture and showcase the talent of #TCTheater's youth. And what a bunch of revolting children they are. Nine exuberant, precocious, stupidly talented kids lead us through this dark but inspiring story by Roald Dahl (who also brought us Charlie and the Chocolate Factory, and likes to show children getting the best of some truly cruel adults). The show is darkly funny yet surprisingly moving, with fantastic performances from the cast, young and old.

"How the Grinch Stole Christmas" at Children's Theatre Company

Nothing turns me into the Grinch faster than having to deal with traffic, parking, and crowds, all three of which were present when I went to see Children's Theatre Company's production of the musical adaptation of the Dr. Seuss classic that they premiered in 1994. I stepped inside the theater just as the lights went down and had to find my way to my 3rd row center seat in the dark, only to find it occupied by an adorable little girl who was already enraptured by the show. I found a seat, but needless to say I was in full Grinch mode and it took me a little while to shake it off and get into the show. But the biggest testament to CTC's How the Grinch Stole Christmas is that by the end of the show, the Grinch was completely gone from my heart, and I had a grin on my face and tears in my eyes. I'm certain the Grinch will return to me several times this season, as it does to all of us when dealing with holiday* cards, shopping, cooking, families, traffic, and all of the other stresses of the season. Hopefully at such times I'll remember what the Grinch discovers - that the true meaning of any holiday is the people we spend it with, and a spirit of generosity and kindness to all, even the Grinches in our life.
SCROLL DOWN FOR A SPECIAL DISCOUNTED TICKET OFFER FOR CHERRY AND SPOON READERS!

"Cinderella" at Children's Theatre Company

Two weeks ago I was invited to a backstage tour for bloggers at Children's Theatre Company, where they were busy preparing for the third production of their original adaptation of Cinderella, previously seen in 2009 and 2013. Along with my fellow Twin Cities Theater Bloggers Kendra (Artfully Engaging) and Tracy (What Stirs Your Soul), two other bloggers, and three lucky children, I was led through all of the backstage departments where they were hard at work creating everything from chandeliers to wigs to glass slippers. It was a truly eye-opening experience to witness up close and personal what goes into creating a show this big. It was also wonderful to witness the passion and dedication that all of the artists have for their job, making sure that the show is the best that it can be for the many children (and grown-ups) who will come to see it. The highlight of the tour was a visit to the rehearsal room, where director Peter Brosius and choreographer Linda Talcott Lee were leading the ensemble through a few scenes that take place at the ball. Last weekend I finally got to see the final product that all that preparation has led to, and it's a crazy, wonderful, magical, insanely fun experience for kids and adults alike.

"Under the Gaslight" by the University of Minnesota at the Minnesota Centennial Showboat

For nearly 60 years, the University of Minnesota has been presenting a summer melodrama on a docked showboat on the Mississippi River, currently across from downtown St. Paul. The Minnesota Centennial Showboat was christened in 1958, as those who know their Minnesota history could guess ("in 1858 Minnesota became a state"). The first show was Under the Gaslight, which returns this summer for their last season at the Showboat (click here for more on the history of the Showboat). While this is only the second U of M show I've seen at the Showboat, I'm sad that it was my last. The creative team includes some of the top talent in town (including director John Miller-Stephany, musical director Andrew Cooke, choreographer Linda Talcott Lee, and costume and scenic designer Mathew J. LeFebvre), and the cast is chock-full of talented young people that are the future of theater in this town. The melodrama is a fun, entertaining, and little-seen genre that encourages the audience to "vocalize appropriately." The Showboat is a unique and charming venue, and I hope that someone puts it to good use (and will someone please do Show Boat on the Showboat already?!). Whether you've seen dozens of Showboat melodramas, or none, it would behoove you to board the Showboat one last time for this uniquely pleasing theatrical experience.

"Iolanthe" by Gilbert and Sullivan Very Light Opera Company at Howard Conn Fine Arts Center

Did you know there's a company in town entirely dedicated to the works of music-comedy geniuses Gilbert and Sullivan? Neither did I, until last year about this time, when I "discovered" the 30-year-old Gilbert and Sullivan Very Light Opera Company through their marvelous production of H.M.S. Pinafore. They followed that up last year with the one-act Trial by Jury at the Minnesota Fringe Festival, where it was one of the top-selling shows. While they may be new to me, they obviously have a very loyal audience, and deservedly so. If you're among that audience, you don't need me to tell you what a wonderful job they do. If you're not, and you're a fan of Gilbert and Sullivan's particular brand of witty, clever, rhythmic comic opera, you might want to check out their latest production. This year they're presenting the lesser known (to me anyway) Iolanthe; or, The Peer and the Peri. And it is, once again, a delightful production of a very funny farce/fantasy/ political satire, beautifully performed by a cast of over 40 and a backstage orchestra nearly as large. GSVLOC fills a unique and specific niche in our rich Twin Cities theater community, one that I'm delighted to have "discovered."

"Roman Holiday" at the Guthrie Theater

you can keep the diamond,
I'll take the Vespa!

Before last night, I thought that Xanadu at the Chanhassen Dinner Theatres was THE musical to see this summer. But after seeing Roman Holiday at the Guthrie, I have to amend that statment. There are two musicals you need to see this summer: Xanadu for the fun, campy, winking look at movie musicals, and Roman Holiday for a lush production of a good, old-fashioned musical.

As usual, I have never seen the classic movie on which this musical is based. This new musical written by Paul Blake incorporates songs of Cole Porter into the story of Princess Anne, who escapes her strict diplomatic schedule to spend a day touring the city of Rome with a gentleman she meets on the street. What she doesn't know is that he's a journalist who knows exactly who she is, and is planning to write a story on her. In the fairly predictable plot, they two fall in-love-for-a-day and he rethinks his plan. Even though this is a new musical, it feels like a classic, with gorgeous orchestrations of classic songs, big dance numbers, and a compelling romance. 

Francesca (Christina Baldwin) and her dancing boys

The Guthrie has assembled a fantastic cast of both local talent and imports from Broadway. The two leads fall into the latter category. Stephanie Rothenberg is absolutely delightful as the wide-eyed, enthusiastic Princess Anne. Edward Watts is perfect as the tall and dreamy Mr. Bradley. Both have beautiful voices. Another Broadway import, Jim Stanek, is charming as the third member of this friendship (and partner in Mr. Bradley's scheme). A few locals round out the principals, including the great Michelle Barber as Anne's aunt and confidante. And as I've said many times before, Christina Baldwin can do anything - from silly to serious and anything in between (did you catch her in the Moving Company's lovely Werther and Lotte?). Her Francesca is funny, flirty, and fabulous, singing and dancing with a bunch of boys.

Joe (Edward Watts) and
Anne (Stephanie Rothenberg)
in front of the Trevi Fountain

There's such great familiar talent in the ensemble that it was almost distracting. Instead of watching the main action, I was laughing at John Skelley as a mustachioed ice cream man, or marveling at the grace of Broadway vet (and local talent) Linda Talcott Lee, or watching Ann Michels dance with Tony Vierling, or recognizing Jared Oxborough beneath sideburns and a goatee. This cast has serious chops - singing, dancing, and making the background action almost as compelling as what's in the foreground.

As usual at the Guthrie, the production value is at the highest level possible. The costumes (by Matthew J. LeFebvre) are to die for, even ones that only appear on stage for a brief moment in the background. Gowns, hats, gloves, shoes, all gorgeous. The show also features amazing set construction (designed by Todd Rosenthal), with various pieces floating in and out from the sides, back and above. They've even recreated a portion of Rome's famed Trevi Fountain. Last but certainly not least, the orchestra sounds gorgeous. I should know, I was sitting almost directly behind the conductor, Andrew Cooke. This production truly is a feast for the eyes and ears!

Roman Holiday is playing in the Proscenim stage at the Guthrie from now until August 19. Check it out to see a Broadway-quality musical featuring lots of home-grown talent.

"Cinderella" at the Ordway

I always like to go to the Ordway's holiday production because it's typically an original production (rather than a touring show) featuring a mostly local cast.  Last year they did the colorful and super fun Joseph, the year before Beauty and the Beast.  This year's selection is the Rodgers and Hammerstein musical Cinderella, originally written for television in 1957 starring the great Julie Andrews.  The Ordway's production is magical and very sweet, and almost makes me believe in fairy tales, almost makes me believe that impossible things really can happen.  It was fun to forget that I'm way too old for fairy tales and immerse myself in the magical world that Cinderella lives in, if only for a little while.

A few of my favorite things:

• A huge cast of primarily local talent, including the divine Wendy Lehr as the Queen and Gary Briggle as her elegant husband, Reid Harmsen (aka Mark in RENT and Brad in Rocky Horror) as the enthusiastic steward and friend of the prince, and way too many ensemble members to mention here (but I had fun trying to identify them in the group numbers).
• The sweet-voiced and extremely likeable Jessica Fredrickson (another local with whom I was previously unfamiliar) as our Cinderella.
• A quite capable and swoon-worthy Prince in the form of Jeremiah James (the one non-local featured).
• Hilariously over the top performances by Greta Grosch (one of the original Church Basement Ladies) as the Stepmother and Colleen Somerville and Andrea Wollenberg as her two homely but hopeful daughters.
• A sassy fairy godmother (Tonia Hughes) who encourages Cinderella to make her own wishes come true, with a little help.
• Cinderella's animal friends adorably represented by puppets manipulated by dancers dressed in black (including Linda Talcott Lee who recently talked about her experiences working with the one and only Jerome Robbins).
• Two dimensional painted set pieces and backdrops that look like a storybook come to life.
• A seriously magical and seemingly instantaneous transformation from poor serving girl to belle of the ball and back again (I'm still not sure how they did that).
• Great musical theater songs like you would expect from R&H, fun dance numbers, and beautiful playful costumes.

One gauge of the success of a musical is if I leave the theater singing the songs and feeling like I could dance down the sidewalk back to my car.  By that criteria, the Ordway's Cinderella is a success.  A light and fluffy show, but very well done.

"West Side Story" at the Orpheum Theatre

West Side Story was my first musical love.  I first saw the movie when I was about 12, and fell in love with the story, music, and dancing.  I even made my own soundtrack by holding the tape recorder up to the TV (remember those days?).  But what I didn't know then was how important and ground-breaking this show was in the history of musical theater, with a dream team of Jerome Robbins (director and choreographer), Leonard Bernstein (music), Stephen Sondheim (lyrics), and Arthur Laurents (book).  Jerome Robbins' choreography was unique in that he choreographed for each specific character, rather than a general chorus line.  He used movement to tell the story: the opening prologue with the Sharks and the Jets on the streets of NYC, the dance at the gym that goes from a fierce competition to the love story of Tony and Maria, the dream ballet in which they imagine a better world for themselves and their friends.  All of these scenes further the story and give us insight into the characters through dance and movement alone.

This production is the first tour from the 2009 Broadway revival, which closed early this year.  I saw it on Broadway just after it opened, and loved it; it was a thrill to see a musical I had grown up with live on a Broadway stage.  The recently deceased Arthur Laurents directed this revival, and as we learned in the post-show talk-balk with a few of the actors, it was his opportunity to "fix" things things that he wanted to change in the original 1957 production, but Robbins (a notorious control-freak and perfectionist, but with the brilliant talent to back up the attitude) wouldn't let him.  Joey McKneely reproduced and updated the original choreography, which some disagreed with.*  Another change from the original is that much of the Shark dialogue (both sung and spoken) was translated into Spanish, which also met with mixed reviews.  I didn't mind it because I know the whole show by heart, so I could translate in my head even though I don't speak a word of Spanish.  But I supposed it's unrealistic and unfair to expect that of audience members, so they ended up pulling back on it a bit; in the touring production the songs "I Feel Pretty" and "America" are only partly in Spanish (and really, the lyrics in those songs are not vital to the story, as the feeling conveyed by the songs is).  All in all I think it's a successful revival that maintains the spirit of the original, if not every detail; it's a slightly different vision of the show from one of the other creators.

This cast is phenomenal, especially as dancers.  West Side Story is more dance-focused than most musicals, with Robbins' intense balletic choreography.  Another tidbit we learned in the talk-back is that the Broadway revival cast had an average age of 30, while the touring cast has an average age of 23.  Their youthful enthusiasm, passion, and young joints are evident in the way they dance, as Stephen DeRosa (who played the principal at the dance, and provided many insightful comments during the talk-back) pointed out.  All of the leads are great, beginning with Kyle Harris, who is super charming and completely believable as the lovestruck Tony (although his voice has a tad too much vibrato for my taste).  Fun fact: the producers of the tour found him in the online West Side Story parody Web Site Story, which is quite clever and funny.  Ali Ewoldt as Maria has a gorgeous voice and a little spunk along with the usual sweetness, and Michelle Aravena as Anita delivers the attitude needed for the role.  The Shark girls are funny and entertaining, even when speaking Spanish.  The Jet boys are a pure pleasure to watch, led by Joseph J. Simeone as the tough leader Riff and Drew Foster as the loose cannon Action.  They brought the house down with the hilarious "Gee, Officer Krupke."  This song comes in the second act in the stage version, but was moved to the first act (pre-rumble) in the movie.  It really makes sense here, that in that desperate moment of confusion and loss after the events of the rumble they would let loose with some crazy antics, trying to process things through slightly inappropriate humor, as kids do.  The ending of the show is as tragic and heart-breaking as it always is, with the curtain lowering as one of the Jets gently places Maria's scarf on her head, a small sign of the healing that we hope will come of this tragedy.

This was the final show of the "Broadway Across America" season, which also included the gems HAIR and Billy Elliot.  I decided not to renew my season tickets for next year, because I'm only interested in half of the shows that are included, and I'm focusing more on new and/or local theater.  But it's always a thrill to see the best that Broadway has to offer right here in Minneapolis/St. Paul, even if Broadway is offering less in the way of new original musicals these days (I want to know when Bloody Bloody Andrew Jackson is going on tour!).  I welcomed the chance to see this new production of an old favorite again, and found it to be just as thrilling, enthralling, and heart-breaking as ever.

*On the night before the show I attended my third "Broadway Confidential" talk sponsored by Hennepin Theatre Trust (I previously attended events for HAIR and Jersey Boys).  This one featured local dancer/choreographer Linda Talcott Lee, who appeared in Jerome Robbins' Broadway in 1989 and worked for the man himself (and therefore did not approve of the changes made to his original choreography).  It was fascinating to hear personal stories from someone who knew him and has worked on Broadway, and it gave me better appreciation for the dancing when I saw the show.  She also demonstrated a few dance moves as she talked about them (even though she was in a dress and heels!), and it's amazing how one precise, distinct movement could bring me right back to the exact scene in the movie in which it appeared.  Jerome Robbins' choreography for West Side Story is nothing less than iconic, and is a big reason why the show is as well.