"Ghost Quartet" at Theatre Elision

This fall, Theatre Elision will bring us the regional premiere of the 12-time Tony nominated 2017 Broadway musical Natasha, Pierre, and the Great Comet of 1812. But that's the time of the year they typically do composer/ lyricist/ playwright Dave Malloy's lesser known work Ghost Quartet. Not wanting to miss a year, they're presenting their 7th production for three nights only, featuring many past cast members, in what they're calling "the reunion." I've seen three of the six previous iterations, and I think this is the best one yet. Maybe it's because this non-linear song cycle interweaving many related stories and characters gets better with repeated viewings, maybe it's because the supersized cast makes the score sound even more gorgeous, maybe after seven productions Elision and these artists know this piece better and better. Or likely a combination of all of the above. If you've seen Ghost Quartet before, I recommend this reunion version as a way to deepen your experience. And if you've never seen it, this is a great introduction because it's really well done and feels like a welcoming and communal experience. But hurry, here are only two shows left - tonight (Friday) and tomorrow night! Click here for info and tickets.

"Christmas at the Local" by Theater Latte Da at the Ritz Theater

Now in their 26th season, Theater Latte Da has a knack for creating original holiday shows that become annual traditions. First A Christmas Carole Petersen, #TCTheater artist Tod Petersen's funny and poignant tribute to his mom and growing up in small town Minnesota, which debuted in their third season and has been produced numerous times over the years (including six shows at Crooners this year, December 16-20). Then came All is Calm, a documusical about the WWI Christmas Truce that premiered in 2007 and has gone through a few different iterations over the years, settling into a nearly perfect 70 minutes of theater that has toured all over the country including Off-Broadway, and was filmed in 2019 for a PBS special. And now we have Christmas at the Local, a "double feature" of Dylan Thomas' story A Child's Christmas in Wales and Maya Angelou's poem Amazing Peace, both set to music and tied together with other holiday songs performed by a group of friends hanging out at their local pub. It debuted last year, at which time I wrote, "it creates such a warm, cozy feeling of community, nostalgia, and hope that I want to visit every year (or every night)." If you didn't see it last year, it's a must-see in the tradition of Latte Da's lovely original holiday pieces. And if you did see it last year, then you know that it always feels warm, welcoming, and wonderful to return to The Local (continuing through December 31).

"Christmas at the Local" by Theater Latte Da at the Ritz Theater

Theater Latte Da is celebrating their 25th season this year, and in that time they've created two beloved holiday* shows. A Christmas Carole Petersen (#TCTheater artist Tod Petersen's funny and poignant tribute to his mom and growing up in small town Minnesota) debuted in their third season and has been produced numerous times over the years (including six shows at Crooners this year, December 15-18). All is Calm (a documusical about the WWI Christmas Truce) premiered in 2007 and has gone through a few different iterations over the years, settling into a nearly perfect 70 minutes of theater that has toured all over the country (currently touring the Midwest and West Coast) including Off-Broadway, and was filmed in 2019 for a PBS special that will air in on TPT December 11 and 12. And now the brand new original piece Christmas at the Local feels like the start of another beloved holiday tradition. A "double feature" of Dylan Thomas' story A Child's Christmas in Wales and Maya Angelou's poem Amazing Peace, both set to music and tied together with other holiday songs performed by a group of friends hanging out at their local pub, it creates such a warm, cozy feeling of community, nostalgia, and hope that I want to visit every year (or every night). Get in on this new tradition from the start, with performances continuing at the Ritz Theater in Northeast Minneapolis through New Year's Day.

"Once" at DalekoArts

I finally made the gorgeous springtime drive out to New Prague to see DalekoArts' production of the 2012 Tony-winning musical Once in its sold-out final weekend. Just the second #TCTheater production*, Once is a perfect choice for the scrappy little theater in the far-out suburbs, the stage packed with singer/actor/musicians and the intimate house making it feel like we're all in a cozy Irish pub together enjoying some good craic. It's such a beautiful story, and a unique kind of musical that's really more of a play-with-music. All of the music in this Irish folk-rock score (by Glen Hansard and Marketa Irglova, who also starred in the 2007 movie from which the musical was adapted by Irish playwright Enda Walsh) is in context, in a pub or recording studio or music shop. The music is woven so naturally into the story that there's not a lot of applause during the show, not wanting to break the spell of the story being woven on stage. A multi-talented 12-person cast plus three band members embody this charming and bittersweet Once.

"Mary Poppins" at Lakeshore Players Theatre

Do you know who your local community theater is? There are so many great community theaters in the #TCTheater area that it's impossible to keep track of them all. But I encourage everyone to find one in your area and support them. There are so many people working so hard for little reward other than seeing your smiling face in the audience. My local community theater is Lakeshore Players Theatre* in White Bear Lake, which opened a gorgeous new building about a year ago. The final production in their first full season in their new space is Mary Poppins, a show that celebrates imagination, determination, play, and family. I'll admit that the biggest draw to see this show was seeing one of my #TCTheater favorites Quinn Shadko as Mary Poppins, but the whole show is just darling. If you're in the Northeast metro be sure to visit them in the Hanifl Performing Arts Center, or check out what theater is happening in your neighborhood.

"Ghost Quartet" by Theatre Elision at North Garden Theater

In their second full season, new-ish #TCTheater company Theatre Elision, which specializes in small cast female-focused rarely done or original one-act musicals, is bringing back Dave Malloy's Ghost Quartet from their first season. And judging by the audience reaction, they might be stuck doing this show every fall. First of all, this ghostly song cycle by the creator of Broadway's Natasha, Pierre, and the Great Comet of 1812 is a gorgeous, unique, interesting, creepy score. And secondly, Elision's production is really cool - immersive, participatory (the audience gets to play percussion!), performed by an excellent (and partly new this year) cast of singer/ actor/ musicians, and includes the serving of whiskey! It's a unique theater experience, musically haunting and beautiful, and an overall creepy cool vibe. This is my second* time seeing it, and I could definitely see it every year. It's playing through this Saturday only, with limited seating in the new North Garden Theater in St. Paul's West 7th neighborhood, so act fast! (Click here for info and tickets.)

"Guys and Dolls" at Lyric Arts

Lyric Arts Main Street Stage in Anoka is closing their 2017-2018 season with a fun and classic musical - Guys and Dolls. Is the story dated and full of gender stereotypes? Yes. But it's also chock full of great music, including many popular songs ("A Bushel and a Peck," "Luck Be A Lady," and my favorite, "Sit Down, You're Rockin' the Boat"). Lyric Arts has assembled a fantastic cast, and the show is well-staged in their small performance space. If you're looking for a fun '50s era show, Anoka is the place to go.

"Don Giovanni" by Skylark Opera Theatre and Angels & Demons Entertainment at the Woman's Club of Minneapolis

For five years, I spent one or two nights at Concordia University's E.M. Pearson Theatre watching opera/operetta/musical theater as part of Skylark Opera's Annual Summer Festival. Last year, the festival was abruptly cancelled as the company went through financial and leadership challenges. I'm happy to report that Skylark is back, rebranded as Skylark Opera Theatre, now with their second show under new Artistic Director Robert Neu. The Summer Festival has not returned, but Skylark's commitment to presenting accessible opera in English hasn't changed. Their second production (after The Tragedy of Carmen earlier this year) is a site-specific production of Mozart's Don Giovanni, with new English translation by Robert Neu and Gabriel Preisser, who also plays the title character. It bears more than a little resemblance to last summer's site-specific Mozart (The Marriage of Figaro in the James J. Hill House) by Robert Neu's other company, Angels and Demons Entertainment, a co-producer of this show. Like Marriage of Figaro, this Don Giovanni is an intimate, immersive experience that one doesn't usually get with opera.

"Company" by Shoot the Glass Theater at New Century Theatre

"Company! Lots of company! Years of company! Love is company! Company!" So ends my favorite Stephen Sondheim musical, the 1970 multiple Tony winner Company. A new theater company in town called Shoot the Glass Theater has kindly chosen to do this, my favorite Sondheim, on this, my birthday weekend, as just their second show as a company. They're presenting a fairly simple staging and a fairly straight-forward and traditional production at the New Century Theatre, with a talented young cast, some new to me, some familiar. I was thrilled to begin my birthday celebration with Bobby and his crazy married friends. If you're a Sondheim fan, act fast, because they're only doing six shows (discount tickets available on Goldstar).

"The River" by Walking Shadow Theatre Company at Open Eye Theatre

If your new boyfriend invites you to his cabin to go fly fishing in a river by the sea, just say no. That's what I learned from Walking Shadow's The River. This seemingly happy new relationship takes an unsettling, unexpected, and vaguely creepy turn over the course of 90 minutes. I don't want to say too much about what happens, because the discovery and the figuring it out is half the fun of this play. Or maybe fun isn't the right word. But this fascinating exploration of love and relationships, with strong performances by the cast, fluid unhurried direction, and a spot-on detailed set is definitely entertaining.

"The Marriage of Figaro" by Angels and Demons Entertainment at the James J. Hill House

One of Mozart's most beloved operas, performed by nationally renowned opera singers and local favorites, set in the perfect and intimate location of the grand and beautiful James J. Hill House? I'm in! In by the skin of my teeth, that is. I consider myself very lucky to be one of the 140* people (4 shows x 35 audience members per show) to have had the wonderful experience that was Angels and Demons Entertainment's production of The Marriage of Figaro (with support from the Twin Cities Opera Guild). I'm not much of an opera-goer, unless it's made more accessible by companies like Skylark Opera (who always perform in English, and whose Summer Festival will hopefully return next year). But this was perhaps the most accessible and engaging opera I've ever attended. Sung in English in four different locations within the house that perfectly suited the story, it truly felt like I was in the midst of this crazy upstairs/downstairs story. I only regret that the audience was so limited, and I hope that they bring the production back sometime and expand it so that more people can know this truly lovely and special experience.

"The Diary of Anne Frank" at Park Square Theatre

Some 32,000 students a year head to Park Square Theatre's two-stage downtown St. Paul space to see theater that is just for them. Many of Park Square's regular shows have a handful of student matinees, but there are also several shows that are primarily for students, with few, if any, evening performances for us grown-ups. But because I'm not a normal grown-up, I was able to get into a student matinee of one of the two shows for students this spring, The Diary of Anne Frank (the other is a captivating 90-minute Romeo and Juliet, which I saw last year). A theater full of hundreds of teenagers creates a much different atmosphere for watching theater, and watching the kids watch the play is almost as entertaining as watching the play itself. The Diary of Anne Frank is a play that must appeal to teenagers, with a main character that is herself just a typical teenager, despite living in hiding during the Holocaust. Anne's story and spirit are brought to life in an engaging production that's a pleasure for kids and grown-ups alike.

"Musical Mondays" at Hell's Kitchen, March 2016

American Idol might be ending this year, but Musical Mondays at Hell's Kitchen is still going strong after 3+ years! You don't need some TV talent search to see talented performers, you can head down to Hell's Kitchen in downtown Minneapolis the first Monday of the month to see some of our very own top talent. While I've only attended 7 of their 36 shows, this cabaret show featuring beloved and obscure songs from musical theater never disappoints. 

"The Snow Queen" at Park Square Theatre

Inside Park Square Theatre on 7th Place in lovely downtown St. Paul, magic is happening. It's the magic of storytelling, something that has been happening for ages on this planet. Friends sitting around a campfire, telling stories of good and evil, trials, and friendship, with words, music, dance, puppets, tears, and laughter. This musical adaptation of the Hans Christian Anderson story The Snow Queen is something truly unique and special. It's so charming, whimsical, funny, creative, and yes, magical. But with a creative team that includes Doug Scholz-Carlson (director), Denise Prosek (music director), and Jim Lichtsheidl (choreographer), I would expect nothing less. They have assembled a terrific eight-person cast of actor/singer/ musicians (half of whom are new to me) to bring this charming fairy tale to life in an innovative and inspired way.

"The Realish Housewives of Edina" at New Century Theatre

I have not watched a single minute of a single episode of any of Bravo's popular Real Housewives TV series (Wikipedia tells me there are seven series, five of which still in production). Don't get me wrong, I love my reality TV, but more of the competition variety (Survivor, The Amazing Race, Top Chef, American Idol). I don't quite understand the fascination of watching "celebrities" in their daily lives, but there's no doubt it's a hugely popular phenomenon, and one that's ripe for parody. So it's a perfect time for this outrageous comedy by playwrights Kate James and Tim Sniffen of The Second City comedy machine. Their intention is for The Realish Housewives of X to play at regional theaters around the country, with slight tweaking for each location. Their first location - Edina. With a fabulous local cast, this show is a hilarious parody of the reality TV phenomenon.

New Century's wide and shallow stage (which can sometimes feel awkward) is a perfect fit for the preview show of the newest series of the Real Housewives-esque show, with cabaret tables in the audience adding to the fun and informal atmosphere. Host and creator Randy (Adan Varela, who also plays multiple other characters) introduces us to each of the housewives (curiously, only two of them have husbands). Ravonka (Kim Kivens) is the vaguely European royalty who carries her tiny dog around in her purse, demands that everyone "pay attention to me right now," and never sees her Baron husband. Claudia-Louise, aka CL (Quinn Shadko), has the perfect family and isn't afraid to tell everyone so. Gwen (Katherine Kupiecki) is an incarcerated politician trying to redeem her image with the public. Ditzy Desiree (Karissa Lade) is a fro yo addict and neck model. Brooke (Anna Hickey) is the newest member of the group, a self-made business woman who has made a fortune selling clothing with writing on the butt. Some of the other members of the group don't accept her "new money" so easily, causing the necessary tension for a show like this.

Anna Hickey, Karissa Lade, Kim Kivens, Quinn Shadko,
and Katherine Kupiecki (photo by Bridget Bennett)

Randy prompts the women to talk about their feelings as he shows them clips from the season, which are acted out in front of us. We see the women visit each others' work places, attend various charity events, and gossip with and about each other. There's a bit of audience participation as CL's husband and Ravonka's daughter are picked out of the crowd and played off of. Everyone in this cast is so loose and playful, yet precise in the characterization of their stereotypical housewife type, I imagine it will only become more fun to watch them play with the audience as the 8-week run continues. Each of these women (and Adan) is a hoot, but Kim Kivens as Ravonka is hysterical. Anyone who's seen her Michelle Bachmann impersonation knows how great she is at these over-the-top caricatures, completely committed with every look and gesture, but here she is absolutely Ravonkulous (meaning ridiculous and fabulous and any other -ulous word that might apply).

the housewives and Randy (photo by Bridget Bennett)

The creators have worked with locals to throw in plenty of Minnesota references, and we love that! From Zumbrota to Spalon Montage to the Galleria, these housewives hit all the local hot spots. Not to judge a book by its fashionable cover, but the opening night crowd seemed to include many "real housewives" types, leaving their husbands and kids at home for a night on the town. In fact, the show could be a brisk 90 minutes if they cut out the intermission, but then they wouldn't sell as many drinks to this crowd that seems intent on having a good time.

The Real Housewives franchise is an easy one to parody. OK I've never seen it, but it seems like there is plenty of fodder for comedy. It's pretty much a slam dunk, especially when played to a crowd that is obviously hungry for it, and this play delivers on that expectation. Funny, ridiculous, over-the-top, and with a cast that gleefully milks every moment. Playing through November 15 at the New Century Theatre in downtown Minneapolis, grab your best girl and guy friends, a few drinks, and settle in for some easy laughs.

"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)

"Godspell" at Lyric Arts

Godspell is one of those well-known musicals that I've never seen. It's also the first musical with music and lyrics by Stephen Schwartz, who wrote one of my favorite musicals, Wicked. So I was curious to see it, and showed up at Lyric Arts not knowing much about the show or any of the songs (although a few were familiar once I heard them). I found it to be fun and entertaining, with some great songs of various styles, energetically performed by a cast that is obviously having a blast. It's unabashedly corny (e.g., characters touching each other on the nose as a sign of affection), but that's not a bad thing, in fact it sort of revels in the corniness. Godspell is not going to be joining Wicked on my list of favorite musicals, but it's cute and fun with catchy tunes (I can't stop singing "Day by Day").

Godspell is sort of a musical comedy version of the life of Jesus and his followers, with the parables he tells them forming different little skits and songs as they all act out the stories. The show begins with everyone on their cell phones, individuals in this modern world. They soon throw away their phones and come together to listen to and learn from Jesus. The show is overall pretty light-hearted in tone, almost campy at times, with a brief somber moment when Jesus dies. But it ends on a high note, with everyone returning to stage and sharing the joy and love of this community they've built.

Being unfamiliar with the show, I looked for parallels to shows I do know, and I found one in Hair. Godspell premiered off-Broadway in 1971, just a few years after Hair rocked the musical theater world (literally and figuratively). I can see a lot of similarities between the two pieces - a tribe of friends with similar ideals trying to change the world, a loose plot structure more like a series of skits and unrelated songs on a similar theme, a leader who dies in service to his people and then comes back for a glorious final anthem, and an overall message of peace, love, and harmony. In a way, Jesus was the original hippie, with his long hair and sandals, preaching peace, love, non-violence, and community. Godspell is like Hair without the sex, drugs, and nakedness (in other words, not quite as much fun ;).

the cast of Godspell

Director Robert Neu gracefully leads his talented ten-person cast through this high energy and musically challenging show. Other than Jesus (Colin Hutchins) and John/Judas (Charles Goitia), there are no characters as such, rather a group of followers going by each actor's name. Each one gets their moment to shine, and rises to the occasion (standouts include the high schooler Zach Marleau, a total ham in the best possible way, and Quinn Shadko, with a lovely classically trained voice and great onstage presence). But the best part is when they're working as a group, ad-libbing and joking with each other in the moments between scenes. It's almost more fun to watch these side conversations than the main action. The cast is obviously very comfortable with each other and have worked hard to achieve that camaraderie along with the musicality. Another fun aspect of the show is its interactive nature. Audience members are occasionally brought up on stage to participate, and the cast hangs out during intermission to mingle with the audience. This is the kind of thing I enjoy watching but dread being forced to participate in, so I was happy to observe from my inside seat.

The costumes (by Samantha Fromm Haddow) are odd and colorful and quirky, and provide some individuality to the cast of nameless characters. The set (by Kirby Moore) is a series of grey stone blocks and steps that allows the cast plenty of room to play. And the four-piece band capably leads the cast through the diverse musical styles.

Lyric Arts' production of Godspell is a cute, fun show with a talented energetic cast that is having as much fun as the audience. Playing through March 16 with discount tickets available on Goldstar.

"The Fantasticks" and "The Mikado" by Skylark Opera (in collaboration with Mu Performing Arts)

It's (sort of) summer, which means it must be time for Skylark Opera's Summer Festival! Every year they present two shows in repertory, typically classics from musical theater or operetta. The last two years I've attended one of the two shows, but this year I was able to see both. Unlike in past years, there is no overlap in cast or orchestra between the shows. Another new feature this year is that The Mikado is being presented in collaboration with Mu Performing Arts, which continues their tradition of the past few summers of putting a new and Asian-American spin on a classic (they've previously done Into the Woods and Little Shop of Horrors). This year they reinvent Gilbert and Sullivan's The Mikado, famous for not only its music but also its stereotypical representation of Japan. But first up - the world's longest running musical.


The Fantasticks
This small-scale musical opened Off-Broadway in 1960, where it has played almost continuously ever since. I saw it there four years ago in the Jerry Orbach theater (named after its most-famous and well-loved original cast-member), and was absolutely charmed by it. I'm happy to report that Skylark Opera's production is just as charming, funny, silly, smart, wacky, and entertaining.

The Fantasticks is a fantastical story that also rings true. It's a love story, but with a sharp edge so that it's not too sappy. A boy (the charming and charismatic Matt Berdahl) and girl (the equally charming Quinn Shadko, with a lovely voice) fall in love, living next door to each other on opposite sides of a wall. The wall was put up by their fathers (Jeffrey Madison and Paul R. Coate, who are hilarious and sound fantastic together), seemingly to keep them apart. But it's a bit of reverse psychology, as the two are pals who really want their offspring to marry. They arrange a kidnapping with the smooth and seductive bandit El Gallo (Gabriel Preisser, possessing the necessary height, deep voice, and devilish smirk). Everything goes as planned and the couple are happy together. Until the second act, when they get bored with and annoyed by each other. They go their separate ways to experience the world on their own, and find out things aren't so great out there after all.

This is a small cast for a musical, with a small onstage two-person orchestra (Min Kim on harp and Andrew Fleser on piano). There is a bit of stage magic in the use of props and confetti, all supplied by the graceful Penelope Freeh, who never utters a word as she guides the story along (she also nicely choreographed The Mikado). In addition to a lovely and lively score which includes the wistful "Try to Remember" and the love song "They Were You," the play also features some poetic monologues by narrator El Gallo. It's a strange and delightful mix of a play, with music, sword fights, slapstick comedy, a sense of melancholy, a bit of cynicism, and also the hope of young love. No wonder it's the longest running musical in the world!

There is a curious paradox that no one can explain.
Who understands the secrets of the reaping of the grain?
Who understands why spring is born out of winter's laboring pain?
Or why we all must die a bit before we grow again?
I do not know the answer
I merely know it's true
I hurt them for that reason
And myself a little bit, too.


The Mikado
The English writing duo Gilbert and Sullivan are famous for their fast and clever lyrics and witty satirical send-up of the British establishment (see also HMS Pinafore). They set one of their most popular works, The Mikado, in Japan, which "allowed Gilbert to satirise British politics and institutions more freely by disguising them as Japanese" (Wikipedia). In doing so, they also play on stereotypes of Japan, and many productions throughout its history have employed yellowface (casting Caucasian actors as Asian characters). Mu has attempted to remedy the situation by rewriting some of the libretto and casting Asian actors in the main roles, thereby eliminating the offensive stereotypes while keeping the charm and wit of the original piece. I've never seen another production of The Mikado so I can't speak to what has changed, but I like what I saw, and I trust that Mu did it right (because they usually do).

In the fictional town of Titipu, the son of the emperor (or Mikado) is disguised as a traveling musician (a second trombone). Franki-Poo (Phong Nguyen) is looking for his love, Tum-Tum (the adorable Isabella Dawis). Sadly for the lovers, she is the ward and betrothed of the Grand High Executioner Co-Co (Randy Reyes, hamming it up in the best possible way). Because of the complicated laws of the land (which include a mandatory punishment of beheading for the crime of flirting) and Franki-Poo's desire to die if he can't be with Tum-Tum, Co-Co grants them permission to marry for a month, after which time Franki-Poo will be executed and Tum-Tum can marry Co-Co as planned (do you follow?). This crazy plan is approved by Co-Co's right hand man Pooh-Bah (from which we get the term pooh-bah), played by the very entertaining Alex Ritchie. The Mikado himself (an impressive James Ramlet) appears in the second act and plans must be changed. Co-Co woos Franki-Poo's previous betrothed Katy Shaw (Ashley Cutright, with a voice that fills the theater) so that Franki-Poo can confess his true identity, marry the woman he loves, and not be executed (still following?). Yes, it's a silly and convoluted story, but it's great fun. 

The songs are fast and funny, especially those that have been rewritten with modern references. This huge cast of over two dozen sounds amazing when they all join their voices together. Along with the gorgeous 20-piece pit orchestra (directed by Steve Stucky), the sound coming from these singers and musicians is full and lush and layered. I appreciate that Skylark presents their productions "without artificial amplification." In the proper room, with people who know what they're doing, no mics are needed, and it's a refreshing change to hear the pure and natural sound of music.


I would say that if you only have time to see one show in Skylark Opera's Summer Festival, it's a tough choice which one to pick. The more intimate musical with a lovely score and whimsical nature, or the full and lush operetta with the huge cast. But since The Mikado is completely sold out, the choice is easy - see The Fantasticks (which, if pressed, I might choose as my favorite of the two). Only two of the total three performances remain, so act fast! Perhaps Skylark needs to consider a longer run for next year's festival. After creating these beautiful shows, it a shame that more people don't get to see them!