"Grumpy Old Men: The Musical" by Minneapolis Musical Theatre at the Conn Theater

If Grumpy Old Men had to be turned into a musical (and I would argue it didn't), it definitely needs to be performed in Minnesota (where the 1993 film was set and filmed), and no company is a better choice to do it than Minneapolis Musical Theatre, whose motto is "rare musicals, well done." They specialize in this campy spoofy fun genre of musical, and always make the most out of the material. That's definitely the case here. The show is fun with lots of Minnesota references and doesn't take itself too seriously. But for a musical that premiered in 2018, it's disappointingly sexist in the way women are treated and talked about, with (relatively) young, smart, beautiful women dating and even marrying literal grumpy old men decades older than them. But MMT has assembled a winning cast that makes the most of it, with clever staging and choreography, for what is overall a fun time at the theater. Grumpy Old Men: The Musical continues at the Conn Theater in South Minneapolis through April 19 only.

"Little Shop of Horrors" at Artistry

I love Little Shop of Horrors. While I wasn't too familiar with the beginnings of it (it started as an Off-Broadway musical in the early '80s and was made into a movie in 1986), I was lucky enough to see the original Broadway run when it finally landed there in the early aughts. The campy and nostalgic story of a 1960s plant shop employee who sells his soul to the devil in the form of a man-eating plant is full of unique charm. It may not be a typical musical with its small cast, small band, and darkly comic subject matter, but it has become a classic, and I'm glad that Artistry (formerly known as Bloomington Civic Theatre) continues to include non-traditional musicals in its programming, even if the BCT Sunday matinee crowd didn't seem that into it. I overheard a comment in the ladies' room that "it's not Camelot," but that's exactly the point. Artistry's production is perfectly cast, features a fun and colorful set, and beautifully captures that campy tone - definitely worth the drive to the southern suburbs.

"Golden Boys" at The Lab Theater

The new original musical Golden Boys, written by New York composer/playwright Horace Turnbull, tells the story of an integrated WWII army unit created to raise morale of troops and civilians by performing musical theater. I know, it sounds like something that was made up as a good story for a musical, but it's based on fact. The US Army created the Special Services in 1942 and set up a school at Fort Meade in Maryland to train officers and enlisted men in the art of entertainment. Golden Boys is a fictional story set in this world, focusing on one unit that rehearses and performs a musical in a US tour as well as overseas for the troupes. It's an ambitious project, covering issues of racism, the treatment of homosexuals in the military, and the camaraderie of people joining together for a common cause in the midst of war. The result is a bit unfocused and too long, but as this is the premiere, hopefully these issues can be worked out and the piece polished into a potentially great musical.

The story is told by Johnny, a man nearing 90 in the present day who tells his story to some unknown listener. The events unfold in flashback, with Johnny occasionally interjecting commentary (either in his period persona stepping right out of the scene, or as the old man, which is a bit confusing). Under the direction of Sergeant Buchanan, about a dozen enlisted men rehearse a musical called "Johnny Come Home," in which they play all parts, both men and women. Most of the men get a moment to tell their story in monologue, shining a light on the many different people who join the military and their diverse reasons for doing so. They go on tour, experiencing segregation in the south and racism in the army. Throughout the experience they form that familiar military bond, with the central relationship being that between Johnny, who plays the male lead in the musical, and Joshua, who plays the female lead Annette and falls in love with Johnny in real life as well as in the show. Familiar character types include the bad guy Baldwin who comes around only after a tragedy, the comic relief Carlos, and the wealthy playboy Rich. We come back to old man Johnny in the end, a nice bit of symmetry that ties up the story for all the guys we've come to know throughout the story.

The show-within-a-show concept, a musical theater staple, allows for many great musical numbers that have nothing to do with the plot, such as tap dancing in wet suits and flippers, and a mambo number complete with Chiquita Banana headdress. Most of the songs are fun and catchy, a few border on trite and cliche. The choreography by Jimmy Peters is fantastic, and these boys (most of whom are local talent) can dance! Highlights in the cast include Michael Fischetti as the stern but softhearted Sargeant, who is also a hoot as waitress Geena in the show; Scott Gilbert as our narrator Johnny, a likeable fellow whose story we want to follow; Bryan Gerber, who manages to create two compelling and sympathetic characters in gay soldier Joshua and lovestruck Annette; Aleutian Calabay as the tapping playboy; and Mark Anthony Hall with lovely vocals on a couple of solos as Ellis (conductor of the imaginary band, see below).

In my eyes there is only one unforgivable sin in musical theater, and that is the use of pre-recorded music instead of a live band. Unfortunately this production commits that sin. Canned music cheapens any musical and brings it down a level. Hopefully future productions will include live music; there's even mention of the band for the show-within-a-show, which would be a great opportunity to work a live orchestra into the show.

This production only has two more performances, so get to the Lab Theater fast to see these dancing and singing Golden Boys (discount tickets for Sunday's show available on Goldstar).

"42nd Street" at Bloomington Civic Theatre

"Come on along and listen to the lullaby of Broadway."

"Come and meet those dancing feet, on the avenue I'm taking you too, 42nd Street."

"We're in the money, we're in the money, we've got a lot of what it takes to get along!"

Those are just a few lines from the classic musical 42nd Street, which I was surprised to learn first appeared on Broadway in 1980, having been adapted from the 1933 original movie musical. I've seen it twice before, on tour and at the Chanhassen, and what I remember most about it is wanting to tap-dance down the sidewalk to my car after the show. There's something about tap-dancing that's so infectious and invigorating; it makes me want to go sign up for the first tap-dancing class I can find, even though I've never worn tap shoes in my life! From the moment the curtain rises to reveal more than a dozen pairs of tap-dancing feet, to the rousing performance of the title song at the end of the show, Bloomington Civic Theatre's 42nd Street never loses that energy.

42nd Street is one of those great musicals about musicals, where the unknown becomes a star. Peggy Sawyer arrives from Allentown, PA, lands a role in the chorus of a new Broadway musical, and takes over the lead role when the veteran Dorothy Brock is injured. The show-within-a-show format allows for several musical numbers that have no bearing on the plot but are just fun to watch.

Highlights of the show include:

• First and foremost, the amazing choreography by Michael Matthew Ferrell, who also directs. This show is all about the tap-dancing, and the choreography here meets that challenge - sharp and fast and thrilling.
• A talented ensemble that very capably performs that intricate choreography.
• Fabulous 1930s period costumes by Ed Gleeman.
• One of my favorite things about BCT is the full orchestra that always sounds rich and beautiful under the direction of Anita Ruth. Yay for the pit orchestra!
• Larissa Gritti is quite charming as our heroine Peggy, with a lovely voice and super fast feet.
• Michael Fischetti, last seen as Colonel Pickering, again impresses as the famous and fearsome director who finds new life and love of the theater through his young star.
• Last but not least - Bonnie Erickson as the veteran actor who passes the torch to Peggy, and the very funny team of Betti Battocletti and Steve Zehr as the writers of the show-within-a-show who also provide the comedy bits.

In the last year or so, I've learned that you can always count on Bloomington Civic Theatre for quality productions of classic musicals. Even if much of the cast is comprised of "amateurs" with day jobs, they obviously pour their hearts and souls into the theater every night. 42nd Street runs through September 16 - check it out if you love a classic musical.  Next up - a Sondheim show I've long been wanting to see, Sunday in the Park with George.

the cast of 42nd Street

"My Fair Lady" at Bloomington Civic Theatre

Wouldn't it be loverly? Just you wait, 'Enry 'Iggins! The rain in Spain stays mainly in the plain. I could have danced all night! On the street where you live. Get me to the church on time! I've grown accustomed to her face.

I'd forgotten how many familiar and endlessly singable songs are in the classic Lerner and Loewe musical My Fair Lady until I saw it again yesterday, at the Bloomington Civic Theatre. I've actually only seen it on stage once, well, not so much on stage as in a rehearsal room at the MN Opera Center in a beautifully sparse production by Ten Thousand Things. But that's not a fair comparison, because what Ten Thousand Things does is incomparable. The current production at BCT is the first fully staged production of this classic musical that I've seen, and they do a wonderful job with it - from the full pit orchestra conducted by Anita Ruth, to the delightful costumes and set, to the talented and spirited cast. Yes, it's a little long, with some songs going on and on, and then coming back for more, but it's thoroughly enjoyable.

I'm sure everyone's familiar with the story. And even if you think you aren't, you know it. It's been retold many times, from the original Shaw play Pygmalion, to the Julia Roberts movie Pretty Woman. A gentleman takes a lower class woman and transforms her into a "lady." In this case, the gentleman is Professor Henry Higgens, who studies phonetics and is intrigued by "flower girl" Eliza's poor accent, and makes a bet with his colleague Colonel Pickering that he can transform her into a lady in six months time. Eliza does indeed learn to be a "lady," but retains her spirit and even teaches 'Enry 'Iggens a bit about being a human being in the process.


A few highlights of the show:

• Jim Pounds is everything you want Higgins to be - elegant, curmudgeonly, sophisticated, exasperated, stubborn, with a heart hiding somewhere deep inside.
• Rachel Weber plays Eliza with such energy and spirit, she fairly leaps off the stage! At times proud and strong, at times weepy and needy, she's a real heroine with a lovely voice to match her spunk.
• Michael Fischetti is also good as Colonel Pickering, with a wonderfully silly laugh.
• Fred Mackaman provides the comic relief as Eliza's father in the songs "Get Me to the Church on Time" and "With a Little Bit of Luck."
• Mary Kay Fortier-Spalding is a bit of a scene-stealer as the Professor's sophisticated mother who grows to love this young woman, who seems to be the only one who can teach her son a lesson or two.
• Eric Heimsoth doesn't have much to do as Freddy, other than sing the most beautiful song in the show, "On the Street Where You Live," and he does it justice.
• The scene at the races is a feast for the eyes. The women are decked out in elaborate period dresses in various patterns of black and white, the men in tails and top hats (costumes by Ed Gleeman), all holding themselves primly still until Eliza shouts out "move your bloomin' arse!" And watching Eliza put on her act while telling stories about her drunken aunt is hilarious.
• This may be the most elaborate set I've seen at BCT, with the walls of Higgins' stately home rolling in and out (sets by Robin McIntyre).
• The large and capable ensemble performs several group dance numbers, choreographed by Lewis E Whitlock III, who also directs.

Eliza Doolittle (Rachel Weber) sells flowers to
Professor Henry Higgins (Jim Pounds)

BCT's musical line-up for next season looks like another good one, featuring the tap-dancing extravaganza 42nd Street, a Sondheim show I've been dying to see - Sunday in the Park with George, one of my favorite musicals - Cabaret, and Leonard Bernstein's On the Town. I think that's going to be worth the drive across town.