"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.

"Into the Woods" at the Guthrie Theater

Six years after their stunning production of Sunday in the Park with George, the Guthrie Theater is returning to Sondheim with Into the Woods. It's probably his most frequently produced work; I've seen it eight times now, all local productions in the last 12 years. Based on familiar fairy tales, it's also perhaps the most accessible. But once you're drawn in by the familiar stories, you find that it's surprisingly complex, with themes of good and evil, right and wrong, the consequences of choices, self-interest vs. the common good, and what happens when the fairy tale subsides to reality. It also contains some of Sondheim's most playfully clever lyrics ("while her withers wither with her") and singable melodies (the most famous songs being "Children Will Listen" and "No One is Alone"). For this production, the Guthrie has enlisted Sarna Lapine as director, niece of book writer and original director James Lapine, who obviously has a deep connection to the piece. Her direction is smart, clear, and playful, and the mostly local cast is a joy to watch. Whether you've gone Into the Woods a dozen times, or this is your first time, this production makes it well worth another journey.

"Little Women: The Broadway Musical" at Artistry

After cancelling their originally scheduled opening weekend due to a positive COVID test in the vaccinated cast (statistically speaking, this was bound to happen somewhere amongst the many shows in production right now, even with a low breakthrough rate), Artistry finally opened their production of Little Women: The Broadway Musical. Louisa May Alcott's classic story of four very different but loving sisters has stood the test of time and many adaptations. While this is not my favorite adaptation of the story, it's still a heart-warming tale, and the talented cast and creative team make the most of the material.

"Mary Poppins" at the Orpheum Theatre

In general, I'm not a big fan of the current trend of turning movies into musicals. But when the original source is a classic movie musical, I make an exception! The only surprise is that it took 40 years for the 1964 beloved children's classic Mary Poppins, starring the great Julie Andrews, to make it to the Broadway stage. The 2004 West End production moved to Broadway in 2006, and just closed last month. I've never seen it on Broadway because there are just too many other good choices (and I'm over 12 years old), but I was excited to see it on tour and see how this classic translates to the stage. It's been a while since I've seen the movie (again, I'm over 12 years old), but the playbill kindly notes the half dozen new songs (by George Stiles and Anthony Drewe) that have been added to the originals from the movie (by Richard and Robert Sherman), with varying degrees of success. There are a few unnecessary songs and scenes that I would cut to get all the kids in the audience (and myself) home to bed earlier, but some of the movie's best moments have been translated to the stage remarkably well. On the whole, Mary Poppins is an utterly charming stage musical that's highly entertaining, especially for the young ones. And let's face it, if "Supercalifragilisticexpialidocious" doesn't make you smile, it's possible you don't have a soul.

Highlights and other thoughts:

• As the title character, Madeline Trumble is indeed practically perfect in every way. She channels Julie Andrews, and has remarkable control of her voice, sometimes singing in this trill that's so very Mary Poppins. Her every move, from the top of her head to the tips of her fingers, is precise, practiced, and perfect. In any other role it might be too polished, but this is exactly how we all know Mary Poppins to be. She does Julie Andrews proud.
• Con O'Shea-Creal is a real charmer as omnipresent chimney sweep Bert. The character serves as a sort of narrator, always there in scene transitions singing "Chim Chim Cher-ee" in a mournful or light-hearted way as the scene demands. He moves with grace about the stage and has great chemistry with the children. And in one thrilling moment, he effortlessly walks up the side of the stage and across the ceiling, all with a smile.
• Speaking of the children, what adorably precocious little pros are Alexa Shae Niziak and Eli Tokash as Jane and Michael Banks! They carry several scenes by themselves, interact with the cast, sing, dance, they do it all. What a life for a kid, to travel the country and live in the world of Mary Poppins four times a week (two Janes and two Michaels travel with the show and take turns in the role).
• The sets are truly spectacular. The Banks family home at 17 Cherry Tree Lane moves forward from the back of the stage and opens like a life-size dollhouse. Later, it turns around and the back opens up to reveal the kitchen (like on Downton Abby, whose creator Julian Fellowes wrote the book, we get a glimpse into the life of the servants as well as the masters of the house). The park, the bank, and the cityscape are all equally magical with clever use of perspective on the backdrops. And yes, there's a bit of flying, which is not the sort of thing that impresses me at the theater. But you can't really do Mary Poppins without seeing her rise into the air with her umbrella.
• I'm disappointed that the women's suffrage subplot was removed, along with my favorite line from the movie: "We all like men individually, but we agree that as a group they're rather stupid." Instead we get a boring plot of Mr. Banks' troubles at work (he works at a bank, how clever), and Mrs. Banks trying to support him (one of my least favorite new songs "Being Mrs. Banks"). If I was bored by all this business of lending and making money and marriage stuff, I can't imagine what the kids thought. But of course, a lesson has to be learned, and that comes when Mr. Banks learns to stop being a jerk and pay attention to his wife and kids.
• Another needless scene is when the toys come to life and dance around, singing a song that the playbill tells me is called "Playing the Game" (that's how little I remember it). It's an addition that didn't work for me, unlike the moving and dancing statues which I found delightful.
• I could take or leave the evil nanny. I suppose it's necessary for Mr. Banks obligatory transformation but I just wanted Mary to come back. But I guess that's the point.
• A few of the new songs worked. "Cherry Tree Lane" is a great way to get through some of the exposition and tell us who the players are. "Practically Perfect" feels like it could have been in the movie as Mary Poppins gets to know the kids and they her. Every musical needs a feel good anthem, and that is "Anything Can Happen (If You Let It)." It's a great message of imagination and positivity, as is the show.
• You'll also recognize some old favorites, the haunting "Feed the Birds," the upbeat "Jolly Holiday" (with a colorful explosion), the fabulous dance number "Step In Time," and my favorite, "Supercalifragilisticexpialidocious," set in a fantastical "talking shop." At one point Mary spells the word while Bert forms the letters with his body, and it gets faster and faster as the entire cast joins in. It's a thrill, no wonder they chose it as a post-curtain call sendoff.

Mary Poppins is not a musical I would choose to see on Broadway, but on tour, I think it's a great choice, especially if you have little ones. It's never too early to expose kids to theater, and this is a great one. Just be prepared for a late bedtime and crabby child the next day! Small price to pay for this memory (playing through this weekend only).