"Church and State" by Minnesota Jewish Theatre at Highland Park Center Theatre

"God is a concept by which we measure our pain," John Lennon sang. Or to put it another way, in the movie Corrina, Corrina when a little girl tells her dad that her mother is in heaven with the angels, he says, "heaven, the angels, and all that, it's just something people made up so they won't feel sad anymore." And the child responds, "well, what's wrong with that?" The answer, of course, is that what's wrong with that is when people try to force their religious beliefs on others, and are intolerant of any other beliefs. But here in America, we have something called the separation of church and state which ensures this can't happen. Don't we? It's getting a little hard to tell these days. But in Jason Odell Williams' new play Church and State, making its #TCTheater debut at Minnesota Jewish Theatre Company, at least one politician still believes that, and isn't afraid to say so. Church and State is funny, smart, thought-provoking, sobering, and short, and MJTC has put together an excellent cast that makes this an entertaining, if a bit depressing, evening of theater.

"River Road Boogie" at History Theatre

Does the name Augie Garcia ring a bell? Unless you were a young person who frequented the local Rock and Roll clubs in 1950s St. Paul, probably not. Augie is considered the Godfather of Minnesota Rock and Roll, but unlike his contemporary Buddy Holly, he was a one-hit wonder who never achieved national fame, whether by choice or happenstance is unclear. A new play at the History Theatre, written by local actor and playwright Joe Minjares, sheds light on the fascinating story of this man who was not just a pioneering Minnesota musician, but also a Korean War vet and a devoted family man. Like The Buddy Holly Story (a History Theatre hit remounted last fall), River Road Boogie tells the story of Augie's life through his music as performed by this fabulous cast, but unlike The Buddy Holly Story the music takes a back seat in the second act as Augie's life starts to turn away from a music-focused one into a family-focused one. As always at the History Theatre,* this play is a wonderful opportunity to learn about a great Minnesotan you might never have heard of, but whom you will certainly admire and appreciate after seeing him brought to life on stage.

Augie Garcia grew up in a tight-knit Mexican-American family in St. Paul's West Side neighborhood, specifically an area know as The Flats across the river from downtown St. Paul. He and his friends were such loyal St. Paulites that they refused to drink Grain Belt beer (brewed "across the river"), only Schmidt or Hamm's would do! Our story picks up when Augie returns from a few harrowing years serving in the Korean War. He's happy to be home with his family, friends, and music, and channels his conflicting feelings about the war into his music. He starts a band called the Augie Garcia quintet (inexplicably with six members) and they become quite successful in the local music scene, with a standing gig at the River Road Club in Mendota. In what was perhaps the highlight of their career, Augie and the boys opened for Elvis and were famously kicked off the stage by Colonel Parker because they were coming dangerously close to upstaging the King. Soon after, fame came a-callin' with the promise of bigger gigs and national attention, forcing Augie (in this interpretation of his life) to do some serious soul-searching and decide what he truly wanted in life. Jersey Boys showed us what happens when you succumb to the dangers of fame and success, but Augie chose a different path. As a result most people today don't know his name, but those who saw him perform remember, and thanks to the History Theatre, so will I.

a '50s dance party on the History Theatre stage

Augie released a handful of singles in the mid-50s, the most successful of which is "Hi Yo Silver," inspired by the popular Lone Ranger TV series. The show incorporates five Augie Garcia originals, including this hit and the title song, as well as a few other hits of the time and traditional Mexican songs. All are performed in the context of a concert, rehearsal, or just singing around the house or bunker with friends, making this more of a play with music than a traditional musical. This along with the fact that the cast doubles as the band (a mix of actors and musicians) means that the music feels organic to the story, rather than an add-on. The big Rock and Roll numbers all come in the first act and are fabulously performed by cast, band, and dancers. The second act only features a few quieter songs, the musical spectacles of the first act fading into memory as did Augie's musical career. The tone of the piece shifts as Augie grows up and deals with his demons.

Ricardo Vázquez channels Augie Garcia
(photo by Scott Pakudaitis)

The Ivey Awards 2013 Emerging Artist Ricardo Vázquez is the perfect choice to play Augie Garcia. He embodies the man physically, emotionally, and musically. Augie's music inhabits his body in a specific way, particularly in the song "Ivy League Baby," when he's all over the stage energetically performing crazy dance moves in Augie's trademark shorts (in the post-show talk back Ricardo said he was able to watch a video of a performance Augie gave in the '90s, and extrapolated that back a few decades with his own unique spirit). In addition to the music, Ricardo also brings depth to the character, particularly in Augie's emotional breakdown after a local tragedy reminds him of the hell of war. The excellent supporting cast includes Matt Rein with a couple of diverse performances as Augie's tormented war buddy and band mate (playing the upright bass), and a sleazy radio DJ; Lara Trujillo and Pedro R. Bayón as Augie's supportive parents; Kelly Matthews as Augie's girlfriend Nancy in a sweet love story; and Shawn Hamilton as the sax player who serves as a sort of narrator of the story. Like they did for Buddy Holly, History Theatre has brought in some students from St. Paul Conservatory for Performing Arts to serves as dancers and concert attendees, bringing a youthful energy to the stage.

Tom Mays' cool scenic design provides a perfect backdrop for the story. A replica of the Robert Street Bridge, so important in Augie's life and memories, dominates the back of the stage, with the outline of a huge guitar behind it (something I didn't actually notice until I attended the "hiatus concert" by my favorite local band Storyhill on the same stage later that day). The stage on which Augie and the boys perform rolls out for the concert/rehearsal scenes, and then rolls back again to allow room for scenes in Augie's house, a bar, or other locations.

I truly appreciate the History Theatre for bringing to life people who are important in the history of my beloved home state of Minnesota, but who may not be written about in the history books. Augie Garcia is one such Minnesotan, and it's a treat to watch him shine on stage in the person of the uber-talented Ricardo Vázquez, supported by all these great actors, musicians, and dancers. River Road Boogie continues through May 31 (discount tickets available on Goldstar).


*The History Theatre recently announced their new season, and I'm super excited that the season opens with my favorite Raw Stages reading Glensheen, a musical about the famous Duluth mansion and the strange murder mystery that occurred there. My favorite Minnesota playwright Jeffrey Hatcher sets just the right tone, with some really great songs by Chan Polling. Another very promising reading from this year, Complicated Fun, closes out the season next spring. And if you missed Buddy Holly last time around - don't worry, he's back this fall.

Fringe Festival: "Kitty Kitty Kitty"

Day: 1

Show: 2

Title: Kitty Kitty Kitty

Category: Comedy

By: Loudmouth Collective

Written by: Noah Haidle

Location: Rarig Center Arena

Summary: Life from a cat’s perspective doesn't look so good. Kitty falls in love with his clone, is rejected by him, makes more clones, loses them, and learns about love.

Highlights: Have you ever wondered what your cat is thinking? According to this play, he's thinking some pretty deep and existential thoughts. A mad scientist (Leif Jurgenson) clones a suicidal house cat (Sam Landman), who then falls in love with his clone (Matt Rein) and teaches him everything he knows. When Kitty Kitty is adopted by a couple of humans, Kitty is devastated and tries again with another clone, except that each successive clone is a little, well, less. In typically Loudmouth fashion, this is a smart and funny play with a great cast. And it's not a bad idea - I recently lost the best cat that ever lived, and if I could clone him I totally would. Whether you love cats like I do, or you're one of those soulless human beings who doesn't like cats, it's great fun to see that majestic and mysterious animal personified on stage and get a glimpse into what they might be thinking.

"The Last Five Years" by Minnesota Jewish Theatre Company at the Hillcrest Center Theater

This was my second time seeing the Jason Robert Brown cult hit musical The Last Five Years, and I think I enjoyed it more the second time around. It's a complicated piece, both in structure and emotion, so it benefits from repeated viewings. This production by Minnesota Jewish Theatre Company employs a much simpler staging than the Flip Theatre production I saw last fall, with minimal set pieces and no microphones, which serve the intimate two-person 90-minute musical well. Already familiar with the story and structure, I was better able to appreciate the emotion of the story and Jason Robert Brown's fantastic score.

The premise is simple, but told in a complex way. A man and woman meet, fall in love, grow apart, and split up. The unique thing about this familiar story is that one half of the couple tells the story (through song) chronologically, while the other half is simultaneously working through the story backwards from the end. The show begins with a heartbroken Cathy singing about the end of her marriage and a newly lovestruck Jamie singing about this girl he just met. The two timelines cross in the middle when Jamie proposes to Cathy, and continue on to their ultimate conclusions - Cathy happy and hopeful at the beginning of the relationship, Jamie sad and conflicted at the end. It's quite fascinating to watch a relationship grow and disintegrate at the same time, and see how much these two people love each other but realize that they just can't make it work.

Matt Rein as Jamie
and Sarah Shervey as Cathy

As Cathy, Sarah Shervey* is sweet and sympathetic, with a lovely voice. Matt Rein as Jamie is charming and much more likeable than my first experience with the show. In a post-show talk back, director Kevin Dutcher (who does a fine job with this "puzzle" of a piece) said they made a conscious decision to make Jamie less of a "dick," and it works. Seeing the show this time I didn't think that either one was solely to blame for the break-up, but could see that they both contributed to the sad conclusion. The interesting thing about this pieces is that you only see the couple connecting together for one moment in the middle, but Kevin chose to begin the show with a brief happy moment between the two so the audience could see just what it is that's lost. He calls their one duet "The Next Ten Minutes" the "payoff" for "desperately wanting to see them together," and he's right. The two characters might be on stage at the same time at several points throughout the show, but they're never together in the moment except for that one song, and it's all the more bittersweet for it.

On the small stage at the Hillcrest Center Theater, the four-piece band is behind a screen. The forefront of the stage consists of a few city sketches as backdrop, with simply a chair and table for furniture (set design by Dan Wold). There's very little transition time lost between scenes as one song flows into the next. In a piece like this, less is more.

There's no question that Jason Robert Brown's The Last Five Years is deserving of its popularity, and I welcomed the chance to spend more time with it. This is a nice production with a charming and talented cast, and a simple staging that lets the story and the songs shine through. Playing weekends only through March 2.



*I was told that both leads were sick with colds on the day I saw the show, so they might not have been at their best. But what I saw was still pretty great.

"All is Calm" by Theater Latte Da at the Pantages Theatre

If you see one Christmas-themed theatrical event this year, let it be All is Calm. Unlike most Christmas shows, there is not a red and green banner, brightly wrapped present, or figgy pudding in sight. It does not present the usual frenetic cheery energy associated with the holiday. Instead it is quiet and lovely, joyous and melancholy, celebrating a remarkable event when soldiers put down their weapons and shared the spirit of peace across enemy lines for one brief and beautiful moment. Created by Peter Rothstein and presented annually by Theater Latte Da and Hennepin Theatre Trust, All is Calm tells the story of the 1914 Christmas Truce during the first year of WWI, in which soldiers along both sides of the trenches on the Western Front stopped fighting and met in no man's land to exchange photos and stories, bury the dead, play football, and sing carols. This story is told simply on a bare stage with only some wooden platforms and crates as set pieces, with three actors bringing to life the words from actual letters, articles, and other historical documents, illuminated by songs performed by the marvelous nine-man a capella vocal ensemble Cantus. It's a perfect marriage of music and storytelling, not the story of specific people or characters, but rather the story of peace in the midst of war. What better representation of the spirit of the season?

The piece runs a short 75-minutes, a seamless flow from beginning to end. The songs are structured to tell the story of young men enthusiastically heading off to war, experiencing the fear and drudgery that is the reality of war, finding a brief reprieve one snowy Christmas day, and then being reluctantly forced back to reality as the cease-fire ends. Traditional British, French, and German Christmas carols like "Good King Wenceslas," "Bring a Torch, Jeannette, Isabella," and "Es ist ein Ros entsprungen" (one of my favorites), are combined with war songs both spirited and somber. The songs are perfectly chosen to evoke the feeling at each point in the story, and complement the words spoken by the actors sporting a wide variety of accents (Matt Rein, David Roberts, and Alan Sorenson).

If you've never seen Cantus before, you are in for a treat. They are nine gorgeous voices perfectly blended in multi-layered harmony so beautiful, it's tempting to just close your eyes and let it wash over you (purchase music here, including the soundtrack of All is Calm). But the men of Cantus are not just singers here, they're actors as well as they play the parts of soldiers. Actors and singers are dressed alike in warm black layers, adding hats and gloves as the weary night continues. They fill the space in beautifully staged movement, sometimes standing at attention, sometimes laughing and joking and shaking hands.

All is Calm is one of those shows that induces a trance-like state, aided by the fact that it's constructed with no applause breaks. The cycle of song - applause - song - applause can break the flow of the story, and there's none of that here. Just one long swell of music, words, and emotion. When the show was over, the trance continued as I walked out into the dark night with snow softly falling, the strains of "peace on earth" reverberating in my ears, the lovely and bittersweet feeling of the show remaining with me. This is the third time I've seen the show, and I think I love it more each time I see it. Only four performances remain, two today and two tomorrow. Take a break from the frantic holiday season to soak in the peace and beauty of All is Calm.

"Compulsion or the House Behind" by the Minnesota Jewish Theatre Company at the Hillcrest Center Theater

Compulsion or the House Behind tells the story of a man obsessed with Anne Frank's story, and making sure her story was heard throughout the world. I've been on a bit of an Anne Frank journey myself recently, although a little less obsessively. Last fall I saw Yellow Tree Theatre's moving production of The Diary of Anne Frank, based on the 1997 revision of the original 1955 play by Frances Goodrich and Albert Hackett (more on that a bit later). After seeing the play I was compelled to read the book, and was struck by what a normal teenager Anne was, despite the unthinkable situation she found herself in, as well as how she was able to keep her faith in the goodness of the universe. Earlier this year Nautilus Music-Theater presented a beautiful musical rendition of the diary, I Am Anne Frank, which adds another layer of richness to the story in a way that only music can. Compulsion or the House Behind by Minnesota Jewish Theatre Company adds yet another layer to the complicated story. Or rather, the story of how this simple diary became the legend that we know today.

Compulsion or the House Behind is a new play by Rinne Groff (the 2010 Public Theater production starred Mandy Patinkin, whom I adore) based on the life of Jewish American writer Meyer Levin. He traveled to Europe at the end of WWII and witnessed the liberation of the concentration camps, which began his obsession with getting the story of the Holocaust told. But he felt that the best person to tell the story was someone who had lived it; "from among themselves a teller must arise." When his wife gave him a French language translation of Anne Frank's diary, he knew he had found the teller. He worked with Anne's father, Otto Frank, to get the diary published in English in 1952, and wrote the New York Times review of the book. He had a verbal agreement with Frank and the publishers to write the stage adaptation, but his version was ultimately rejected in favor of the version written by Goodrich and Hackett. Their version downplayed Anne's Judaism and stressed the universality of the story, in order to make it more accessible to a wider audience (typical Broadway - compromise to sell more tickets). And it worked; the play won the Tony Award and Pulitzer Prize and became a huge hit that's still being produced today. Unfortunately Levin's version, which is more a story of the Jewish people and their survival, cannot be bought or produced due to an agreement he signed after a prolonged legal battle. But despite this settlement, Levin could never let Anne go; it became a lifelong obsession.

Mr. (Mark Benninghofen) and Mrs. (Bethany Ford) Silver

In the play, Meyer Levin is represented by Sid Silver, beautifully portrayed by Mark Benninghofen, capturing his early enthusiasm and naivete, through his later obsession, aggression, and delusion. Bethany Ford wonderfully creates two distinct characters (with the aid of her beautiful period costumes by Lisa Conley) - a young publisher named Miss Mermin, who is first Sid's supporter and then his adversary, and Sid's supportive French wife, who eventually demands that he drop the lawsuits and let go of Anne, for the sake of their family. Matt Rein ably plays all of the other characters - various lawyers and publishers in Sid's way (as one woman in the post-show discussion told him, "you were such an idiot!"), as well as Sid's friend in Israel who helped him (illegally) produce the play years later. With the multiple characters, there are a few winking comments of "you look familiar" or "you remind me of someone." An audience is often asked to accept one actor portraying several different characters, so I appreciate the acknowledgment of this suspension of disbelief.

Sid (Mark Benninghofen) and his beloved Anne

The tight three-person cast works well together (directed by Hayley Finn), but there's another very important person onstage. Anne herself is represented by a marionette and appears to both Sid and his wife, as if in a dream. She's adorable and incredibly expressive (designed by Chris Lutter-Gardella) and really is like a fourth actor in the play. Like all marionettes, she's so lifelike, and slightly creepy because of that. You can see the strings, and the person pulling the strings (very artfully done by Janaki Ranpura), but the puppet seems to have a life and feelings of its own. Particularly effective is the scene in which Anne shows up in the Silvers' bed and speaks to Mrs. Silver, in the voice of a sleeping Mr. Silver. It's a very clever device by the playwright to bring Anne into the story and let her voice be heard.

One of the great things about this play is that it raises questions but doesn't offer easy answers. No character is all bad or good. As an audience member, I definitely sympathized with Sid and wanted things to go his way, but also found myself frustrated at some of his actions. This is a complex portrait of a man whose good intentions to make an important story heard became an unhealthy obsession, believing he was the only person who could tell that story. But the truth is Anne's story didn't belong to him, it didn't belong to Goodrich and Hacket, it didn't even belong to Otto Frank. It's Anne's alone, which she left behind for each of us to experience in our own way. In the post-show discussion the day I attended, one audience member, who had worked with Holocaust survivors, very eloquently spoke about how the horror of the Holocaust is something that's difficult for those of us who haven't lived through it to comprehend. That level of cruelty is so far beyond what most of us can even imagine that it's difficult to wrap our minds around it. Maybe that's why Anne's story is so popular. She struggled to understand it herself, and she was living it. Anne gives us a tiny window into that horrific world, one simple story that we can grasp and put a face on the faceless and nameless millions.

It's really a wonder that I haven't dropped all my ideals, because they seem so absurd and impossible to carry out. Yet I keep them, because in spite of everything, I still believe that people are really good at heart.

Compulsion or the House Behind is playing for two more weekends at the Hillcrest Center on Ford Parkway in St. Paul. It's a fascinating, compelling, and thought-provoking look at the story behind a very familiar story.

"All is Calm" by Theater Latte Da at the Pantages Theatre

I've seen six Christmas-themed theater productions in the last month and a half, and Theater Latte Da's annual holiday production All is Calm* comes closest to what I think is and should be the spirit of this midwinter holiday season: a celebration of our shared humanity, that transcends any perceived difference of nationality, ethnicity, religion, class, or political belief. All is Calm tells the true story of the WWI Christmas day truce, through songs and soldiers' own words. If these soldiers who were sent to kill each other could put aside their differences, share in each other's joy, and make peace for one day, it gives me hope that a larger peace is possible. This quote that arrived in my inbox today seems most appropriate: "If we could read the secret history of our enemies, we should find in each man's life sorrow and suffering enough to disarm all hostility" (Henry Wadsworth Longfellow).

Now in it's 5th year, All is Calm was created by Latte Da's Artistic Director Peter Rothstein and the nine-man vocal ensemble Cantus. It begins with a few traditional Christmas carols, sung in stunning harmonies. Then the theater part of the piece begins as the actors (Matt Rein, David Roberts, and Alan Sorenson) come onstage and being speaking the words of witnesses to the event, taken from letters, journals, and other historical sources from that day in 1914. Songs and words are seamlessly woven together in one cohesive piece that continues without intermission or interruption throughout the arc of the story. We begin with "The Optimistic Departure," when young men across Europe were excited to go on an adventure they were sure would be over soon. Then comes "The Grim Reality" as the difficulties and death of battle set in. The high point is the quiet celebration of "Christmas" and the blessed "Truce," as the fighting stops and men from both sides enter "no man's land" to share stories and play games. Finally, in "The Return to Battle," the war continues as if the truce never happened, and in fact it was never repeated in such a large scale, as the war continued for another long four years.

the cast of All is Calm with the men of Cantus

All is Calm is a perfect example of what Theater Latte Da does best - weave together music and theater in an interesting and innovate way to tell a story. It's what Peter calls "intelligent musical theater," which is my favorite thing in the world. His creation is beautifully brought to life by this talented combination of actors and musicians. The three actors really embody the different men whose words are spoken, in a variety of accents. The men of Cantus, who have come from all over the country to sing together, not only sound gorgeous, but they're pretty good actors too as they become the soldiers in their joy and grief. This is truly a beautiful, moving, transfixing experience. Because of the seamlessness of the piece there is no room for applause. The audience was holding it in, which is perhaps why there was an almost immediate and deserving standing ovation as soon as the music ceased.

All is Calm is playing now through Saturday at Hennepin Theatre Trust's beautifully restored Pantages Theatre. If you go, be sure to check out the WWI exhibit upstairs, on loan from the Minnesota Military Museum in Little Falls. This is the second time I've seen this show, and it's one that only gets better with repeated viewing. This is my last theater experience of over 100 that I've had this year (look for my 2012 favorites to be posted around New Year's), and I can't think of a better way to end this amazing year of theater.**

soldiers of the London Rifle Brigade pose with
German Saxons of the 104th and 106th regiments on
Christmas day, 1914. Imperial War Museum, London.

*I received two complementary tickets to opening night of All is Calm.
**I can't think of a better way to begin another amazing year of theater than going back to the Pantages to see another Latte Da production, Aida, featuring one of my favorite scores, and what could possibly be the best love triangle in all of musical theater!

"A Night in Olympus" at Illusion Theater

It was a last minute decision to see A Night in Olympus, the final show of Illusion Theater's Fresh Ink series ("showcasing the developing work of new and established artists in Minnesota"). The deciding factor? The cast. Norah Long, Tyler Michaels, Jessica Fredrickson, Randy Schmeling, and Aleks Knezevich - I couldn't possibly miss that! And I was not disappointed. A Night in Olympus is a new original musical (my three favorite words) with an unoriginal story (unpopular and insecure high school girl dreams of being beautiful and winning the favor of the popular boy, only to realize that the guy she really wants is her best friend who's been there all along - see any Molly Ringwald movie from the '80s) told in an original way (gods and goddesses disguised as high school teachers work their magic to make the change come about). The music is great, the jokes are clever, and the cast is indeed fantastic. With a lesser cast the piece might not have worked as well, but each member of the cast reveled in their role(s) and really sold it. An impressive feat considering the limited time they had to prepare and the fact that the script was constantly changing throughout the four-show run. In fact they had scripts in their hands for most of the show, which was no distraction at all, and the show ran smoothly (at least from the audience perspective). The creators Chan Poling (music and lyrics) and Jeffrey Hatcher and Bill Corbett (book) will continue to work on the piece and hope to find another home for it. I'd love to see a full production of the show with the original cast intact!

Maggie (Jessica Fredrickson) and Harry (Tyler Michaels)

The setting of our story is a high school in Olympus, Indiana, a nowhere town that the kids can't wait to escape from. The lovely-voiced Jessica Fredrickson  plays Maggie, the Cinderella-like main character (after playing Cinderella herself at the Ordway last year) who gets her wish of becoming beautiful and popular, only to learn that it's not exactly what she hoped. Her best friend Harry (the incredibly talented Tyler Michaels) can never get up the nerve to tell Maggie that his feelings for her go beyond friendship. When she's transformed into the beautiful girl and no one recognizes her as Maggie, everyone flocks to her except for Harry, who's not impressed by her physical beauty but keeps looking for the real Maggie. He leaves a series of messages on her voice mail, and finally pours his heart out to her in the sweetest zombie-themed awkward love song I've ever heard. Tyler is definitely the one to watch on the local music/theater/dance scene. He's got charisma and stage presence to spare, a great voice, and a really unique physicality about his acting that informs whatever character he's playing and that is captivating to watch (and was on display here in a zombie walk).

The remaining six cast members play multiple roles of students, teachers, and gods, with minor costume changes (hoody = student, no hoody = teacher). Norah Long  has a lot of fun with her three distinct characters - the shallow popular girl, the stereotypical gym teacher (slash goddess Diana), and our heroine's sympathetic mother - and manages to bring depth and interest to all of them. Mark Rosenwinkel comes alive when his coach character is revealed to be the god Mars ("Thank God I'm a God Again"). Austene Van is truly divine as the beautiful teacher all the boys have a crush on, who is actually Venus, the goddess of love. Matt Rein is the outrageous bully as well as the nice guy teacher who wants to live a normal mortal life. Randy Schmeling is the poor picked on kid who finally gets revenge on his nemesis (ironically named Randy) as well as the nerdy A/V teacher who is actually (spoiler alert) Zeus! Finally, Aleks Knezevich truly hams it up as the stupid jock, the creepy janitor with changing accents, and especially as the evil Hades, god of the underworld. I've only seen Aleks in more serious singing roles so it was fun to see him let loose with something a little lighter. In addition to being great individually, the ensemble works and plays wonderfully together. There are some fun group numbers, including "The Most Beautiful Parking Lot." I know, it sounds strange, but it's so fun and infectious you can't help but smile.

I'm a little bummed that I only caught the tail end of Illusion Theater's Fresh Ink series. I'll pay more attention next year; I love seeing and supporting new original works of theater. I imagine in a program like this, the cast is there to showcase the work. But in this case, the cast was the star of the show. And the show was a great vehicle to showcase some incredible talent.