"Merrily We Roll Along" by Theater Latte Da at the Ritz Theater

Stephen Sondheim was 91 when he died last November, but it still felt too soon, like there was still more he could do and write and say. But the good news is he left us an incredible body of work, songs and musicals and stories that will never die, as long as there are companies like Theater Latte Da to perform them (which many seem more eager to do in the wake of his recent passing, the Guthrie will produce Into the Woods next summer). Latte Da teased us with a couple of Sondheim cabarets at Crooners earlier this year, and is now opening their 25th season with the lesser produced Merrily We Roll Along. The 1981 Broadway flop was reworked a few times, and has gained popularity over the years*. I knew nothing about it before seeing the show, but I knew that I was in good hands with Theater Latte Da, my favorite interpreters of Sondheim's work. Seeing this production it's hard to imagine why it wasn't an instant hit, but I guess the show took a while to find itself, similar to its characters. The unique backwards storytelling is interesting and challenging and fun, as the pieces fall into place in this story of three friends trying to make it in show business, while still holding on to what matters. As per usual with Theater Latte Da, it's an all-around impeccable production that made me fall in love with this piece and want to see and listen to it over and over again.

"Twelve Angry Men" by Theater Latte Da at the Ritz Theater

I know what you're thinking: the classic American film and play Twelve Angry Men... as a musical?! It sounded pretty odd to me too when I first heard about it a few years ago, but after seeing Theater Latte Da's world premiere musical adaption (on stage at the Ritz through July 17), I'm sold! It just goes to show that literally any subject can be made into a musical, if done well and thoughtfully by talented artists. Check, check, check. Telling this story that was originally a TV show in 1954 through a modern and musical lens heightens the themes of justice and productive communication. It's still the 1950s on stage, but the cast and creators are aware that it's 2022 in the audience, and this story needs to speak to now, which it pretty geniusly does. Combined with a really interesting jazz score that's seamlessly woven into the dialogue, a simple and classic design, and a diverse cast of 12 talented men, and it feels like this story was crying out to be a musical all along.

"Jelly's Last Jam" by Theater Latte Da at the Ritz Theater

Thirty years after its Broadway debut, Theater Latte Da is bringing us the area premiere of Jelly's Last Jam, featuring the life and music of jazz pioneer Jelly Roll Morton. It's not an easy piece to do; it deals with a lot of tricky issues, includes uncomfortable language, and requires a specificity in casting. In the wrong hands it could be problematic, but fortunately Theater Latte Da has assembled a collection of all the right hands to bring this show to life. It's a true triumph, of acting, music, dance, production design, and social commentary. Music-theater fans, you don't want to miss this opportunity, because a show like this won't come around again soon. It continues through May 14, and I recommend getting your tickets soon (click here for more info).

Ordway Cabaret: Live at the Loading Dock!

The Ordway's cabaret at the loading dock is back! Last year they discovered that behind the large elegant Center for the Performing Arts that houses two grand theaters in downtown St. Paul, there's a pretty great outdoor* performance space. There's a natural stage where the big shows load in their sets, with an overhead balcony stage as well, generous room for seating in the parking lot, a sort of amphitheater effect with the surrounding buildings, the blue sky for a ceiling, and soaring pigeons for ambience. On a lovely summer evening it's pretty perfect. This installment of Ordway Cabaret is a wonderful sampler of their recently announced season of touring shows (click here for details about Fiddler on the Roof, Summer: The Donna Summer Musical, An Officer and a Gentleman, and Waitress**), as well as as some hints of shows that are in the works for future seasons. And unlike last summer, there's a very good chance that we will be back inside the Ordway this season to watch full productions of these amazing shows. #getthevaccine

"New Voices Cabaret" at Lyric Arts

Calling all #TCTheater casting directors looking for fresh young talent: watch Lyric Arts' New Voices Cabaret. I'm not sure how or where they found them, but they've assembled a group of nine diverse and talented young performers who are ready for the stage. Hosted and directed by Reese Britts, who isn't that many years removed from being a "new voice" himself (Cherry and Spoon named him "one to watch" just two years ago), the 70-minute show is also a treat for fans of music-theater. Click here for details of how to watch it, available through June 20 only.

"Live at the Loading Dock: Ordway Cabaret" outdoors behind the Ordway Center

St. Paul's Ordway Center for the Performing Arts had planned a 2020-2021 Broadway season that included touring shows and original productions, classics and new musicals. But as this extended intermission is lasting longer than any of us had hoped, due to a pandemic that isn't slowing down, at least in this country, their plans have changed. The only show on the schedule as of now is a summer 2021 Ordway Original production of RENT, which of course is still dependent on what happens with the virus between now and then. To celebrate this season-that-wasn't, and to show their commitment to producing these shows at some future date, the Ordway is presenting an outdoor cabaret concert consisting of songs from the planned upcoming season, as well as one cancelled show from last season. Live at the Loading Dock is performed outside behind the theater in the loading dock area, which is really a perfect outdoor venue. Seeing this show nourished my theater-starved soul and gave me hope for that day in the future when we can all gather together safely to share music and stories again.

"Ordway Cabaret: Gotta Dance!" at the Ordway Concert Hall

The Ordway began their second year of the "Ordway Cabaret" series with "Gotta Dance!" This fantastic series of one-night only cabaret shows not only features our amazing local music-theater community, but also allows the performers to tell their own story about what musicals have meant to them in their life. We all are drawn to the theater for different reasons at different times in our lives, whether as performers or audience, and it's wonderful to connect with the artists in this way. Dancing has always been a part of the series, with some choreographed or semi-choreographed numbers. But in this installment, dance takes center stage - literally! It really reminded me of a #TCTheater version of A Chorus Line, but more casual and intimate and true. Read on to find out what you missed, then stay tuned for details about the next installment!

2019 #TCTheater Favorites

Happy New Year #TCTheater friends! This is the 10th year-end wrap up I have written on this blog; this summer I will mark 10 years of writing about theater in Minneapolis and St. Paul. That's a lot of theater, and a lot to love. This year I saw about 200 shows (not counting 29 Fringe shows), and I would like to share with you some of my favorite experiences of the year.

"Miss Bennet: Christmas at Pemberley" at Jungle Theater

#TCTheater friends, I would like to visit Pemberley every year for the holidays* (or really any time of the year). For the third year in a row, Jungle Theater is presenting their own special brand of Pride and Prejudice fan fiction, in the form of delightfully modern yet still very Austen plays by the playwrighting team of Lauren Gunderson and Margot Melcon. Their 2017 production of Miss Bennet: Christmas at Pemberley was so successful that they co-commissioned a sequel for 2018 - The Wickhams: Christmas at Pemberley. This year they're remounting the 2017 production of Miss Bennet with much of the original team, plus a few delightful new additions. Jane Austen created such a rich world in Pride and Prejudice that I could envision a dozen more sequels, as we continue to visit these four loving but very different sisters in different times in their lives. (Oh wait, there are five sisters; we haven't seen Kitty yet, so she deserves her own sequel next!) This is exactly how I like my Austen - fresh and modern and feminist and charming, but still within the manners of the time. I want to live in that world, but I guess I'll settle for a visit to Pemberley once a year via the Jungle Theater.

"A New Brain" at Artistry

Artistry's production of the rarely done 1998 Off-Broadway musical A New Brain is exquisitely lovely, and everything I love about musical theater. After composer/lyricist William Finn (see also Falsettos and Spelling Bee) underwent a serious heal crisis due to AVM (it's a brain thing), he wrote a musical about it. Because that's what artists do. The result is a very honest, clever, silly, funny, poignant, beautiful look at life. My previous experience with the piece was a staged reading several years ago by Second Fiddle Productions*, a company that does readings of rarely done musicals. I'm thrilled that Artistry chose this rare gem of a musical for their 2019-2020 season and are bringing us this beautiful production with the dreamiest of casts. If you're a fan of music-theater, don't miss this show!

"Footloose" at Artistry

Artistry is opening their 2019-2020 season with the musical adaptation of the hit 1984 movie Footloose. I've seen it once before, at the Chanhassen pre-blog, which means I remember nothing about it. As a musical it's pretty weak, but there is still plenty to enjoy about it, including the talented young cast. The other musicals in Artistry's season (in addition to the classic play Our Town) are ones I'm more excited about - the rarely done A New Brain and Mame, and the regional premiere of The Bridges of Madison County (which, despite being a movie/book adaptation, features a flawlessly stunning score by Jason Robert Brown). In the meantime, you can enjoy some fun '80s tunes in Bloomington this summer.

"RENT" at Lyric Arts

RENT gets me every time. Seeing it for the 14th time is just as thrilling, emotional, and epic as the first time I saw it 17 years ago. I can't even put into words why it has such a strong grip on my soul (and so many others'). It's just such a beautiful message of love, hope, community, and life, made all the more poignant by creator Jonathan Larson's untimely passing (or eerily timely - he died suddenly the night before the first Off-Broadway preview in 1996). Lyric Arts' new production is truly beautiful; the cast is energetic and talented, the sets and costumes have that cool rock show vibe, and the staging is different enough to make it feel fresh and original, but similar enough to the Broadway version to feel familiar to RENTheads like me. RENT is a brilliantly written piece of music-theater (it's one of only eight musicals to win the Pulitzer Prize for drama), and Lyric Arts has done Jonathan Larson proud. I can think of no higher praise.

Jonathan Larson used the Puccini opera La Boheme as a framework to tell a story about a community of young artists living in Manhattan's Lower East Side and dealing with issues of poverty, identity, creativity, relationships, and AIDS. It's a story he lived (several of the characters are named after friends of his who died from AIDS), which is perhaps why it feels so real and vital. At the center of RENT are roommates Mark, a struggling filmmaker, and Roger, a rock musician still reeling from his recent HIV diagnosis. Into Roger's life comes Mimi, who convinces him that there is still life to live. Their friends include Mark's ex-girlfriend the performance artist Maureen, who is living with her new girlfriend, the lawyer Joanne; disgruntled college professor Collins; his new love the sweet transvestite Angel; and their old roommate Benny, who has sold out by marrying a rich woman and moving out and up. Over the course of a year these friends argue, love, break up, reunite, die, but most of all live. The characters in RENT don't have easy lives, but they cling to that life and each other because it's the only thing they have. How can a piece about death, disease, poverty, and drug abuse be so uplifting and inspiring? Because it cuts through all of the pain to celebrate the joy of life; that's the genius of it.

It must be challenging to take such an iconic piece of music-theater history and put your own spin on it so that it feels fresh and new, while still staying true to the beloved original work. But that's exactly what Lyric Arts has done. Matt McNabb's direction, Penelope Freeh's choreography, Brian J. Proball's scenic design, Stacey Palmer's costumes, and every one of the large ensemble's performances are familiar to the RENT world that I know and love, but have allowed me to experience it in a way I never have before. For example, I was shocked when the cast stood up during "La Vie Boheme" instead of doing the usual seated dance, but I loved it. The Lyric Arts stage has never looked cooler; they've knocked out all the walls and filled the stage space with scaffolding, pipes, stairs, graffiti, and the obligatory three long tables moved around the space to create various pieces of furniture. I only have one disappointment with the show, and that is the lack of racial diversity in the cast. While I don't think it's necessary to exactly match the racial composition of the original cast, I do think that diversity is a part of what makes RENT special, and is necessary to accurately represent the Lower East Side.

That being said, the show is very well cast. Kyler Chase is wonderfully charming and likeable as my favorite character Mark, our reliable narrator who describes the action he longs to feel a part of. Blake Rhiner* was born to play Roger. He's got killer pipes, looks like a rock star in skinny jeans, a leather jacket, and crazy hair, and is so passionate and angsty you can feel Roger's pain. Courtney Groves is fearless and vulnerable as Mimi. As on-again-off-again lovers Maureen and Joanne, Kendall Anne Thompson and Kate Beahen** are perfection; their duet "Take Me or Leave Me" is a highlight, and Kendall's beautifully ridiculous "Over the Moon" is something I've never seen before. Patrick Jones makes his welcome Minnesota debut as the tender-hearted Collins, and did his job by making me cry in the second act reprise of "I'll Cover You." I've always felt that Angel is the heart of the show, and Kyle Szarzynski fills that role well. Last but not least, Maurice Britts gives a strong performance as Benny, the one we love to hate. The ensemble members are all fun to watch, but special mention must be given to Molly Jo Hall for knocking it out of the park with the solo in "Seasons of Love." Chills.

For people who think that RENT is dated or no longer relevant, consider this: there are currently over a million people in the US living with (living with, living with, not dying from) HIV, with about 50,000 new cases every year. And the idea of living life to the fullest, being present in every moment, and loving the people around you can never go out of style. I commend Lyric Arts for taking on this challenging and important piece of music-theater, and for continuing to challenge their audience in a season that started with a beautiful (and somehow controversial) production of The Laramie Project. RENT needs to continue to be produced and seen. Jonathan Larson created something powerful and special, and the team at Lyric Arts have done the same with this new production. Get yourself out to Anoka by August 3 to see this wonderful creation. No day but today!

*I'm looking forward to watching Blake Rhiner bring his raw talent and passion to the role of Gabe in another Pulitzer Prize winning rock musical, Next to Normal, at Bloomington Civic Theatre this fall.
**If you need more evidence that Kate Beahen is a star, Peter Rothstein has cast her as the Baker's Wife in Theater Latte Da's production of Into the Woods next spring. Case closed.


This article also appears on Broadway World Minneapolis.