"Johnny Skeeky; or, The Remedy for Everything" by Theater Latte Da at the Ritz Theater

I'm not sure what I expected from the new work of music-theater Johnny Skeeky; or, The Remedy for Everything, based on Puccini's one-act comic opera Gianni Schicchi, but it wasn't... that. #TCTheater legends Bradley Greenwald and Steven Epp have adapted the story about a wealthy man's family fighting over his will (with additional inspiration from Succession and Arrested Development) and written new English lyrics for the music. The result is the most ridiculous and delightful opera I've ever seen. If it can even be called an opera anymore; there's much more dialogue than operas typically contain. But whatever you call it, it's simply a joy to watch this outrageously talented cast sing this gorgeous music with modern, silly, and even sometimes crude words. It's a 100-minute wild romp of an opera. You have plenty of time to get to the Ritz Theater in Northeast Minneapolis and see it before it closes in early July. And if you like music, comedy, and creativity - you definitely should.

"Celebrating Sondheim, Act I" by Theater Latte Da at Crooners Supper Club

A memory popped up on Facebook this morning from 12 years ago: "Stephen Sondheim is a genius. I saw him tonight in a sort of Q&A, and I felt like I should have been taking notes. It was like taking a class in musical theater from one of the masters of the form." Even though I didn't take notes, I did write down what I remembered afterwards, and later that year when I started Cherry and Spoon, I posted it (you can read it here). This is a timely memory because last night I had the pleasure of watching a Sondheim cabaret by my favorite interpreters of his work, Theater Latte Da. 

"A Gentleman's Guide to Love and Murder" at Old Log Theatre

Exciting things are happening in Excelsior. Old Log Theatre (rumored to be the oldest continually operating theater west of the Mississippi) is presenting the regional premiere of the 2014 Tony winning* best musical A Gentleman's Guide to Love and Murder. I saw it last night, about one month into its four-month run, and it's an absolute delight. It's a charming and hilarious big broad English comedy (written by Americans Robert L. Freedman and Steven Lutvak), full of fast clever lyrics, lovely melodies and harmonies, and ridiculously plotted murders, executed brilliantly by the team at Old Log. The only place you can see this recent Tony winner is in the charming lakeside town of Excelsior, that only gets more charming with snow and holiday decorations. This is not a holiday show, but would make for a fun holiday (or post-holiday) outing for friends, family, or solo.

"Candide" by VocalEssence and Theatre Latte Da at the Cowles Center

Leonard Bernstein is one of the best 20th Century American composers (not to mention pianist and conductor, as I learned last year). His Candide is stunningly beautiful, but based on Voltaire's 18th Century satirical novel, it's a bit... weird. Twin Cities vocal ensemble VocalEssence and music-theater company Theater Latte Da have combined to solve this little problem, and bring us all of the best of Berstein's Candide. Director Peter Rothstein has a way of tweaking a piece just enough to bring out its purist truth, and he's done that here. With a short rehearsal time and just one weekend of performances of this "theatrical concert," he has staged it as a 1930s radio play, complete with sound effects. The result is something clever, charming, not too weighted down with plot complications, and musically stunning. Sadly the entire run is sold out, but I heard a rumor that they're selling standing room only tickets at the door if you want to take a chance to see this charmingly rendered and musically delicious production of a classic.

"A Little Night Music" by Theater Latte Da at the Ritz Theater

Theater Latte Da's production of A Little Night Music is pure loveliness from the moment the cast steps onstage behind a sheer curtain, warming their voices and waltzing in old fashioned undergarments, to when that same curtain falls at the completion of the story and the youngest cast member steps out gazing in wonder. As everything created by Peter Rothestein and company, it's thoughtful, detailed, well cast, beautifully staged, and musically gorgeous. Sondheim's 1973 Tony-winning musical is a charming, smart, and funny story about the perils of love and the phases of life, bringing to mind the Shakespeare quote "Lord, what fools these mortals be." And you'd be a fool to miss it.

"Pirates of Penzance" at Park Square Theatre

Park Square Theatre's new production of the Gilbert and Sullivan classic comic operetta The Pirates of Penzance, re-imagined by director Doug Scholz-Carlson, music director Denise Prosek, and this dreamy nine-person cast, is indeed a divine emollient. But it's not just pure escapist silliness. G&S, in addition to writing hilariously clever and gorgeously melodic pieces, also included more than a little social and political commentary in their work. Amidst all the humor and fun lies some insightful questioning of the society and politics of Victorian England. So it is entirely appropriate, then, that this 2018 production has been updated to include some current social and political commentary, and some of the dated concepts of the piece have been modernized. The result is a supremely entertaining musical that's refreshingly modern, while still respectful of the source, and even providing some historical context around the 1879 NYC premiere. I've been in love with The Pirates of Penzance since first seeing it at the Guthrie 14 years ago, then discovering the glorious Kevin Kline-ness of the early '80s Broadway production and movie. I've now found whole new ways to love it.

Fringe Festival 2016: "Theatre Forever's The Accident Book"

Day: 9

Show: 39

Title: Theatre Forever's The Accident Book

Category: Comedy

By: 7 Hornets Theatre

Directed by: Jon Ferguson

Location: Ritz Theater Proscenium

Summary: At a conference to help businesses and business people better themselves, weird and wonderful things happen.

Highlights: This show is truly wonderful, as in full of wonder. In typical Theatre Forever style, it's strange and perplexing, but also lovely and profound at times. Upon entering the Ritz theater, we're all given nametags, but not with our own names. There's a bit of audience participation as the conference starts and we're asked to share in the activities (but don't worry, it's nothing too scary). We get a few weird inspirational-type talks. Then things take an odd turn as someone "splits his reality wide open" and we all enter a new reality, a hyper reality, where chairs are mountains and the sky can be seen through the ceiling. The cast (Elizabeth Hawkinson, Jamie Jablonski, Sam Kruger, Jahsiah Mussig, Abishek Nair, Eric Weiman)  is wonderfully open and expressive as they lead us on this strange and unexpected journey. The Accident Book is odd, haunting, funny, and magical.

"Only One Sophie" at Illusion Theater

They say that the more specific something is, the more universal it is. That's certainly the case with the new original musical Only One Sophie by Illusion Theater's Artistic Director Michael Robins. Based on the life of his grandmother, the musical tells a very specific story about an American family centered around a strong, independent, loving Russian Jewish immigrant woman. But this tale of love, grief, family, and memories is a universal one that brings to mind one's own family history and memories. The specifics may be different, but we all have family traditions and memories and, if we're lucky, a loving grandmother that will never be forgotten. Only One Sophie a beautiful, funny, poignant, inspiring story brought to life through lovely original music (by Roberta Carlson) and a terrific eight-person cast. If you're interested in sweet, simple, heartfelt stories told musically, head down (or rather, up) to Illusion Theater's 8th floor stage in the Hennepin Center for the Arts between now and March 5.

"Sweeney Todd" by Theater Latte Da at the Ritz Theater

Friends, Theater Latte Da has done it again. They've created a music-theater production that is so stirring and chilling, it's nothing short of brilliant. After the delightfully innovative and stripped-down Into the Woods this spring, they return to Sondheim with a similarly innovative and stripped-down Sweeney Todd: The Demon Barber of Fleet Street. But where Into the Woods was a fun and slightly sinister mish-mash of classic fairy tales, Sweeney is all darkness and death, albeit with a bit of dark humor. Director Peter Rothstein again cast just ten actors in the show, many playing multiple roles and all perfect for the parts, and Denise Prosek leads a pared down orchestra of just four, that still somehow sounds musically full on this gorgeous and disturbing score. With a couple of actors not known for their singing leading this talented cast, and a cohesive look to the set, costumes, and theater space that is well used, this Sweeney is completely engaging and all-consuming, and brilliantly shows what Latte Da can do with not musical theater, but theater musically.

Sweeney Todd is a tale of vengeance and murder, as Sweeney returns to London after 15 years imprisonment for a crime he didn't commit, only to find his wife and daughter gone thanks to the very judge who put him away. His barber business turns deadly as he becomes intent on exacting revenge on those who wronged him. His partner in crime Mrs. Lovett finds a creative way to dispose of the bodies at her pie shop and the two take in the boy Toby, who's just happy to have a home, until he discovers what's really going on. Meanwhile, the young sailor Anthony has fallen in love with Sweeney's daughter Johanna and he and Sweeney team up to get her away from the evil judge. This isn't a happily ever after kind of story so don't expect things to end well, but it's deliciously chilling to watch it all play out.

In Theater Latte Da's production, this sordid story takes place in what looks like a dilapidated carnival. The theme continues from the stage to the lobby of the theater, with slightly off-kilter carnival music playing and donuts sold at the concession stand. Scenic Designer Kate Sutton-Johnson (who also designed the German beer garden fairy tale world of Into the Woods) has built the most terrifying jungle gym you've ever seen on the Ritz Theater stage, complete with ladders, bridges, swings, and a very sinister (yet very cool) slide. The performance space moves beyond the stage as the cast makes great use of the space, wandering through the audience and hanging out with people sitting at the bars on either side. I was afraid they were going to start offering us meat pies (no thank you!). Along with Alice Fredrickson's faded and tattered costumes, and Paul Whitaker's effective lighting design, the whole think has a dark and creepy atmosphere that'll give you chills.

Mark Benninghofen and Sally Wingert
as Sweeney and Mrs. Lovett
(photo by George Byron Griffiths)

Music-theater (as Nautilus and I like to call it) is about character and story first, and music second (even Sondheim himself agrees). With that in mind it makes sense that Mark Benninghofen and Sally Wingert, two of the Twin Cities' best actors but not known for their singing, play the lead roles. Sally already showed us in Cabaret last year that singing is yet another tool in her vast acting toolbox, and her Mrs. Lovett is so funny, cunning, needy, and dangerously motherly. But this is Mark's first performance in a musical, and all I can say is - welcome to the wonderful world of music-theater Mr. Benninghofen, please stay a while! It's almost incomprehensible that someone would decide to do their first musical 30 years into their career, jump right into one of the most challenging and iconic roles, and do so with such aplomb that it seems like he's been performing in music-theater all his life. The entire cast is wonderful, but the show is called Sweeney Todd and it doesn't work without a strong Sweeney, and Mark is that and more. Fierce, ominous, darkly brooding, murderous yet sympathetic, and with a lovely voice too! Mark and Sally together are, as always, a delight to watch and sound like they've been singing Sondheim all their lives, not an easy trick.

Sally Wingert and Tyler Michaels
as Mrs. Lovett and Toby
(photo by George Byron Griffiths)

And now for the rest of the cast, who are known for their singing but are wonderful actors as well. I thought nothing could top Tyler Michaels singing "On the Street Where You Live," but Tyler Michaels as Toby singing "Not While I'm Around" does just that, so soaring and beautiful and moving. And he brings his trademark physicality to the role of this eager limping young lad, and also climbs, jumps, and hangs on the set as a member of the ensemble. The lovely-voiced Sara Ochs is almost unrecognizable and terrifying as the beggar woman with a secret, and also portrays her humanity beneath the madness. James Ramlet makes the Judge a villain you love to hate, and the "Pretty Women" duet is a highlight featuring James' yummy low rumbling timbre on the "bum bum bum bum." Elizabeth Hawkinson's Johanna is delicately lovely, and she sings like a nightingale. Also wonderful are Matthew Rubbelke as Anthony, Dominique Wooten as Beadle (with a bit of humorous pounding on the piano), Evan Tyler Wilson as the pompous barber Pirelli, and Benjamin Dutcher in a number of roles.

If you're a fan of Sondheim, music-theater, or just a really well-told story, Theater Latte Da's gleefully maniacal Sweeney Todd is not to be missed. Everything is perfection, top to bottom. An incredible and fully committed cast, spot-on direction, gorgeous music, and attention paid to every detail (watch for Sweeney's entrance, repeated at the end) to create an all-around stunning production. Playing through October 25, get your tickets now before it sells out.


This article also appears on Broadway World Minneapolis.

"The Matchmaker" by Girl Friday Productions at Park Square Theatre

Girl Friday Productions is a theater company that specializes in large cast classic American plays. The bad news is they only do one production every two years. The good news is it's worth the wait. In their first time partnering with Park Square Theatre, they're presenting Thornton Wilder's comedy The Matchmaker (which you may know in its musical version as Hello Dolly!, seen at the Chanhassen just last fall). With a funny and poignant story about love, money, and adventure, smart period set and costumes, a cast that is sheer perfection, and direction that keeps it all running smoothly, this Matchmaker is an absolute delight from top to bottom, start to finish. It's my favorite of the three Girl Friday shows I've seen (also including the sprawling drama Street Scene and Tennessee Williams' most bizarro play Camino Real). Go see it now (playing through July 26), or wait another two years for your chance to see this great company.

Widow Dolly Gallagher Levi is the matchmaker here, and then some. She makes a living providing necessary services, but she's tired of the hard work and sets her sights on wealthy client Horace Vandergelder. What Dolly wants, Dolly gets, even if it takes some master manipulation to get there. Caught up in her web are Horace's niece Ermengarde, who longs to marry the artist Ambrose Kemper against her uncle's wishes, Horace's hard-working employees Cornelius Hackl and Barnaby Tucker, who long for adventure outside of their Yonkers store, and Horace's prospective match Irene Molloy, a widowed hat maker who runs her store with the help of flighty Minnie. Their paths all cross on one wild night in New York City. It's a grand adventure for one and all.

Girl Friday has assembled a dream cast, under dream director Craig Johnson (who, BTW, won an Ivey for his direction of the aforementioned Street Scene). Karen Wiese-Thompson is a brilliant comedic actor (seen frequently on the Ten Thousand Things stage, er... floor) and therefore a perfect choice for Dolly, bringing all of her biting humor, warmth, and spirit to the role. Alan Sorenson is wonderfully grumpy as Mr. Vandergelder. His employees Cornelius and Barnaby couldn't be cuter than Dan Hopman, oozing with aw shucks charm, and Vincent Hannam, the only unfamiliar face in the cast but fitting right in as the adorably naive youngster. Lindsay Marcy's Irene is strong and funny and determined to find adventure, while Christian Bardin creates a delicate, flighty, high-voiced, hilarious character in Minnie with every look and movement. Elizabeth Hawkinson and Sam Pearson are charming as the young lovers Ermengarde and Ambrose, and the former is blissfully less shrill than her musical counterpart typically is. Sam Landman is, as always, a joy to watch as the New Yawk accented assistant with questionable motives, who delivers an amusing and not unwise speech about nurturing one but only one vice. Girl Friday Artistic Director Kirby Bennet makes a fourth act cameo as the delightfully loopy Mrs. Van Huysen. Last but not least, David Beukema and Dana Lee Thompson play multiple roles with gusto and personality, and several quick changes - sometimes onstage!

Lindsay Marcy, Dan Hopman, Karen Wiese-Thompson,
Alan Sorenson, Christian Bardin (photo by Richard Fleischman)

Park Square's basement Andy Boss stage had been transformed into charming old NYC with images of city streets on either side of the stage and a screen that's lowered between the four acts to announce the setting, with changing displays in the openings at the back of the stage to further define the four locations (set by Rick Polenek). The thrust stage is put to good use, especially in the several soliloquies delivered by various characters as they walk around and look directly at the audience. Kathy Kohl's costumes are scrumptious (if I may borrow a word from that other American classic playing on the other side of the river), especially the women, dressed in flounces, bustles, and hats.

The characters in The Matchmaker are searching for happiness and finding it in different ways - love, money, adventure, employment, a home. Young Barnaby gives the closing speech, wishing the audience the right amount of adventure and sitting at home. Perhaps he's stumbled on the key to happiness - finding that correct balance between adventure and sitting at home. Some people need a lot of adventure to be happy. For others, like Bilbo Baggins, one great adventure can last a lifetime of sitting quietly at home. Girl Friday's The Matchmaker is definitely an adventure worth leaving home for. Funny, entertaining, poignant, well-written, -acted, and -directed - an all-around delightful production of an American classic (playing now through July 26 at Park Square Theatre).


This article also appears on Broadway World Minneapolis.

"Musical Mondays" at Hell's Kitchen, June 2015

Last night was another fun night at Hell's Kitchen in downtown Minneapolis. On the first (or in this case second) Monday of every month, that's where you can find super-talented local theater artists and real life BFFs Max Wojtanowitz and Sheena Janson. They've hosted this monthly cabaret series "Musical Mondays" for almost three years. Each month features songs around a different theme performed by a different cast of amazingly talented singer/actors. Since it's June, this month's theme was Pride, i.e., gender-bending and/or inspirational songs.

This month's cast included George Keller (frequently seen at Ten Thousand Things), Grant Sorenson (Yellow Tree's Henry in Next to Normal), John Jamison (whom I have not seen in anything before), Liz Hawkinson (Julie in BCT's Carousel), and Stephanie Cousins (part of Yellow Tree's Ivey-winning production of The 39 Steps), with musical direction by Nic Delcambre. As usual the evening's program (which you can view in full on Musical Monday's Facebook page) included some familiar musical favorites, as well as many great songs I'd never heard before. Highlights of the evening include:

• The opening group  number set the stage for the evening - "Keep it Gay" from The Producers.
• The boys beautifully sang "At the Ballet" from A Chorus Line, which made me even more excited to see the Ordway's production next year!
• The girls hilariously sang "You're A Man" from The Full Monty.
• Liz Hawkinson made West Side Story's "Maria" sound like it was written for a woman to sing. Just lovely!
• John brought the house down with "When You're Good to Mama" from Chicago.
• Host Max took the mic and proved he is "The Hostess with the Mostess" (from Call Me Madam).
• George won the prize for best costume, changing accessories slightly for each character (something she no doubt learned from Ten Thousand Things). I never realized what a creepy song "Standing on the Corner" was, and her "I Am Adolpho" was ridiculous in the best possible way.
• Stephanie sounded gorgeous on "There But For You Go I" from Brigadoon.
• Grant sang a couple of Kerrigan/Lowdermilk songs - the charming "Stupid Boys" and the fun road trip song "Freedom," a duet with his middle school buddy Liz.
• In addition to leading the band (which also included guitar and percussion) on keyboards, Nic sang a couple of songs, including a lovely arrangement of "You Have To Be Carefully Taught" from South Pacific (which I cannot wait to see at the Guthrie next summer).
• The evening concluded with "Raise You Up/Just Be" from Kinky Boots (tour coming to the Orpheum this summer).

Here's were you can see the cast on stages around the Cities in the coming months:

• George Keller - an all-female production of Henry IV by Ten Thousand Things this fall
• Grant Sorenson - Yellow Tree's beautifully heart-breaking production of Next to Normal is heading to Alexandria's Theatre L'Homme Dieu in July
• John Jamison - The Wizard of Oz at Children's Theater Company this fall/winter
• Liz Hawkinson - Girl Friday Production's biennial production, The Matchmaker at Park Square Theatre in July
• Stephanie Cousins - Old Log Theatre's Best Little Whorehouse in Texas, opening this weekend

Be sure to like the Musical Mondays Facebook page for lots of good info about their schedule, performers, and songs. Next month, an all new and no doubt fabulous cast TBA will sing songs of summer on July 6. Show starts at 7pm, and for just a mere $5 you can be entered into a drawing to win theater tickets. Go see it with all of your musical theater-loving friends. I had a great time sharing the experience with my fellow bloggers at One Girl Two Cities and Minnesota Theater Love - check them out for more local theater coverage.

"Carousel" at Bloomington Civic Theatre

When Bloomington Civic Theater announced their 2014-2015 season last year, I was thrilled to see that the Rodgers and Hammerstein classic Carousel would be closing out the season. As a musical theater geek, this is one of those shows that you really must see, and I hadn't. But it turns out BCT was not my first Carousel; the Minnesota Orchestra presented a semi-staged concert of it last month. I found the music to be gorgeous and the story to be... challenging. I was happy to have another experience with the show again so soon and more time to spend with it. After seeing BCT's beautiful production, I appreciate this show even more. The music is gorgeous as performed by this spectacular cast and always fantastic pit orchestra, and they nicely handle the difficult issues of the play, namely domestic violence. There's a reason Carousel is a classic, and BCT makes that very clear.

For Rodgers and Hammerstein's sophomore outing as a team (their first being the smash hit Oklahoma!, based on the play Green Grow the Lilacs), they chose to adapt the lesser-known Hungarian play Liliom as Carousel, which was a bit of a gamble due to the darker nature of the story and not-so-happy ending. But the risk payed off; Carousel was another rousing success and ranks among R&H's big five musicals. This is the classic good girl falls for bad boy story, in which the good girl sees the best in the bad boy, and the bad boy tries to be a better person for the good girl, but ultimately fails despite his love for her. In this case the good girl is mill worker Julie Jordan and the bad boy is carnival barker Billy Bigelow. Although perhaps he's not so much bad as putting on a tough front to hide a deeply damaged soul. They both sacrifice their jobs to be together, which unfortunately does not lead to happiness for the pair. Through an unfortunate series of events Billy sees the errors of his ways and tries to make amends with his family.

Because of its themes of poverty and domestic violence, this a difficult story. But I was thrilled that BCT has cut what I see to be the most offensive and potentially damaging line, the one in which Julie tells her daughter that it's possible to be hit hard and it doesn't hurt. It most definitely does hurt when someone you love hits you, in more ways than one. It's hard enough to come to terms with the idea that even though he hits her, Billy and Julie truly love one another, without the implication that the abuse doesn't hurt. Simply removing this one line makes a world of difference, and turns a story that possibly excuses domestic violence into one that tries to get inside it and understand it in the hopes of shedding light on this issue that is as devastating today as it was 70 years ago when the musical was written, or 140 years ago when the story takes place.

And now that we've gotten the difficult part out of the way, let me rave about this cast! Firstly, our Billy, Dominique Wooten. According to his bio this is Dom's first leading role on a Twin Cities stage (although he has been sharing his talent in supporting roles at BCT and elsewhere for a few years), and I cannot think of a better debut. His voice is gorgeous and his performance of the famous "Soliloquy," covering a range of emotions and vocal challenges, is a triumph. He handles the difficulties of the role (Billy isn't really someone you're supposed to like) with grace, and brings out the humanity in this troubled man. He's well-matched in Elizabeth Hawkinson as Julie, her first time on the BCT stage. Her voice is beautiful, and her Julie is strong, compassionate, vulnerable, and completely believable. Becca Hart is also making her BCT debut as Julie's best friend Carrie, and she's a delight. Rounding out the two main couples is Joshua Smith (last year's Sky Masterson), sweet and charming and well-voiced as Mr. Snow. You really cannot ask for better leads than these four, and the supporting cast and ensemble are strong as well. Of special note is ten-year-old Natalie Tran playing the Star Keeper, a role not typically played by a child, bringing a whole new dimension to the role.

Carousel is a show that's heavy on the dancing, with the opening number being an eight minute waltz with no words that manages to convey everything about the setting and characters that you need to know. The second act also includes an extended ballet that introduces a new set of characters. Choreographer Michael Gruber and director Karen Weber nicely structure both of these segments and the cast performs the choreography beautifully, especially the graceful young Megan Carver as Louise.

If you're a musical theater fan who's never seen Carousel, like I hadn't before this year, you really must go see BCT's excellent production of this classic. And even if you've seen it before, it only gets better and richer with repeated viewing. This is a dark, difficult, devastating love story, but when Billy told Julie "know that I loved you" as the voices of the ensemble rose together in harmony on perhaps the most well known song from the show, "You'll Never Walk Alone," real tears rolled down my cheeks. That's the power of musical theater, to make you feel and empathize and learn something you didn't know before. Carousel continues at Bloomington Civic Theatre through May 17 (BCT shows have a tendency to sell out, so you might want to plan ahead - look for discount tickets on Goldstar).

"Little Shop of Horrors" by 7th House Theater Collective at Open Eye Figure Theatre

The great thing about the Twin Cities theater community is that not only can you see big lavish productions at the Orpheum, Ordway, or Guthrie, but you can also see small low-tech productions in odd or tiny spaces that will surprise and delight you every bit as much as those big productions, or even moreso. 7th House Theater Collective's 7-person (7 must be their magic number) stripped-down version of the cult horror movie turned off-Broadway musical Little Shop of Horrors is just such a show. This darkly funny and surprisingly sweet musical about a man-eating plant and the poor schlub who sells his soul to it, featuring a fun doo-wopy score, has long been one of my favorites, but I've never seen it quite like this. This talented young ensemble of seven (with no director to guide them) has put their own creative spin on this classic and created something fresh and fun and original.

If you've never seen Little Shop in any of its incarnations (see also the 1986 movie), here's a brief plot summary. Aspiring botanist Seymour finds a strange and interesting plant and brings it into Mushnik's Flower shop, where he works with Audrey. He soon finds out that the plant, named Audrey II, will only grow if he gives it blood, but in return it makes Seymour's life wonderful - the failing flower shop flourishes, Seymour becomes famous, and most importantly, he thinks it makes him look better in Audrey's eyes. But the dilemma comes when Seymour needs to find more sources of blood to satisfy Audrey II's growing appetite. He's sold his soul to the devil and there's no turning back.

On the tiny stage at Open Eye Figure Theatre, 7th House brings this morbidly hilarious world to life in a delightfully inventive and low-tech way, involving an overhead projector, a plastic shower curtain, a skull, fake blood, and a series of increasingly larger cardboard boxes. The show runs about 90 minutes including a short intermission, which feels exactly the right length. Similar to what Ten Thousand Things does in their productions, they've stripped the show down to its bare essentials to get to the heart of the piece, without any unnecessary fluff.

Company member Grant Sorenson plays Seymour with just the right mix of sweetness, lack of self-confidence, and a growing inner determination to do what he has to do to get what he wants in life, mainly Audrey. As Seymour's love, Maeve Moynihan is pitch-perfect, both in her powerful voice and in her portrayal of Audrey's charming ditziness. I've watched Maeve grow up on local stages; just six years ago she was little Carrie Ingalls in a musical version of Little House on the Prairie at the Guthrie, and now she's all grown up and playing one of the most iconic roles in musical theater. In between she was young Violet in my favorite Theater Latte Da show Violet (when I referred to her as "teenage wonder"), and Dorothy in The Wizard of Oz at the Children's Theatre (at which time I said "I only hope that after she becomes a big Broadway star she comes home every now and then to grace us with her talent"). It's a thrill to see her back on stage playing an adult, and I look forward to seeing what her bright future holds. Grant and Maeve make for a completely adorable Seymour and Audrey, and if you don't get chills at the end of "Suddenly Seymour," one of the best musical theater love songs ever written, you probably don't have a soul.

6/7 of the cast of Little Shop of Horrors
(photo by Kelly Nelson)

The other five members of the ensemble play all of the other roles, sometimes at the same time. Gracie Anderson, Liz Hawkinson, and Catherine Noble as the girl group Greek chorus sound fantastic and deliver the campy material the way you need to - with complete conviction. Robert Frost provides most of the musical accompaniment at the piano and serves as Musical Director, as well as occasionally getting in on the action of the show. Company member David Darrow's take on the gleefully maniacal and sadistic dentist, whether abusing poor Audrey, singing to his mother in a Norman Batesian kind of way, or getting high on laughing gas, is a true delight (and oh, by the way, he also plays guitar, trumpet, and percussion). In a clever twist, both Mr. Mushnik and Audrey II are played by the entire ensemble, which is kind of genius and turns what are usually duets into really fun group numbers in "Mushnik and Son" and "Feed Me." Seeing Seymour surrounded by the voice of the plant in several bodies gives it a whole new dimension.

This is only 7th House's third production as a company, after debuting last summer with a groovy production of Hair, followed earlier this year by the smart and sexy Cinephilia. If this group of young talented theater artists who have created a space for their work is not yet on your radar, they should be. Their next show is something that makes me very happy - a musical collaboration between David Darrow and the super talented couple Mary Fox and Blake Thomas*. Blake is one of my favorite musicians and an incredibly talented songwriter, and I got a taste of David's songwriting skills in his Fringe show a few years ago, so the two of them writing and creating together is something I would not miss for the world. Jonah and the Whale will play in the Guthrie's Studio Theater this December. But in the meantime, head to Open Eye to experience this darkly funny and delightfully inventive Little Shop of Horrors (playing through June 29 only).



*Click here to listen to Blake and Mary's radio show, Take it With You, recorded live monthly in Duluth. It's a wonderfully new and fresh take on the old radio variety shows of the past, full of hometown humor, heart, and Blake's original music.


This article also appears on Broadway World Minneapolis.