"I Am Betty" at History Theatre

Last year History Theatre premiered a new musical that inspired me to write: "I am Betty. You are Betty. We're all Betty!" Apparently I was not the only audience member so affected; they've brought the show back for a month-long remount, with most of the original cast and creative team reassembled (hence much of this post is borrowed from my previous review). I Am Betty tells the story of American women in the 20th Century through the lens of Betty Crocker, as playwright Cristina Luzarraga noted in a talkback I attended last year. As you may or may not know, Betty Crocker was not a real person; she was a fictional persona created for marketing purposes by the Washburn-Crosby Company (later General Mills). But many women worked behind the scenes to make Betty, and the company, successful. This musical tells their stories, and through them, the history of women in America. Written and directed by women, the show features nine incredibly talented female performers playing all of the facets of Betty for a really fun, informative, and inspiring show. See it at the History Theatre in downtown St. Paul now through December 29.

"Newsies" at Artistry

Artistry's production of Newsies has done so well in its first two weekends, selling out several performances, that they extended it for a week. I saw it the second weekend, and it's easy to see why it's so popular. The musical adaptation of the 1992 cult hit Disney movie appeals to kids as well as their parents, with an inspiring and relevant story about young people standing up for their rights. Artistry has assembled a young, talented, and energetic cast, with some fabulous high-kicking choreography. Catch it at the Bloomington Center for the Arts, now through August 18.

"C.L.U.E" by Collide Theatrical Dance Company at the Southern Theater

For their 30th production, Collide Theatrical Dance Company is remounting/revising their 2015 original dance musical C.L.U., now with one letter added to be C.L.U.E. It's a parody of the classic board game (which I spent many hours playing as a kid) and the movie based on it (coincidentally, a new non-musical stage version will be at the Orpheum next week). While the mystery part may be a little thin, the dancing and performances are incredible, and the show is overall a whole lot of fun. Collide lives at the intersection of theater and dance, and as a primarily theater reviewer, it's fun to have an excuse to see some dance, especially when it tells a story in a theatrical way. Embrace the mystery and enjoy the dancing of C.L.U.E. at the Southern Theater (the best venue for dance) now through March 10.

"I Am Betty" at the History Theatre

I am Betty. You are Betty. We're all Betty! History Theatre's new original musical I Am Betty tells the story of American women in the 20th Century through the lens of Betty Crocker, as playwright Cristina Luzarraga noted in a talkback I attended. As you may or may not know, Betty Crocker was not a real person; she was a fictional persona created for marketing purposes by the Washburn-Crosby Company (later General Mills). But many women worked behind the scenes to make Betty, and the company, successful. This musical tells their stories, and through them, the history of women in America. Written and directed by women, the show features nine incredibly talented female performers playing all of the facets of Betty for a really fun, informative, and inspiring show. See it at the History Theatre in downtown St. Paul now through December 23, and enter here to win two tickets from the Twin Cities Theater Bloggers!

"The Great Gatsby" by Collide Theatrical Dance Company at Luminary Arts Center

To begin their 10th anniversary season, Collide Theatrical Dance Company is not simply remounting their 2018 jazz dance musical adaptation of The Great Gatsby, they're bringing us a new updated version of this familiar story. The narrative structure is different from the previous version, and it's a little longer (about two hours including intermission). But what's the same is the incredible dancing, accompanied by a live band and singers performing well-chosen pop songs. As the name implies, Collide brings us a collision of dance, music, and theater, and conveys story, character, and emotion simply through movement. It's a beautiful thing to witness. You can see it at the gorgeous Luminary Arts Center (formerly the Lab Theater) in Minneapolis' North Loop neighborhood for the next two weekends only.

"SKOL!" by Collide Theatrical Dance Company at the Southern Theater

For their latest original jazz dance musical, Collide Theatrical Dance Company took inspiration from a recent scholarly finding that a 1878 archeological find that was believed to be the body of a Viking warrior is in fact female remains. There is other evidence to support the existence of female Viking warriors, which you can read about here and I'm sure other scholarly sources. Or you can go see SKOL!, which is less historically accurate than it is an imaging of a strong female leader in the Viking culture and its reflections in today's world. For the first time since the pandemic, Collide is returning to live music accompanying the dancing (their last few shows have used recorded music), and for the first time in their history, they're using original music written for this story instead of covers of pop songs. It's an ambitious task, and after 10 years of creating original dance pieces, they're up for it. If you're someone who things dancing warriors is silly, this might not be the show for you. But if you see dance/music/theater as a way to express heightened emotions, the kind that are very much presence in war, love, and family drama, head to the Southern Theater in the next two weeks to see this fun collision of dance, music, and theater to tell a story of female power.

"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.

"Class of '85" by Collide Theatrical Dance Company at Gremlin Theatre

For two weekends only, Collide Theatrical Dance Company is remounting their super fun original jazz dance musical Class of '85, which premiered in 2014 (just their fourth production). They've made some updates to the music, characters, and story, and moved from the spacious Southern to the more intimate Gremlin. As with all of their work, it's creatively choreographed to well-chosen music, impeccably performed by this troupe of dancers. Class of '85 is not only a fun '80s homage with all of the fashion and music we love, but it also has a poignant (but not heavy-handed) message about looking beyond the labels we put on each other to see the human with real feelings and experiences behind it. Only three performances remain this weekend, in addition to a virtual option - click here for more info and tickets.

"Footloose" at Chanhassen Dinner Theatres

Chanhassen Dinner Theatres is back with their first show created after the long pandemic intermission of 2020-2021. After their 2020 production of The Music Man was finally able to return last summer and continue through January, the Chan is turning the page to Footloose, the adaptation of the classic '80s movie. While it's not my favorite musical, being both a movie adaptation and a (partial) jukebox musical, this production makes the most of the material and is a super fun time at the theater. As always at the Chanhassen, every element of production is smooth and professional, the music and dancing are fabulous, and the cast is top notch. It's nearly impossible not to have a blast at the Chan, and this Footloose is pure entertainment from start to finish. The show will continue through the summer and into September, but weekends are already starting to sell out and summers are always busy, so make your plans now to cut loose in Chanhassen.

"Mary Shelley's Frankenstein" by Collide Theatrical Dance Company at the Southern Theater

For eight years, Collide Theatrical Dance Company has been creating new dance musicals, either with original stories or based on classic works. Even the pandemic didn't stop them - they presented an outdoor dance cabaret last fall when all of us were starved for live entertainment; produced a Valentine's Day video dance piece; and returned to the outdoor stage this spring for a dance musical based on Alice in Wonderland. Now they're back inside the best dance venue in town, the Southern Theater, for the premiere of their dance musical based not just on the well known 19th Century novel Frankenstein, but also on the life of its lesser known author, Mary Shelley. Over 75 minutes of continuous dance, the seven-person ensemble tells these remarkable interconnected stories with great emotion and vitality.

Ghostlight Series: "Heroic Acts of Music" streaming from Theater Latte Da

The third installment of Theater Latte Da's fantastic virtual cabaret series called "The Ghostlight Series" is now available! The five-part series began with the powerful and moving Twelve Blocks From Where I Live, Regina Marie Williams's response to the murder of George Floyd in photos and song. Next was Re-Cast, which gave some of our favorites the chance to sing a song from a role they would never be cast in. And now we have Heroic Acts of Music, honoring 20th Century musicians (and others) who used music for protest or support in difficult and dangerous times. All three shows are available to watch now and as many times as you want through August with the purchase of a season pass. These gorgeously filmed and edited 30-minute shows with fantastic performances from some of #TCTheater's best are worth every penny, helping to bridge the gap until we can gather in person again to share stories and music (hopefully very soon!).

"Wonderland" by Collide Theatrical Dance Company outside the James J. Hill House

Oh happy day - outdoor theater has returned! Kicking off a great year of outdoor performances*, Collide Theatrical Dance Company (who also did an outdoor show last year) is presenting their take on Alice in Wonderland outdoors at the James J. Hill House and Mill City Museum. Over the last eight years, Collide has created original jazz dance musicals set to a soundtrack of well-chosen pop music, and WonderLand continues that tradition. Even better, this one is performed at a gorgeous outdoor location, behind the James J. Hill House on Summit Avenue in St. Paul overlooking the Mississippi River valley (and later this month, the Mill City Museum). It's a wonderful step back into the reopening of our vital preforming arts community. Click here for more info and to purchase tickets for an outdoor performance or to watch the show virtually.

"The Cafe" by Collide Theatrical Dance Company Outdoors at Gremlin Theatre

Since 2013, Collide Theatrical Dance Company has been creating original dance musicals that really blur the line between dance, theater, and music (their name refers to a collision of art forms). Most of their shows tell a story strictly through dance and music (typically pop songs performed live), with little or no dialogue. In February they remounted their adaptation of Romeo and Juliet, which I didn't see because I had seen the original in 2014 and I was so busy with #TCTheater that I couldn't fit it in (can you even imagine?!). But in the last 6+ months my life has become the complete opposite of that, so my schedule was happily free and clear to see their new production, being performed outdoors for a limited time only. In fact only one performance remains, tonight, and can be viewed in person or virtually. I saw it in person last night and was smiling under my mask for 60 minutes! Click here for all of the details of how you can take in this delightful dance show.

"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!

"Camelot" at Chanhassen Dinner Theatres

The rain may never fall till after sundown.
By eight, the morning fog must disappear.
In short, there's simply not
A more congenial spot
For happily-ever-aftering than here
In Camelot.

Even in a musical, this idyllic world cannot last forever. The problems of the real world - war, greed, betrayal - come crashing in despite the legendary King Arthur's dreams of peace. Perhaps turning a blind eye to reality is not the best way to keep the peace, but it sure was nice while it lasted. Even though I have some issues with the book, Chanhassen Dinner Theatres beautifully brings the mystical and idyllic world of Camelot to life with gorgeous design, a fantastic cast, and beautiful music.

"Dracula" by Collide Theatrical Dance Company at the Ritz Theater

Collide Theatrical Dance Company is now in their fourth season of creating "original Broadway-style jazz dance musicals." As a theater geek who doesn't know much about dance but loves to watch it, Collide provides an accessible and theatrical way to get into dance. I've seen all of their productions over the last four seasons, and their newest creation Dracula may just be my favorite of them all. Collide is at their best when they let the dancing do the talking, as they do here, telling this modernized story of the iconic Dracula strictly through movement and music. A live band accompanies this fantastic troupe of dancers as they perform innovative and evocative choreography to a wide variety of popular songs reinvented to fit the story. Created by Artistic Director and choreographer Regina Peluso and director Joshua Campbell, this Dracula truly is a perfect collision of dance, music, and theater to create a new and exciting form of storytelling.

"A Chorus Line" at the Ordway Center for Performing Arts

The 1975 smash hit Broadway musical A Chorus Line truly is a singular sensation. After winning nine Tony Awards and a Pulitzer Prize (one of only eight musicals to do so), it ran for 15 years, making it the longest running musical on Broadway at the time (it still ranks as number six). But why would this musical about dancers auditioning to be in the chorus line of a musical be such a popular success? Theater people can surely relate to it, but what about the rest of us mere mortals who've never stepped foot on a stage? The reason for its long-lasting success is that it's not just an inside look at the world of musical theater; its themes of adolescence, acceptance, figuring out who you are and what you want to be, and dedicating your life to something that you love are universal, told with raw honesty and unabashed sincerity. And the dancing is pretty terrific too. I've been waiting almost seven years for a local production of A Chorus Line, since seeing the Broadway revival tour in 2009. The Ordway Center for the Performing Arts has finally fulfilled my wish, and it's well worth the wait. Featuring a fabulously talented cast of over two dozen legit triple threats, about half of whom are local, co-directed and co-choreographed by A Chorus Line expert Kerry Casserly and Artistic Director James Rocco, this show hews very close to the original. There's no re-imagining here, this is a beautifully faithful production of the singular sensation that is A Chorus Line. If you call yourself a musical theater fan, it's a must-see.

"C.L.U." by Collide Theatrical Dance Company at the Ritz Theater

My grandparents' attic contained many delights for a kid, particularly a collection of vintage board games from the '50s and '60s that my aunties used to play. My cousins and I spent hours playing Risk, Masterpiece, Monopoly, Life, and one of our favorites, Clue. Sometimes we'd even get the adults to join in. I took very detailed notes on my Clue sheet with my own system of shorthand. It was such delicious mysterious fun! Collide Theatrical Dance Company's new original piece C.L.U. captures that fun and mysterious spirit. Created by Artistic Director and Choreographer Regina Peluso along with new collaborator, Director Joshua Campbell, C.L.U. is a fun and entertaining evening of music, dance, and melodrama.

"Zoot Suit Riots" by Collide Theatrical Dance Company at the Lab Theater

Collide Theatrical Dance Company is a bit of a step out of my comfort zone as a theater blogger. But I do love to watch dance, and Collide (named for the collision of various art forms, including dance, theater, and music) allows this theater geek to get a dance fix in the form of storytelling, which is what theater is all about. Their latest original jazz-dance musical creation is Zoot Suit Riots, based on the historical riots in 1943 Los Angeles that spread to other parts of the country. This version of the riots takes place in Harlem in a dance hall similar to the historic Savoy Ballroom, and while the story may be a bit thin, the dancing is spectacular and does a wonderful job of expressing emotions and defining characters.

Let's start with the music. The five-piece band, directed by Bob Beahen on percussion and also including keyboard, upright bass, guitar, and my favorite jazz instrument the clarinet, sounds super smooth and cool and jazzy. The song selections are mostly standards from the era like "Moondance" and "You Can't Take That Away from Me," with a little Queen and Lady Gaga thrown in for good measure. Singing these songs are two amazing vocalists, Katie Carney and Ben Bakken (did someone say Queen?), solo and duet. The choice of music is, as always, spot on, and it's fun to hear modern pop music played and sung in the '40s jazz style.

the company and the band (photo by V. Paul V.)

Hand in hand with the music is the dancing, which is awe-inspiring to this non-dancing theater geek. Directer/ choreographer/creator of the piece Regina Peluso combines various styles of dance (jazz, ballet, tap, Fosse, contemporary) to create something unique and so much fun to watch. Whether solo dances or group numbers, the dances perfectly suit the music which perfectly suits the moment in the story. In fact, the dancing is so expressive and tells the story so well that I wish they would eliminate the short scenes with dialogue, which are a bit stilted. These dancers are better actors when they're dancing; when they're dancing I know who they are and I believe them. Some of Collide's earlier pieces had no dialogue and told the story entirely through music and movement (with a short story summary in the program), and were the stronger for it.

Galen Higgins flies high (photo by V. Paul V.)

The ten dancers in the company are all beautiful, graceful, strong dancers (including familiar faces Renee Guittar, Riley Thomas Weber, and Jeffrey Robinson in the lead roles), but the standout in this show is Galen Higgins as a hard-nosed, fierce-tapping Marine. His tap dance (which he also choreographed) is huge and fast and explosive. Lastly, there's no costumer listed in the credits, but I'm always amazed how the dancers can move so well in what look like street clothes, and look stylish while doing so.

Zoot Suit Riots officially opens tonight and continues through March 15 at the gorgeous Lab Theater, a great space for dance. (Discount tickets available on Goldstar.)

"The Belmont Hotel" by COLLIDE Theatrical Dance Company at the Southern Theater

COLLIDE Theatrical Dance Company is a new company whose mission is "to create original Broadway-style jazz dance musicals that engage and entertain audiences." It's a cool concept, and for a musical theater geek like myself who doesn't know much about dance, it's a great way to experience the beauty and storytelling power of dance in an accessible and familiar format. Like a musical without words, the story and emotions of the characters are conveyed simply and powerfully through movement and physical expression. Their inaugural production Lot of Living to Do told the story of prostitutes in the '30s trying to better their lives, and their new production, The Belmont Hotel, tells of a hotel owner with a failing business in 1929 who turns to bootlegging, and the effects that has on his family. Directed and choreographed by company founder Regina Peluso and featuring a talented ensemble of dancers, a fabulous on-stage five-person band, and two fantastic singers, it's a highly entertaining evening (free drinks from sponsors Stella Artois and Whiplash Wines don't hurt either).

The story of The Belmont Hotel is fairly simple. Losing money due to the Great Depression, hotel owner Frank (a light on his feet Jeff Quast) decides to go into business with a bootlegger (a smooth and seductive Patrick Jeffrey), introduced to him by the nanny (an appealing Renee Guittar). The money starts rolling in, but his wife (director/choreographer Regina Peluso) and daughter Lily (the precocious Dora Dolphin) are not happy with the change. A crisis neatly leads to a change of heart, the family is reunited, and everyone's happy again. Let's dance!

Dora Dolphin, Regina Peluso, and Jeff Quast
as the (sometimes not so) happy family

And what dancing there is! Regina's choreography is classic and fresh at the same time, beautifully executed by the leads and ensemble. But the youngest dancer steals the show; Dora Dolphin is already a star* at a young age, and is completely charming in Lily's dance with her daddy and alone on stage in her angry neglected dance. The ensemble numbers are also a highlight, especially the Act I closing number "Feeling Good" and the final number "Sing Sing Sing," and include some pretty amazing acrobatic tricks that I wished I could rewind and watch again!

The soundtrack to the story is a selection of jazz standards like "Stormy Weather" and "Mack the Knife (with a little Beyonce and Beatles thrown in for good measure), performed by the band with vocals on some songs. Katie Gearty has a dusky voice that's perfect for these songs, and Cameron Wright has impressive vocals, most evident in an a capella unmiked version of "It Don't Mean a Thing" that fills the cavernous space of the Southern Theater stage. I'm not sure there is a better stage for dance in the Twin Cities than the Southern, with its wide open stage, gorgeous brick arch backdrop, and excellent sightlines from the audience. Costumes are period appropriate (with the exception of an inexplicable untucked plaid shirt and khaki pants ensemble) and still allow the dancers to move freely and beautifully.

This is a short run so act quickly if you want to catch this production of the new original jazz dance musical The Belmont Hotel - only four more performances remain this weekend (discount tickets available on Goldstar.com). Recommended for dance aficionados and novices alike. COLLIDE's next production is Romeo and Juliet next spring. I cannot imagine Romeo and Juliet as a jazz dance musical, but I trust this company to make it work!

*Her bio notes that Dora will be in Gypsy at BCT next spring. From what I've seen of her, she will be a perfect Baby June!