"Best Little Whorehouse in Texas" at the Old Log Theatre

Having opened in 1940, The Old Log Theatre is the oldest theater in Minnesota. But it's also a long drive out to Excelsior, so I don't get there as often as I'd like. They've stepped up their game in the last few years, pulling in top area talent, adding a new restaurant, and remodeling the lobby. There were a number of shows this season I wanted to see, but just wasn't able to work the 70-mile round trip into my busy theater schedule. So I was happy that I finally made it out there this weekend for their fun and energetic production of the charmingly corny 1978 Broadway musical The Best Little Whorehouse in Texas (later made into a movie starring Dolly Parton* and Burt Reynolds).

The title pretty much tells you what this show is about. But you may not know that it's based on the story of a real life Texas brothel known as the Chicken Ranch (during the Depression the Madam would accept chickens as payment) that was largely tolerated by law enforcement and government until a TV reporter investigated and demanded it be shut down. In the musical version, Miss Mona (a strong performance by Julia Cook) runs the Ranch with a strict set of rules and presides over her girls, most of whom seem happy to be there, although some have dreams of a better life. Ed Earl (an excellent Jefferson Slinkard) is the sheriff and her sometimes beau, and is torn when given orders to shut the Ranch down after it's exposed by the TV star reporter Melvin Thorpe (a very funny Jon Andrew Hegge in a Colonel Sanders wig). It's a sad ending as the girls all move on, but there's plenty of fun to be had before that with cheerleaders, football players, and a general hoedown atmosphere.

Miss Mona (Julie Cook), Jewel (Whitney Rhodes), and the girls

This is one of those musicals where many supporting characters get one song, and everyone in the large and talented cast steps up. Highlights include Whitney Rhodes as Jewel singing "Twenty-Four Hours of Lovin'," Maisie Twesme's lovely "Doatsy Mae," Britta Ollman and the girls singing my favorite song in the show, the poignant "Hard Candy Christmas," and John Paul Gamoke's brief but memorable appearance as the Governor in the hilarious and all too true song "The Sidestep." All of the songs have a twangy Country-Western sound (which I happen to love, as I did the great old Country songs played before the show and during intermission). John Lynn directs the band behind a screen at the back of the stage.

the boys high-stepping it

With Regina Peluso as the choreographer you know there are going to be some fantastic dance numbers, especially with several members of her company (Collide Theatrical Dance Company) in the ensemble. The group numbers are lots of fun and well performed by the cast. As you would expect of a musical set in a whorehouse, there is a bevy of scantily clad women, but the boys have a shirtless singing and dancing number, which is only fair. ;) Sara Wilcox's costume design takes advantage of the '70s era (I love a jumpsuit!) and gives each character a distinct personality.

The Texas accents are so much fun to listen to. I don't know how accurate they are to reality, but they sound like the Southern accents you hear on TV (in fact the entire show is almost like an episode of Dukes of Hazzard). Greg Eiden is especially good at it in his dual roles as a senator and a diner patron, milking every line for laughs, and getting them.

If you live in the East metro like I do, Excelsior is a bit of a hike, but it's worth it to see the work that Old Log is doing, and this fun summer musical in particular. I recommend heading over to the charming lake town in the afternoon to avoid traffic (if such a thing is possible in this busy summer construction season), checking out the shops or sitting by the lake, and dining at one of the many area restaurants (I had yummy vegetarian sushi at Yumi's Sushi Bar) before seeing the show. It's a great idea for a staycation and checking out another beautiful part of the Twin Cities metro area.

The Old Log has an interesting line-up for next season, and I'm particularly excited that they're producing the regional premiere of the smart, funny, poignant two-person play The Velocity of Autumn, which I saw last year during it's too-short Broadway run. Starring Melissa Hart as a 79-year-old woman who has barricaded herself in her Brooklyn home and Paul de Cordova as her son who climbs in the window to try to talk her down, it's definitely going to be worth the drive.


*I was seriously derailed in writing this blog when I went down a black whole of Dolly Parton youtube videos, starting with "Hard Candy Christmas" and ending with the best country duet of all time, "Islands in the Stream."

"The 25th Annual Putnam County Spelling Bee" at Bloomington Civic Theatre

The 25th Annual Putnam County Spelling Bee is a delightful, hilarious, and at times poignant look at a middle school spelling bee. I've seen the 2005 Tony-winning musical four times now, and I never tire of it. Bloomington Civic Theatre's new production is of course perfectly cast and very well executed, with Anita Ruth's small but still beautiful pit orchestra and Joe Chvala's unique eye for movement and direction. It's different than the large-cast traditional musicals they often do, which I love because it shows the full range of what musical theater is and what BCT can do.

The entire show takes place within a spelling bee competition, with a few flashbacks or fantasies to help explain certain characters. But basically it's a spelling bee, following the spellers from the moment they arrive at the bee, through triumphs and defeats, to the crowning of the winner. Along with the six quirky characters in the play, four audience members* are asked on stage to participate in the bee, adding an element of improvisation. Three adults try to wrangle the kids and keep the bee running smoothly, to varying degrees of success.

Highlights of the show include:

• Real life husband and wife Nicholas Leeman and Colleen Somerville play the adults presiding over the bee. Nicholas plays Vice Principal Panch with the perfect dry wit and occasional exasperation (and he's also the improv master as he deals with whatever the audience members throw him). Colleen's lovely voice is put to good use as former spelling bee champ Rona Lisa Peretti, with maternal fondness for the spellers and nostalgia for the bee. Not surprisingly, they have great chemistry, although Ms. Peretti does not return Mr. Panch's growing affections.
• As the bee's "comfort counselor," opera-trained Dominique Wooten cuts an imposing figure and can really belt (see also Les Miserables), and brings heart and humor to the paroled prisoner trying to help these kids deal with the disappointments of life.
• Six twenty-somethings convincingly play tweens and are all perfectly cast. Like she did in Carrie: The Musical for MMT last fall, Jill Iverson plays a complex and troubled teenager with a difficult relationship with her mother, but Olive is a bit lighter than Carrie and her story has a much less devastating outcome. Ryan London Levin is quite funny as former champ Chip, who's eliminated under unfortunate circumstances. Andrew Newman is adorable as the loopy and sweet Leaf Coneybear who knows he's "Not that Smart" (a role originated by Modern Family's Jesse Tyler Ferguson). Marcy Park is the least-developed character among the kids, but Hope Nordquist makes the most of her moment, a very active and busy "I Speak Six Languages." Andy Roemhildt plays all of the quirks of the singularly unique William Barfee to the hilt. Finally, Maisie Twesme is a standout as Schwartzy, with a lisp and a facial tic that never waver and a knack for engaging the audience spellers.
• The songs are mostly fun and light, with clever lyrics and catchy melodies. But occasionally the score is quite lovely and heart-wrenching; the musical highlight is the gorgeous three-part harmony in a fantasy sequence with Olive and her distant parents, with the three strong voices of Jill, Colleen, and Dominique blending beautifully together.
• This is an unusually small orchestra for BCT, but that's what the piece calls for, and as per usual it's spot-on. Joe Chvala's choreography captures the awkward movement of pre-teens, not quite in control of their bodies.
• I like to go to BCT on days when they have a post-show talk-back and listen to the cast and creative team talk about the experience. My favorite moment was when the cast was asked why they do this if they're not paid (much), and Ryan responded, "theater is crack!" As someone who saw over 150 shows last year, I heartily agree!

As Anita pointed out in the talk-back, this sort of light comedic show is harder than it looks. It takes a lot of work to make the precisely timed comedy look as effortless and natural as this. If you've never experienced the unique delight of Spelling Bee, do yourself a favor and head out to Bloomington between now and February 16 (discount tickets available on Goldstar). And make your plans for next season at BCT which was just announced. It looks like another great one; I'm particularly excited about Next to Normal (which I've seen several times and love) and Carousel (a classic I've never seen but have been wanting to).

*The audience spellers are given obviously easy or difficult words depending on if the script requires them to stay or leave. But they don't always comply, which is part of the fun. The cast told of someone who misspelled an easy word, which caused them to have to rearrange the song order. And there's always that one person who's a great speller and gets even the hardest words right. At the show I attended they finally had to trick him with to/too/two (which reminds me of the 30 Rock joke about the game show Homonym).