"Anyone Can Whistle" by Minneapolis Musical Theatre at the Conn Theater

It's time to check another Stephen Sondheim musical off my list - the rarely done Anyone Can Whistle. For just six performances over two weekends, Minneapolis Musical Theatre (whose motto "rare musicals, well done" really applies here) is presenting a concert version of this musical that famously flopped when it premiered on Broadway in 1964. This is a smart way to do a lesser known and less successful work by one of the best composer/lyricists in musical theater history. For musicals that are hard to stage or challenging in other ways, a concert version still allows us to appreciate the music and get a gist of the story and characters, highlighting the good parts and jettisoning the bad. Anyone Can Whistle is a weird musical for sure, satirical and absurd in ways that work and ways that don't. But it's a lot of fun to watch in this concert version with a super talented (and mostly new-to-me) cast under the direction of Max Wojtanowicz, with a small but mighty on-stage band. If you're a Sondheim fan, don't miss your chance to see this rare and oddly charming show!

"Triassic Parq" by Minneapolis Musical Theatre at LUSH Lounge and Theater

Minneapolis Musical Theatre is back with another rare musical, well done. Triassic Parq is another in the vein of the campy spoof musical (see also Silence! The Musical), which is not my favorite kind of musical, especially when I'm not that familiar with the source material, but it's a lot of fun. This rock musical is a loose retelling of Jurassic Park from the point of view of the dinosaurs. I don't really know the movie (I pretty much only watched it recently when Minnesota Fringe did it for their annual Five-Fifths fundraiser), so I can't speak to the plot similarities or references. But it's probably kind of like what Rosencrantz and Guildenstern Are Dead is to Hamlet (for my fellow theater nerds) - showing us what's going on with the minor characters on the other side of the main action. In this case, those minor characters are dinosaurs, who are also going through some challenges and transitions of their own. Triassic Parq is a celebration of community, friendship, identity, and finding oneself. It's playing Saturdays and Sundays (plus one Monday night pay-what-you-can performance) through April 13 at LUSH Lounge and Theater in Northeast Minneapolis, which is the perfect venue for this show. You can also arrive early and have dinner or brunch in their dining room before heading into the event space for the show.

"Othello: The Remix" by Minneapolis Musical Theatre at the Phoenix Theater

On William Shakespeare's presumed birthday, I saw perhaps the most original retelling of one of his plays that I've ever seen. Othello: The Remix was created by the Q Brothers, who in 2021 partnered with Theater Latte Da on their "Ghostlight Series" of virtual cabarets for an original series of short music-theater pieces called "The Rap Pack." Their rap and hip-hop retelling of one of Shakespeare's greatest tragedies (developed with Rick Boynton) traveled the world and went all the way to Shakespeare's Globe Theatre in London. No one better than Minneapolis Musical Theatre to bring us the area premiere of this ingenious work, the 48th area premiere for this company that specializes in "rare musicals, well done." It's clever and fast and well-cast, and I think the Bard would be pleased to know that his work is still being interpreted and speaks to people living in a much different world than he did (that's really not all that different at heart). Like they say in the show "good storytellers borrow, great ones steal" and the creators of this show stole from the best to make something unique and original. You can see it at the Phoenix Theater now through May 7 only.

"Analog and Vinyl" by Minneapolis Musical Theatre at the Phoenix Theater

Minneapolis Musical Theatre's latest "rare musical, well done" is a sweet and quirky little piece called Analog and Vinyl, billed as a "hipster rom-com spin on Faust." It's a smaller musical than their 2022 offerings (Hands on a Hardbody staged in a car dealership, and the not-really-a-holiday-show Striking 12). Here the band (four) outnumbers the cast (three), and it's well-staged in the intimate space at the Phoenix Theater. In addition to the classic Faustian sell-your-soul-to-the-devil dilemma, the musical also delves deep into music history and obscure references (most of which this theater nerd probably did not catch). Chalk this one up as another rarely done musical that MMT dug up brought to life in a fun, earnest, entertaining way.

"Striking 12" by Minneapolis Musical Theatre at Gremlin Theatre

If you're already sick of Christmas music, endless holiday parties, cheesy Hallmark movies, and other so-called festive signs of the season, then Minneapolis Musical Theatre's Striking 12 is the holiday show* for you. The main holiday here is New Year's Eve, by which time our protagonist is sick of the holidays and ready to retreat to his NYC apartment alone. Taking inspiration from Hans Christian Andersen's story "The Little Match Girl," this original musical is funny, clever, and surprisingly poignant, but in a not treacly way. Which makes it perfect for this scrappy company whose tag line is "rare musicals, well done," and who perfectly performs this show in a way that feels both irreverent and earnest at the same time. Striking 12 is truly unique in the #TCTheater holiday space this year, an unexpected take on the holiday season that acknowledges the pressures and disappointments that go along with it, but in the end is a sweet story about finding connection. Striking 12 continues for two more weekends only at Gremlin Theatre in St. Paul (conveniently located next door to Lake Monster Brewing and their daily food trucks).

"Hands on a Hardbody" by Minneapolis Musical Theatre at Luther Cadillac

"Rare Musicals. Well Done." That's Minneapolis Musical Theatre's motto, and one they live up to time and time again. In their first full production in over two years (they produced a series of ten-minute Minne-Musicals one weekend last fall), they're bringing us the regional premiere of the musical Hands on a Hardbody, based on the 1997 documentary of the same name about a Texas contest to win a truck. It only ran for a few months on Broadway in the spring of 2013, but has since become something of a cult hit. As MMT has shown before (see also High Fidelity), sometimes shows that don't work on a big Broadway stage work brilliantly in a more intimate and site-specific space. I was expecting a fun time, which I got, but I wasn't expecting to be moved to tears by these very human stories of people trying to live the American dream, and what happens when that dream fails them. Performed with MMT's usual heart, gusto, and authenticity, in a car dealership showroom of all places, Hands on a Hardbody is a don't-miss-it opportunity for music-theater fans. But it's only playing for a few weeks, with limited seating, so get your tickets now (click here for details)!

"Minne-Musicals" by Minneapolis Musical Theatre at The Hennepin and The Chambers

A year and a half after their exquisitely lovely production of the sweet two-person musical Daddy Long Legs at the James J. Hill House (which I saw one and a half times, thanks to the joys of parking in St. Paul in the winter), Minneapolis Musical Theatre is back! Unfortunately, the fun and Fringey Minne-Musicals only ran for one weekend, so if you missed it, you're out of luck. But keep an eye on MMT as they continue to bring us "rare musicals, well done."

"Daddy Long Legs" by Minneapolis Musical Theatre at the James J. Hill House

The first act of Minneapolis Musical Theatre's Daddy Long Legs, playing at the historic James J. Hill House, is perfectly lovely. I assume the second act is too; I didn't get to see it because I had to move my car due to a snow emergency and there was nowhere else to park. I had no other choice but to go home, which breaks my heart because never in my life have I left a show at intermission and I never voluntarily would, I think it's disrespectful. But despite the unfortunate early end to the show, I still enjoyed the experience. This regional premiere of the 2015 Off-Broadway musical, based on the 1912 novel of the same name, is well worth seeing; it's a charming story with a beautiful score, and this is a lovely and intimate production by MMT.

"Be More Chill" by Minneapolis Musical Theatre at Illusion Theater

Something strange and exciting is happening at Illusion Theater on the 8th floor of the Hennepin Center for the Arts in downtown Minneapolis. Young people, teenagers even, are going to the theater. And having a great time! As a theater-goer in my '40s, I often find myself the youngest person in the room (especially at a Sunday matinee). Theater audiences skew older, whether for financial reasons, or because of the theater that's being offered, or because young people simply don't think theater is cool. But Minneapolis Musical Theatre seems to have cracked that audience with their latest show Be More Chill, which just completed the 3rd of its four-week run. It's set in a modern day high school, with characters that feel real, even if the situation is fantastical. The good news is even those of us many years removed from our HS days will be delighted by this energetic, exciting, entrancing new musical. Just three more shows remain!

"Love Comics" by Minneapolis Musical Theatre at Bryant-Lake Bowl

Confession: I've never read comic books (unless you count the graphic novel Fun Home, because theater). I didn't even know there was such a thing as love comics, which apparently were love stories in comic book form, popular in the mid last century. But I know about it now, thanks to Minneapolis Musical Theatre. The musical Love Comics plays loving and playful homage to the tradition of romance comics. Big emotions, melodrama, love lost and found, and fun '50s era costumes. It's a clever and cute little show playing on Bryant-Lake Bowl's cute little stage through March 2.

"High Fidelity" by Minneapolis Musical Theatre at Electric Fetus

High Fidelity, the Broadway flop musical adaptation of the 2000 film (it ran for 32 performances only), is the perfect choice for Minneapolis Musical Theatre, whose motto is "Rare musicals. Well done." They have a knack for bringing out the best in a show and staging it in a way that works. So they're staging High Fidelity, which mostly takes place in a record store, in an actual record store! And an iconic Minneapolis record store at that - Electric Fetus. Maybe this show didn't/wouldn't play well in a traditional theater space, but in this intimate site-specific space that makes you feel like you're part of the story, it's a unique theatrical thrill. With a fantastic and hard-working 14-person cast, a rockin' band, and great use of the space, it's a sure-fire hit. With only six more performances and limited space, act fast so as not to miss out on the fun! (Click here for more info and tickets here.)

"tick, tick... BOOM!" by Minneapolis Musical Theatre at Bryant Lake Bowl

Before Jonathan Larson wrote RENT, for which he posthumously received the Pulitzer Prize, he wrote and performed in an autobiographical one-man musical in the early '90s about being a struggling musical theater composer living in NYC. After his tragic death the night before the first Off-Broadway preview of RENT, the eventual smash hit that what would become his legacy, this little show was reworked into a three-person piece by playwright David Auburn and produced Off-Broadway in the early aughts. Being a RENThead, I saw tick, tick... BOOM! on tour at that time, but I don't recall there ever being a local production of it. Leave it to Minneapolis Musical Theatre, whose motto is "rare musicals, well done" to bring us this charming little show that very clearly displays the seeds that would become RENT. With a fantastic cast in the intimate theater space at Bryant Lake Bowl, it's a very satisfying evening for RENTheads, musical theater history buffs, and anyone who likes a rock musical with heart and humor.

"The Great American Trailer Park Christmas Musical" by Minneapolis Musical Theatre at Camp Bar

And now for something entirely ridiculous (in a good way). There is a lot that's sugary sweet about Christmas, and Christmas-themed theater in Minnesota (of which there is much from which to choose). But none of it exists in Minneapolis Musical Theatre's contribution to the holiday theater scene - The Great American Trailer Park Christmas Musical. It's pure campy and irreverent fun. This is a sequel to The Great American Trailer Park Musical, which MMT did in 2009 (and played Off-Broadway in 2005). If you saw the original, you will recognize some familiar characters (and even one returning cast member). But if you didn't, no matter, it stands on its own in all its trailer trash glory. The songs are catchy and fun, director Ryan McGuire Grimes sets the perfect campy tone, and the terrific six-person cast completely commits to the stereotypical characters and nonsensical plot. Appropriately performed in St. Paul's Camp Bar, with readily available alcohol, it's great escapist fun (at least until that one reference towards the end that will sober you up right quick).

"Songs for a New World" by Minneapolis Musical Theatre at Bryant-Lake Bowl

"Rare Musicals. Well Done." Minneapolis Musical Theatre can check another well done rare musical off their list with their current production of Jason Robert Brown's Songs for a New World. The first musical written by JRB, who has since gone on to win two Tony Awards for best score (Parade in 1999 and The Bridges of Madison County in 2014, through which I recently fell in love with his music), SFANW is less a musical than a song cycle. There's no plot or throughline, just four actor/singers performing seemingly disconnected songs, but all centered around the theme of that one defining moment in life. In a way, it's a dozen musicals in one; each song is like a mini-musical unto itself, telling a complete story and defining character(s). It's a fantastic collection of songs, some funny, some sad, some poignant, some all of the above. MMT does a great job bringing these songs to life with just four chairs and a keyboard (and percussion) on a bare stage at Bryant Lake Bowl.

"Leap of Faith" by Minneapolis Musical Theatre at the New Century Theatre

I really thought it would be raining when I left New Century Theatre last night, such is the power of Minneapolis Musical Theatre's Leap of Faith. If it were possible to bring the rain through the sheer energy of talented performers in a musical, downtown Minneapolis would be flooded every night! This musical adaptation of the 1992 Steve Martin movie flopped on Broadway in 2012, closing after less than a month. But perhaps it's better suited to more intimate theaters like the New Century, which, with curtains dropped on three sides, really feels like you're inside a revival tent. Yes, this mix of The Rainmaker and The Music Man is filled with cliches and nothing we haven't seen before, but the music is catchy and fun, and this cast delivers it with boundless energy that makes you want to rise up and be healed!

"Silence! The Musical" by Minneapolis Musical Theatre and Bitter Boy Productions at the Lab Theater

A musical about silence? That seems paradoxical. But of course Silence! The Musical is not about silence itself, it's a parody of the 1991 Jodie Foster/Anthony Hopkins movie The Silence of the Lambs. A movie I've never seen. My friends at Minnesota Theater Love told me I should see the movie before seeing Minneapolis Musical Theatre's production of the off-Broadway musical, but I didn't have time, because... theater. Also I decided that the musical should be able to stand on its own; you shouldn't have to see a movie first to enjoy a musical. And for the most part the musical does stand on it's own, aided by the fact that the movie is so much a part of our pop culture that even I'm familiar with Hannibal the cannibal and the weird teeth-sucking sound he makes, along with a few other high points of the movie. Although this over-the-top campy horror-parody isn't really my kind of humor, I can appreciate that director Steven Meerdink and his talented cast commit fully to it and deliver an entertaining show.

"Happy Days" by Minneapolis Musical Theatre at New Century Theatre

In the space of 24 hours I traveled from 1960s Detroit to 1950s Milwaukee, separated by about 400 miles and 10 years, but worlds apart. Penumbra Theatre's Detroit '67 is a sobering look at the musical highs and violent lows of that time and place, while Minneapolis Musical Theatre's production of the musical adaptation of the TV classic Happy Days presents an idealized version of the past, where people can't imagine the price of gas going above 12 cents, the worst insult is "sit on it," and fights are settled with a pie in the face and a wedgie. As such, it's faithful to the beloved TV show that I, and many Americans, grew up with. Not surprising since it was written by the show's creator Garry Marshall, with songs by Paul Williams, who's written many hits for The Carpenters and others. While the plot's a bit thin (it is based on a sitcom, after all), the familiar characters are there with their signature catch phrases and the songs are catchy in that '50s style, resulting in a fun and frivolous evening of happy nostalgia theater.

In what amounts to an extended episode of Happy Days, our gang is facing a crisis when beloved diner hangout Arnold's is in danger of being bought out by a large corporation. Richie and Fonzie and friends come up with a couple of ideas to raise money to match the bid, including a dance contest and a wrestling match. (How they're supposed to raise thousands of dollars through this, I'm not entirely sure, but I'll go with it.) Fonzie's ex, the super cool motorcycle-riding Pinky, returns to judge the dance conflict, and tensions run high with unfinished business between them. Fonzie agrees to wrestle his nemeses the Mallachi brothers, despite a secret shameful weakness - he has a bum knee. (Fonzie's getting old? How disappointing.) It takes Richie longer than his usual 30 minutes to solve this problem, but in the end our gang comes out on top and continues living those happy days.

Highlights of the show include:

Pinky and the Fonz
(Quinn Shadko and John Zeiler,
photo by Heidi Bohnenkamp)

• The six-piece band just to the right of the stage sounds great playing these '50s pop tunes, both uptempo and ballad, as directed by Lori Maxwell.
• The large cast is talented and enthusiastic, bringing great energy to the show.
• Fonzie and Pinky are the most recognizable and specific characters. Quinn Shadko is a standout as Pinky. She always sounds lovely, but she also has Pinky's attitude, walk, and voice down pat - tough and smart on the outside, hiding a tender heart underneath. John Zeiler is her match as Fonzie, channeling Henry Winkler. Together they have a sweet and spicy chemistry as the central love story.
• As boy next door Richie, Eric Heimsoth has the red hair, earnestness, and likeability needed for the character. Richie and his pals Ralph Malph (an expressive Matthew Englund), Potsie (an appropriately reserved Andrew Newman), and Chachi (a charming Kory LaQuess Pullam) create some great doo-wappy four-part harmony.
• Lisa Denninger's Mrs. C and Briana Patnode's Joanie are a believable mother/daughter pair, and bring sweet harmony to the song "What I Dreamed Last Night."
• I don't know anything about motorcycles, but what looked to be an authentic vintage bike was rolled out onstage, rounding out the character of Fonzie.
• The musical is chock full of catch phrases, familiar to anyone who's watched the TV show: Richie's angry "bucko," Ralph Malph's gleeful "I still got it!," Chachi's admiring "waa waa waa," and of course, the Fonz with his "aaayyyy," "correctamundo," thumbs up, and signature comb movement.
• While the mostly empty set leaves something to be desired, the period costumes are fun and bright; the leather jackets, blue jeans, bobby socks, poodle skirts, and saddle shoes perfectly represent the era. If some of the girls' dresses look like bad prom dresses, perhaps that's appropriate. Pinky outshines the rest in her fabulous pink frocks, as she should.

While there are a couple of strange jokes that didn't land well (including one about Bill Gates, who was 4 years old in 1959), and the show goes a bit too far into camp territory at times, on the whole it's joyful homage to a beloved TV show and iconic characters. These Happy Days are yours and mine, and continue at the New Century Theatre through May 17.

the Dial Tones - Kory LaQuess Pullam as Chachi, Eric Heimsoth as Richie,
Andrew Newman as Potsie, and Matthew Englund as Ralph Malph
(photo by Heidi Bohnenkamp)

"Calvin Berger" by Minneapolis Musical Theatre at the New Century Theatre

"Rare musicals. Well done." Minneapolis Musical Theatre lives up to their motto, having given us great productions of such lesser known musicals as Steven King's Carrie and the controversial Bloody Bloody Andrew Jackson. Their second show this season is the 2006 musical Calvin Berger, loosely based on the classic French play Cyrano de Bergerac, set in a modern day high school. Instead of a sword-fighting poet with a big nose, this Cyrano is an insecure high school student named Calvin who thinks he has a big nose. Whether real or perceived, it keeps him from living the life he wants. It's a clever adaptation of a classic story, relating the still relevant themes of being true to yourself and wanting to be loved for who you are in a modern and accessible way. And while the non-Cyrano parts of the story are a bit cliche and the characters familiar stereotypes, it's charmingly delivered by a strong cast of four and makes for a fun and entertaining evening at the theater.

Calvin Berger is your typical high school nerd, smart and funny in his way but lacking in self-confidence, in this case because he thinks nose is too big. Isn't that always the way, we see our flaws first and think that everyone else sees them too, when really they're too busy with their own lives to notice. In fact we learn in the opening number that all of these characters, even the ones who appear to have everything, are insecure about something. Calvin's best friend is a girl named Bret, who secretly pines for him (a plot point that's familiar to children of the '80s). But Calvin only has eyes for the pretty popular Rosanna, who worries that she may never be anything more. When Rosanna asks Calvin to help her get to know the cute new guy Matt, he reluctantly agrees. Matt's insecurity is his inability to talk to girls, so like Cyrano does for Christian, Calvin gives Matt the words he lacks to help him woo Rosanna. The story diverges from the original (spoiler alert: nobody dies), and the truth is eventually revealed. Everyone learns that it's better to be who you are than pretend to be someone else, and is happier for it.

Matt and Calvin - "We're the Man!"
(Logan Greene and Gregory Adam, photo by Heidi Bohnenkamp)

The small cast allows for a greater focus on these four characters without the distraction of an ensemble. Director Joshua James Campbell brings out the best in the talented young cast; all four are extremely likeable and bring depth and color to roles that are familiar high school stereotypes. Gregory Adam is adorkable as the awkward Calvin, and has the most poignant moments of the show as he shows us Calvin's deep longing to be accepted. Logan Greene is perfect as the sweet but dumb Matt, and the two have a believable bromance that makes you think they kind of like and need each other, despite their odd arrangement. As Rosanna, Emily Madigan shows that she's more than just a great dancer, bringing a sweetness of voice and character to the role. Last but not least, Kecia Rehkamp is the quintessential funny best friend who wants to be more than just a sidekick. And happily, the two girls become friends in the end and overcome that tired cliche of fighting over a boy. All four actors have great voices singing these funny and clever, if not particularly memorable, songs, with some lovely harmonies in duet, trio, and quartet, accompanied by a four-piece band just barely visible behind the back wall of the set.

Calvin, Bret, and Rosanna in the home of the Cavaliers
(Gregory Adam, Kecia Rehkamp, and Emily Madigan,
photo by Heidi Bohnenkamp)

I was happy to see that they built out the usually wide and shallow stage, which can feel crowded and two-dimensional, to form a mini-thrust. It gives the characters more space to move around and even interact with the audience a bit as they hand out fliers for the big bachelor auction fundraiser. The set looks like a typical high school, with lockers and the high school colors painted on the floor (set by Darren Hensel). There's nothing noteworthy about the costumes, which is a good thing because these kids look like typical teenagers, each with a style specific to the character (costumes by Lori Maxwell, who doubles as the Music Director).

Calvin Berger is a really cute show, and I don't mean that in a condescending way; cute can be good and pleasant and everything you want sometimes. It's a sweet, charming, funny show, with a great young cast that is fun to watch. Playing at the New Century Theatre through February 15 (discount tickets available on Goldstar).


This article also appears on Broadway World Minneapolis.

"Bloody Bloody Andrew Jackson" by Minneapolis Musical Theatre at New Century Theatre

If you have a toe in the local theater world, you've probably heard about the controversy surrounding Minneapolis Musical Theatre's production of the 2010 Broadway musical Bloody Bloody Andrew Jackson. I saw the show on Broadway and found it to be sharp political satire and social commentary wrapped up in a great emo-rock score. Just a few days before this local version opened, founder of New Native Theatre Rhiana Yazzie posted an open letter on Minnesota Playlist criticizing the piece as offensive in its depiction of Native Americans, and expressing disappointment in MMT for making the choice to produce it in Minnesota (read the full letter here). She organized a protest to be held at the New Century Theatre on opening night. While the letter and protest did not deter me from seeing this show I had long been looking forward to (and included on my summer must-see list), it did give me something extra to think about while seeing the show for a second time. It's important to remember that this is not just a light and fun romp through history, but rather a pretty serious commentary on a very ugly period in American history.

Bloody Bloody Andrew Jackson tells the story of the seventh president of the United States of America, from his humble beginnings on the frontier of Tennessee, to “hero” of wars against the Spanish, English, and Indians, to the White House. Andrew Jackson has dreams of overthrowing the Washington “elite” (sound familiar?) and becoming “the people’s president,” but he soon discovers that a president has to make the hard decisions, and is never going to please everyone. One of the things Jackson is most known for is “Indian removal,” having convinced many Native American tribes to sign treaties under false pretenses and move west, resulting in the infamous Trail of Tears (the song "Ten Little Indians" recounts the number of ways that Native Americans died at the hands of the white man). As the narrator of the piece says, historians are still debating whether Jackson was a hero or a genocidal murderer. The musical deals with this serious subject matter in a satirical, campy, and over-the-top way. Young Andrew is portrayed as a petulant teenager, and the politicians as idiots. It's a ridiculous and fantastical mash-up of history that's intended to entertain and make a statement about our past and present.

Logan Greene and Philip C. Matthews
(photo by Byron Ritter)

The large and energetic young cast breathes great life into this crazy story. As our (ironically) sexypants president, Philip C. Matthews is charismatic with a great rock voice. Aly Westberg as his wife Rachel is extremely sympathetic and gives a gorgeous rendition of the poignant song "The Great Compromise," about the difficulties of political life for the family left behind. Not only is Amanda Weis hilarious as the doomed storyteller, but she also steps into the band to play keyboard on a number of songs. Besides Amanda, the band consists of just a couple of guitars and percussion, led by Darren Hensel who occasionally takes part in the action and dialogue of the show. The ensemble members all bring great specificity and humor to the many roles of various presidents and politicians.

The show looks and feels like a rock concert, with bright lights, microphone stands, and modern rock costumes with an Old West twist. Unfortunately there were some sound issues on opening night, with headset mics going in and out or sounding muffled or staticky. Hopefully they'll work these issues out, but I would prefer that they lose the headset mics altogether and just use the hand-held mics for the more loud, rocky songs. I believe Philip's mic went out halfway through the show and I'm not sure it ever came back on, but you could still hear him and he sounded fantastic. The advantage of a small space like New Century is that you don't necessary need to mic everyone all the time.

the cast rocks out (photo by Byron Ritter)

Bloody Bloody Andrew Jackson is a musical that deals with issues of corrupt politics, elections, compromises made by politicians and their families, racism, slavery, and the near extermination of an entire race of people. Maybe the creators bit off more than they could chew in a mere 90 minutes and therefore were not able to give each issue the weight it deserved, but it's an ambitious attempt to bring light to these issues in an accessible rock musical kind of way. It's not a bad thing for art to be controversial sometimes; I much prefer a controversial piece like this to a bland inoffensive movie-musical adaptation. At the very least, it began a dialogue that will hopefully continue. I greatly appreciate hearing Rhiana's perspective on the piece and look forward to seeing some New Native Theatre shows next season. MMT responded gracefully to the controversy with a note in the playbill, a brief post-show statement, and a planned post-show discussion on Thursday June 19 (the show runs through June 29).

Even though this is a hugely entertaining and fun show, it goes deeper than that. At the end of the show I was left with a feeling of sadness, that this is the way our country was built. The beautifully poignant song "Second Nature," which plays over a video montage of pivotal moments in our nation's history, says it best:

The grass grows, a prairie
A wilderness across a continent
And we take it
We clear it out and make it
In our image 

The backyards, the driveways
The covered wagons rushing
Through the high planes,
The motels on the canyon
They make a second nature 

And what was it for, this country
the farms and the blood across a prairie
the nation we became as we build a second nature

This article also appears on Broadway World Minneapolis.

Summer 2014 Must-See Musicals

It's hard to believe with the weather we've had, but summer is just around the corner. And if you're a musical theater fan like I am, it's going to be a great one! Here are a few summer musicals I'm looking forward to this year. I realize most people aren't able (or willing) to see as much theater as I do, so take a look at the list and see what piques your interest, and go see some local musical theater! (Click on the title to find out more info about the show and how to order tickets.)

Bloody Bloody Andrew Jackson, Minneapolis Musical Theatre, June 6 - 29
I saw this hilarious and smart political-satire-emo-rock-musical on Broadway in the fall of 2010 and absolutely loved it. I've been waiting for a local theater company to do it, so I'm thrilled that Minneapolis Musical Theatre chose it as their final show of the 2013-2014 season.
Update: read my review of the show.

Candide/Berlin to Broadway, Skylark Opera, June 13 - 22
I've enjoyed attending Skylark Opera's summer festival for the past few years because it introduces me to shows I'm not familiar with, typically musicals that veer a little more towards the opera side. This year they're doing Bernstein's operetta Candide and a celebration of composer Kurt Weill (The Threepenny Opera). And the fantastic casts include some of my faves: the fabulous Baldwin sisters (Jennifer Baldwin Peden in Candide and Christina Baldwin in Berlin to Broadway), Bradley Greenwald, and Dieter Bierbrauer (both in Berlin to Broadway).
Update: read my review of the shows.

Little Shop of Horrors, 7th House Theater Collective, June 20 - 29
The uber-talented young musical theater artists who last summer brought us a raw and real production of the ground-breaking musical Hair return this summer with Little Shop of Horrors, the dark comedy about the man-eating plant. With just seven performers (including the band), it's sure to be another wonderfully sparse reinvention of a classic. (Ticket prices are a mere $12, but if you can afford more, you can help support them through their fundraising campaign.)

My Fair Lady, The Guthrie Theater, June 28 - August 31
The Guthrie's summer blockbuster is everyone's favorite rags to riches story, My Fair Lady, which includes such gems as "I Could Have Danced All Night," "On the Street Where You Live," "Wouldn't It Be Loverly," "Get Me to the Church on Time," and "The Rain in Spain." While none of the lead actors are local (boo), the supporting players and ensemble include many local favorites (yay), including Robert O. Berdahl, Angela Timberman, and superstar Tyler Michaels. It's sure to be a big beautiful production.

RENT, Lyric Arts, July 11 - August 3

Last but not least is my favorite musical RENT. It's a show I will go see anytime, anywhere (I've seen it 13 times over the past 17 years). I'm super excited that Lyric Arts in Anoka is doing it this summer; I've been pleased by everything I've seen there so I think they'll do a great job. No day but today!

UPDATED TO ADD...

A Little Night Music, Mu Performing Arts, July 25 - August 10
I forgot about this one when I was writing my list last month, but obviously, Mu + Sondheim = must-see. Two years ago they set Sondheim's fairy-tale inspired Into the Woods in the woods of Asia with an all Asian-American cast, and it was truly delightful. I can't wait to see their take on another Sondheim classic. Send in the clowns!


This article also appears on Broadway World Minneapolis.