"Glensheen" at the History Theatre

Last night I saw History Theatre's smash hit original musical Glensheen for the 5th time, and loved it as much as I did when I saw the Raw Stages reading over ten years ago. It's unheard of for a local theater's wholly original musical to be this successful, coming back year after year (after year) and continuing to sell tickets. While History Theatre has created many fantastic original musicals that I hope to see again (including I Am Betty, which returns this fall), for some reason (or many reasons) they struck gold with Glensheen. Specifically, dark musical-comedy gold. When you take Minnesota's most famous and strange murder mystery* (the brainchild of retired Artistic Director Ron Peluso), add a script by one of Minnesota's most prolific and talented playwrights Jeffrey Hatcher, and a score by beloved local musical Chan Poling, how can you go wrong?! At this point it's pretty easy for History Theatre to mount this show - pull the gorgeous set and costumes out of storage, plop the original cast on stage, and press go. But the great thing is, the show still feels fresh and exciting, with this dreamy cast still (and probably even more) fully embodying these characters that they know so well. You can read my full review of the original production here (which has remained largely unchanged), or scroll down for ten reasons to see Glensheen (again), continuing through July 14.

"A Servant's Christmas" at History Theatre

For longtime History Theatre Artistic Director Ron Peluso's final show, he chose an old favorite - A Servant's Christmas. It premiered in 1980 and ran for over a dozen years. Early in his 27-year reign Ron had the idea to turn this stalwart play into a musical, and hired composer/ lyricist Drew Jansen to work with playwright John Fenn to add music to this story of servants in a grand house on Summit Avenue around the turn of the last century. The result is a lovely musical about a found family and the atypical way they celebrate the holiday* season, which can include many different traditions. The cast is chock full of fantastic singers, who also bring out all of the emotions of this story of love and longing. See A Servant's Christmas at the History Theatre in downtown St. Paul through December 18.

"Buddy! The Buddy Holly Story" at History Theatre

"That'll Be the Day." "Peggy Sue." "Oh, Boy." "Maybe Baby." These iconic songs by '50s rocker Buddy Holly are so much a part of our culture that everyone knows them, even those of us born long after his tragic death in a plane crash in 1959. Buddy! The Buddy Holly Story, a jukebox musical that uses Buddy Holly's music to tell his story, premiered in London in 1989 before crossing the pond to be seen on stages around the country. It's a fitting choice for the History Theatre, which brings varied and sometimes obscure pieces of Minnesota history to life on stage. What does Buddy Holly have to do with Minnesota? His doomed plane was on its way from Clear Lake, Iowa to Moorhead, Minnesota when it crashed, killing Buddy Holly, Ritchie Valens, and the Big Bopper. This production, which premiered at the History Theatre in 2005 and was remounted a few times, is back this year for the first time since 2015, with many returning cast members and creatives (including director Ron Peluso in his final season as Artistic Director). Buddy! is a fun celebration of the all too short life and career of this pioneering rock-and-roller, enjoyed equally by those who remember first-hand his life and death, and those who only know the legend (although the audience skews much more towards the former).* This run of Buddy! continues through the end of the month; click here for info and tickets.

"Glensheen" at the History Theatre

Seven years after its premiere, History Theatre's original musical Glensheen (based on the tragic and bizarre murder of one of Minnesota's most famous heiresses) is still going strong! What has become an annual event took a pause during the pandemic, and returned this year with a tour through Minnesota and a three-week stint in St. Paul. I saw it last night for the third time, and was once again impressed by this wholly local creation. Playwright Jeffrey Hatcher's script is so clever and witty (you can also catch his Sherlock Holmes mystery play at Park Square just a few blocks away), local musician Chan Poling's score is so catchy and fun (original cast recording available at concessions), and this seven-person ensemble is so talented in bringing it to life; I don't know how many times they've done this show (five of the original cast members have returned), but they still make it exciting and heart-felt and playful every time. You have one more week to visit Glensheen, site of Minnesota's most famous true crime case (which bears more than a few similarities to 2004 documentary and recent HBO series The Staircase). Click here for tickets, and keep reading for my review from the 2015 production (with a few updates):

"Not For Sale" at the History Theatre

Part two of History Theatre's pair of new original plays based on Minnesota's history of segregation and redlining is now on stage. Originally scheduled to run in rep in March 2020, the two plays were split up this season, with Not in Our Neighborhood premiering last fall, and Not For Sale last weekend. It would have been nice to see them in rep (although perfectly understandable why that plan was shelved in the wake of new covid safety protocols) because they really are two chapters in the same story. The long, complex, ugly story of racism in Minnesota that continues to play out on a daily basis. There's a direct line from Black families being denied the opportunity to purchase property in certain neighborhoods, or at all, to the racial injustice we see today. Plays like these help us to remember our history, so that we can build a better future.

"The Things They Carried" streaming from History Theatre

The History Theatre continues to offer recordings of past productions to stream during this extended intermission. Currently available is the 2017 production of The Things They Carried. I did not see this production, but I did see a 2014 production of this play, presented in rep with Lonely Soldiers: Women at War in Iraq. I hope that they stream the latter play at some point too, because stories of the sexual harassment and assault that women in the military face are just as important to tell as stories of the soldiers of the Vietnam War. But in the meantime, the roughly 70-minute play (with a 20-minute post-show discussion) is a powerful piece and a great choice to watch at home.

"Dirty Business: The Spy Musical" at History Theatre

As the final installment of their HERstory spring - true stories by women about women - the History Theatre brings us a new original musical (my favorite thing). Dirty Business: The Spy Musical, with book and lyrics by Laurie Flanigan-Hegge (Sweet Land) and music by Robert Elhai (C., The Lady with a Lap Dog), tells the stories of mostly forgotten female heroes of WWII. The piece was first presented at History Theatre's "Raw Stages" festival of new works last year, when it showed great promise, and it's exciting to see it now as a full production. Dirty Business is a whirlwind journey through pre-WWII Europe, with many players and missions, that's fun, educational, and inspirational.

"Teen Idol: The Bobby Vee Story" at History Theatre

This winter, History Theatre is bringing back their original play with music based on the life of local rock and roll legend Bobby Vee. You would be forgiven for not recognizing the name (especially if you didn't live through the '60s), but you would surely recognize some of his hits (e.g., "Devil or Angel," "Take Good Care of My Baby," "The Night Has a Thousand Eyes"). And that's why we have the History Theatre, to bring us edutainment about parts of our local history that we maybe don't know as much about as we should. Teen Idol: The Bobby Vee Story premiered in 2016, and the creators collaborated with Bobby's sons Jeff and Tommy. Bobby Vee died from complications of Alzheimer's during that first run of the show, bringing an extra poignancy to it. On second viewing, Teen Idol really feels like a Jeff and Tommy's love letter to their parents - a clean-cut Midwestern boy who for a short time was one of the biggest music stars in the world, and the woman who loved him but didn't sacrifice herself for his career. The play has been tweaked a little, with three new songs added, and by my count about two-thirds of the 24-person cast are new to the show. But it's mostly the same as last time: a play that transcends the jukebox musical to tell the story of how one star survived his rise to and fall from fame with grace and dignity intact, thanks in part to his family.

"The Great Society" at History Theatre

I'm not sure I've ever seen a play that feels (and is) as much of a direct sequel as History Theatre's production of Robert Schenkkan's The Great Society, a sequel to All the Way that History Theatre produced just a year ago. This play continues right were the last one left off, with Lyndon B. Joynson's second term as president (or really, his first full term after taking over for JFK halfway through his term). History Theatre reunites most of the cast and creative team from last year, including director Ron Peluso and Pearce Bunting as LBJ, a performance even more powerful than last year. What also continues from the last play is "political machinations, the Civil Rights movement, and the ugly opposition to freedom and equality for all," with a bonus - the rapid escalation of the Vietnam War. The rhetoric used by everyone on stage is disconcerting in a "the more things change, the more they stay the same" kind of way, as is the divisiveness of a country torn in two by politics. The Great Society is long, dense, and kind of depressing, but it's also extremely rewarding, and important to examine our history to give insight into the issues of today.

"Coco's Diary" at the History Theatre

For their contribution to the #TCTheater holiday* season, History Theatre is bringing back their original play from five years ago, Coco's Diary, now with Christmas music and decorations! But it isn't really about Christmas of course, it's about a year in the life of a real live 13-year-old girl in 1927, living in what is now the Governor's Mansion on Summit Avenue in St. Paul. Adapted by Artistic Director Ron Peluso and Bob Beverage (the latter also choosing a selection of period tunes), Coco's Diary is, like Coco herself, quite charming. This play with music gives the audience a glimpse into the life of the wealthy on Summit Avenue in 1927, and reminds us that being 13 is the same no matter when or where you live.

"All the Way" at the History Theatre

The night after seeing the historical political drama Watch on the Rhine at the Guthrie, I saw the historical political drama All the Way at the History Theatre. That was a couple of pretty heavy (and long) nights, and left me feeling dismayed at just how much history repeats itself. With Watch on the Rhine, it's the rise of fascism in 1930s Europe, genocide, and an impending world war. With All the Way, it's political machinations, the Civil Rights movement, and the ugly opposition to freedom and equality for all. Covering Lyndon B. Johnson's short and eventful first presidential term, from Kennedy's assassination that thrust him into the presidency to his re-election (or rather, first election) one year later, All the Way has a lot of history and historical figures to pack into three (yes, three) hours. While I wish that playwright Robert Schenkkan had consolidated characters and compressed speeches a bit to create a more concise and driving story (the days of me being able to sit comfortably through a three-hour play are long gone), it's a gripping story, well told by director Ron Peluso and an excellent cast.

"Orphan Train" at History Theatre

The History Theatre excels at telling often unknown Minnesota stories, as they did in 1997 with the original musical Orphan Train. At the time, most people hadn't heard of the so-called orphan trains, in which from 1858 to 1929 some 200,000 children were sent west from the East Coast to new homes across the country. The recent New York Times best-selling book Orphan Train has brought more attention to this fascinating bit of American history. Perhaps that's why the History Theatre is bringing back Orphan Train this season. The musical tells fictional stories of orphan train riders based on real events. While it's a bit cheesy and, well, Disney (for lack of a better word), the stories and music brought a tear to my eye on more than one occasion. The wonderful ensemble of seasoned pros and children alike, the excellent folk/Americana score played by a sparse but lovely orchestra, and the moving stories about immigrant orphan children in search of a home is a very affecting combination.

"Teen Idol: The Bobby Vee Story" at the History Theatre

Friends, I think the History Theatre has another hit on their hands. After the huge success of last fall's new original musical Glensheen, which received a second run and an Ivey award this year, they follow in the footsteps of the proven success of Buddy: The Buddy Holly Story with Teen Idol: The Bobby Vee Story. In a way, this story picks up where that story left off. Bobby Vee's career was born on the day the music died. But this new musical (or rather play with music if you want to get technical about it, and I do*) doesn't just rest on the nostalgia of baby boomers, who, let's face it, would come see the show no matter how good it was just to hear these great old hits of the '60s. Teen Idol is more than just a string of familiar hits, it's a well written and extremely satisfying play with music that tells the story of Bobby Vee's life, music, family, and rise to and fall from fame. Kind of like a cleaner version of Jersey Boys (Fargo ND is far from New Jersey and not just in geography). Featuring a star performance by Tyler Michaels, who continues to impress with his range of talents and characters, and an incredibly strong ensemble chock full of local talent, who all get their moment to shine, Teen Idol is a fantastic show no matter your generation.

"Glensheen" at the History Theatre

History Theatre's new original musical Glensheen was such a hit last fall, they brought it back this summer. If you missed it last time around, now's your chance to see this clever and wickedly funny musical. And even if you did see it last year, it's definitely worth a second viewing; I enjoyed it even more the second time around. They've brought back the original cast, a talented, charismatic, and hard-working ensemble of just seven actors who seem like more, who are if anything even more comfortable and playful in their many roles than they were last year. Sitting up in the balcony this time, I had a bird's eye view of the action and was even more impressed with this cast, the set, the lighting, the band, the sound, the costumes, and the way every element of production comes together to tell this truth-is-stranger-than-fiction story of Minnesota's most notorious murder mystery. You have until the end of July to see this fantastic new creation and tickets are going fast - don't miss out a second time! And keep reading for my full thoughts on the show from last fall.

"Glensheen" at the History Theatre

Americans love a good true crime story. And truth doesn't come any stranger than the story of the elderly heiress and her nurse who were murdered in Duluth's most famous mansion. The murder weapons: a silk pillow and a candlestick. The murder location: the old woman's bed and the grand staircase, where a violent struggle occurred. The prime suspect: the heiress' son-in-law, allegedly acting out the wishes of her daughter who was desperate for money to feed her insane spending habits. The key evidence: an envelope mailed to the son-in-law from Duluth containing a valuable stolen coin. The result of two of the most sensational criminal trials in Minnesota history: both suspects go free, one to later commit suicide, the other to leave a string of suspicious deaths and fires in her wake. I mean really, you cannot make this stuff up. Truth is indeed stranger than fiction. What better subject for a new musical at the History Theatre, known for developing new work that explores important events in Minnesota history? This bizarrely fascinating story practically writes itself, so when talented and prolific Minnesota playwright Jeffrey Hatcher applies his biting and clever wit to the story, along with songs from the famed Minnesota musician Chan Poling of The Suburbs¹ and The New Standards, what you get is dark comedy-musical gold. The potential was there at the reading of the new musical last year as part of History Theatre's annual "Raw Stages" festival,² and it's a pleasure to see how that potential has blossomed into a fully formed piece of music-theater. It's dark and delicious, hilarious and musically entertaining, poignant and tragic.

If you're not familiar with the story of Chester Congdon, the East Coast lawyer who very wisely invested in iron ore in late 19th Century Duluth, you should visit the grand estate on Lake Superior that he built for his family (wife Clara and seven children) and left to the University of Minnesota - Duluth upon the death of his last child. Which happened to be his youngest daughter Elisabeth, who never married and lived at Glensheen her entire life, adopting two daughters with whom to share her life, love, and fortune. It's her daughter Marjorie (named for Elisabeth's beloved older sister) upon whom this little tale hinges. Diagnosed a sociopath as a teenager, Marjorie had an insatiable spending habit that put her in constant debt and eventually, allegedly, led her to convince her second husband Roger Caldwell to kill her mother in order to receive her inheritance. The details of the story are too strange to be believed, except, of course, that it's true.

Marjorie Congdon sings her story
(Jennifer Maren and cast, photo by Scott Pakudaitis)

The musical begins on a modern-day tour of the historic Glensheen mansion. The people on the tour become a little too curious about the famous staircase and the tour guide tries to steer them towards the architecture of the house, but to no avail. This fabulous cast of seven then leads us on a tour of bizarre and tragic life of Marjorie and those around her. The musical stays fairly close to the facts of the case, although of course some is conjecture or rearranging to make a compelling story. But don't worry, at the end of the show they tell us exactly what was made up and what wasn't.³ It's all very tongue-in-cheek and darkly comedic, done in the heightened reality style of musicals, but with some grounded and poignant moments that remind us these were real people who suffered great tragedy. The tone walks the fine line of being campy, funny, and outrageous, while not disrespectful to the lives that were lost. The show engenders sympathy not just for the two women who died that night, but also Marjorie's husband Roger, who certainly didn't know what he was getting into when he married her, and perhaps even Marjorie herself. Perhaps.

Highlights of the show are many, including:

• Rick Polenek's rich set looks like a mini-Glensheen, a reproduction of the famous staircase leading up to the stained glass window on the second floor, with stately furnishing and lush carpeting that extends into the audience.
• Director Ron Peluso and his cast make great use of the multi-level stage and the aisles in the audience, drawing us into the story, even at one point using us as potential jurors.
• Musical Director Andrew Fleser (whose piano is dressed out as a bar) leads the just barely visible band through a really great score with big ensemble numbers, soaring ballads, quiet plaintive songs, and some fun and rousing songs, accompanied by Tinia Moulder's choreography.
• Most of the fantastic seven-person cast play multiple roles - maids, cops, detectives, lawyers, reporters, etc. - except for Jennifer Maren, who brings Marjorie to life in all her murderous, arsonous, seductive, sad little girl glory. She's an endlessly fascinating villain, the kind that you love to hate.
• Dane Stauffer is great as the drunken patsy Roger, without making him a caricature. We also see Roger's human side in his confession and death - just another one of Marj's victims.
• Stealing scenes in a multitude of roles, including Elisabeth, her nurse (with a sad and lovely song), and, briefly, Agatha Christie, Wendy Lehr is a delight to watch, most especially in her gleeful turn as a rock and roll defense attorney who may or may not be known "Beshmesher," shimmying her way through a rollicking defense of Marjorie.
• Ruthie Baker, Gary Briggle, Adam Qualls, and Sandra Struthers Clerc gamely jump into whatever role is asked of them, and the seven-person cast seems much larger with all the characters in the story.
• The costumes (designed by E. Amy Hill) help define the various characters and place it in that '70s/'80s timeframe. Marj's wardrobe is particularly fabulous (I'm not sure the real Marj is this fashionable), always in red, reminding us of the blood and fire she leaves in her wake. Barry Browning's lighting design bathes the stage in a red glow when appropriate, as well as creating some startling lighting strikes.

Glensheen is a fantastic new original musical, based on one of the most fascinating true crime stories in Minnesota history. It's a sordid and epic tale just ripe for some kind of theatrical treatment, and Jeffrey Hatcher and Chan Poling have given it just the right kind. A dark and campy musical about a stranger than fiction true crime story? Yes, please! (Playing through October 25.)

1. For more about The Suburbs and other bands of early '80s Minneapolis, go see Complicated Fun next spring, another new piece developed through the "Raw Stages" festival.
2. The History Theatre's "Raw Stages" Festival takes place in mid-January. So when the weather is cold, go see what's hot in new historical theater (including a reading of my favorite new musical Sweet Land).
3. If this story fascinates you as much as it does me, I highly recommend the book Will to Murder, written by former Duluth crime reporter Gail Feichtinger with input from the lead investigator and prosecutor, so it's chock full of details and evidence.

"Buddy - The Buddy Holly Story" at the History Theatre

"That'll Be the Day." "Peggy Sue." "Oh, Boy." "Maybe Baby." These iconic songs by '50s rocker Buddy Holly are so much a part of our culture that everyone knows them, even those of us born long after his tragic death in a plane crash in 1959. Buddy - The Buddy Holly Story, a jukebox musical that uses Buddy Holly's music to tell his story, premiered in London in 1989 before crossing the pond to be seen on stages around the country. It's a fitting choice for the History Theatre, which brings varied and sometimes obscure pieces of Minnesota history to life on stage. What does Buddy Holly have to do with Minnesota? His doomed plane was on its way from Clear Lake, Iowa to Moorhead, Minnesota when it crashed, killing Buddy Holly, Ritchie Valens, and the Big Bopper. This production, which premiered at the History Theatre a few years ago, is back this year with much of the original cast of actor/musicians and director Ron Peluso. It's a fun celebration of the all too short life and career of this pioneering rock-and-roller, enjoyed equally by those who remember first-hand his life and death, and those who only know the legend (although the audience skews much more towards the former).

The show follows Buddy's life from his early days in Lubbock, Texas, breaking out of the country-western genre and creating something entirely new, through a failed recording contract, his unprecedented string of hit songs, a whirlwind romance and marriage, and finally, to that fateful last concert in Clear Lake, Iowa. Along the way we hear many of his best hits, along with other songs of the era, including Ritchie Valens and the Big Bopper's biggest hits, "La Bamba" and "Chantilly Lace," respectively. Despite the fun music, there's a slight sense of foreboding as the audience knows how the story ends, even as Buddy and friends move towards it unaware of their fate. But we're not down for long, a brief moment of silence with a single spotlight illuminating a frozen Buddy in his final concert, and we're back to the party, with several songs continuing through and after the curtain call to leave the audience in a good mood.

Nicholas Freeman as Buddy, and the ensemble

Nicholas Freeman returns as Buddy, and fully embodies the rocker's spirit, voice, and trademark glasses (even if he does look a little more like Stephen Colbert than Buddy Holly). His experience with and dedication to this show are evident, as he brings this long ago legend to life and makes him seem like a real person. He's supported by a large and talented ensemble, many of whom are current or former students at the McNally Smith College of Music, with which the History Theatre shares a building. The students dancing on stage before the show and in the aisles during some of the numbers bring an authentic youthful energy to the show. Buddy's drummer and bass player are played with great musicianship and personality by Zac Spicer and Ryan Janssen. Lynnea Monique Doublette and Munyaradzi Tirivep embody the spirit of the legendary Apollo Theater in Harlem and rouse the crowd with "Shout!" The excellent ensemble includes Charles Fraser as several music industry people; Andrea San Miguel, charming as Buddy's sudden wife; Four Humors' Brant Miller as the Big Bopper et al.; Bryan Porter, making the most of several small roles; and Mariah Trimm, with a hilariously Midwestern version of The Star-Spangled Banner.

Refreshingly for a musical, the actors are not miked, but use retro style microphones for the big numbers. This also allows for a few lovely unplugged moments, including Buddy singing to his new wife. The stage is set up to look like a '50s stage, and the period costumes include poodle skirts, crinolines, and bow ties galore (sound by C. Andrew Mayer, set by Justin Hooper, and costumes by Lynn Farrington).

If you remember where you were on "the day the music died" and long to reminisce about the days before that loss of innocence, you'll want to catch this show before it closes on December 21 (or later, I hear it's going to be extended). If you only know of it from the song (or, for you other children of the '80s, the 1987 movie La Bamba about Ritchie Valens), this is a chance to learn a little bit more about the legend and imagine what it was like to be a bobby soxer. Either way - a good time was had by all.

"Radio Man" at the History Theatre

Full disclosure: I'm a huge fan of Garrison Keillor and A Prairie Home Companion (I even worked as an unseen extra on the 2006 movie). He's the Mark Twain of our generation, and is Minnesota's best export. You know how the Dixie Chicks infamously said that they were embarrassed to be from the same state as George Bush? It's exactly the opposite for me where Garrison is concerned - if A Prairie Home Companion is one of the things that Minnesota is most known for, I am proud to be a Minnesotan. So of course, I absolutely love his new play Radio Man, the first he's written. I saw a reading of it early this year as part of the History Theatre's Raw Stages festival and loved it then, but this full production, now playing at the History Theatre, is so much more polished and complete, and really a thing unto itself and not just an episode of A Prairie Home Companion on stage. Yes there is the familiar music, the jingles for Powdermilk Biscuits, rhubarb pie, and ketchup, stories from Lake Wobegon, and beloved characters including Dusty and Lefty and Guy Noir. But there's also a story and a character (the host of a radio show called A Prairie Home Companion who bears a striking resemblance to Garrison) who we get to know as he reminisces about his past and contemplates his future. Radio Man is A Prairie Home Companion come to life before our eyes, but with the added depth of a theatrical story and arc.

the host, present and past
(Pearce Bunting and Jonah Harrison,
photo by Scott Pakudaitis)

Radio Man is comprised of four elements woven together. There is the present reality, in which the host and his guests are performing an episode of a radio program called A Prairie Home Companion. In this reality, he interacts with the stage manager, the head of the radio station, and an old flame. The second element is the coming to life of the stories told in the radio program, from Lake Wobegon to Guy Noir. Another important element is memory; the boy version of the host appears onstage as he reminisces about growing up listening to radio and longing to be part of that world. Finally, the host hallucinates conversations with his characters, such as the "Norwegian bachelor farmer." This may sound confusing, but it's woven together artfully, clearly directed by the History Theatre's Artistic Director Ron Peluso, with costume changes, sets, and music to make clear the transitions. New songs written by Garrison and his APHC bandleader Richard Dworsky are performed both within the radio program (a sister duo and a quartet, both with lovely harmonies) and by the ensemble, musical theater style, as exposition or commentary, with the ensemble doubling as members of the band.

the Hopeful Gospel Quartet (Laurie Flanigan Hegge,
Kendall Anne Thompson, Jon Andrew Hegge, and Jay Albright,
photo by Scott Pakudaitis)

The dream cast includes Pearce Bunting who, as the host, is not just doing a Garrison Keillor impression, but is providing his own interpretation of this character that's so familiar and beloved. A character that is introspective, befuddled, charming, amusing, and ever present as he watches his life and his fictional creations play out before him. Filling the role of Rich Dworsky is Jay Albright who, it turns out, is not just a brilliant comedic actor/singer but also a talented pianist and musical director. Angela Timberman brings her perfect dry humor and withering looks to the role of the beleaguered stage manager, and also steals scenes as a couple of very different characters in the Lake Woebegon story. Rounding out the excellent ensemble and playing multiple characters (and instruments) are Jon Andrew Hegge, Laurie Flanigan Hegge, Kendall Anne Thompson, and Peter Thomson, with a clear-voiced and enthusiastic young Jonah Harrison as the child version of the host and Sandra Struthers Clerc as a woman from his past.

Chris Johnson's set portrays the radio stage like an empty runway, with the two dimensional buildings that form the backdrop slightly askew to hint at the changing realities in the play. E. Amy Hill's costumes are a crisp black and white with touches of Garrison's trademark red, with costume changes taking us to Lake Wobegon or the new Old West.

If you like A Prairie Home Companion, you'll love Radio Man. And if you don't, well, you call yourself a Minnesotan?!  Radio Man is everything we love about APHC and so much more, and is a chance to experience Garrison's unique, folksy, poignant, nostalgia-tinged humor in yet another format (playing now through October 26 at the History Theatre in downtown St. Paul).


This article also appears on Broadway World Minneapolis.

"The Working Boys Band" at the History Theatre

In the early 20th Century in Minneapolis, when children were forced to work long hours in factories, a marching band was formed to keep these boys off the streets and improve their lives through music and teamwork. This is a subject that is begging to be made into a musical, and the History Theatre has obliged with The Working Boys Band, directed by Ron Peluso, with book and lyrics by Dominic Orlando and music by recently deceased local composer Hiram Titus. Part Newsies, part The Music Man, and part Dead Poet's Society, The Working Boys Band isn't a particularly original musical, but it is a fun and feel-good musical about the power of music as it played out in local history.

Like Professor Harold Hill did for the people of River City, Professor C.C. Heintzman (based on a real person) gave the working boys in WWI era Minneapolis a love of music and sense of community and teamwork. In other words, "manliness, integrity, intelligence, and kindness" as the song goes. He faced obstacles - unruly boys coming late to rehearsal, 21-year-old Franky who joins the band to dodge the draft, and a community board that wants to fire him because of his German heritage - but he and the music came out on top in the end (as required in any feel-good musical such as this).

Here are a few highlights of the show:

• The History Theatre stage is teeming with talented young men (and women!) of all ages and sizes playing the dozen or so boys in the band, a mix of professional actors and children studying music and/or theater in school. They're all fantastic, hitting their marks and saying their lines on cue with great energy and enthusiasm, staying present in the scene even if they don't have lines. The true joy of this show is watching these youngsters gleefully perform.
• After so many supporting roles, it's nice to see Jon Andrew Hegge in the lead role of the Professor. He really shines in the spotlight, creating a strong and sympathetic character. And Kendall Anne Thompson as Harriet, the woman working with the boys and falling in love with the professor, is always welcome with her lovely voice.
• Jen Burleigh-Bentz gives a deliciously nasty performance as the Cruella De Vil-esque Mrs. Winter. I didn't quite follow all of the politics involved, but all you need to know is that she's the bad guy trying to spoil the fun and stop the music, while adding to the fun of the show, giving the boys and the audience a villain to root against.
• Like he did in Ten Thousand Things' truly delightful production of The Music Man, Ricardo Vasquez once again plays a young man whose playing of the coronet in the band gives him confidence and a sense of purpose. Franky is a bit older than Winthrop, but both are suffering the absence of a father and a feeling of being lost.
• Christian Bardin is our plucky drum major Andy, who just happens to be a girl disguised as a boy to more safely live on the streets, and so of course she falls in love with Franky. This leads to some confusion and a really lovely quartet "Moonlight, Loring Park" by Andy, Franky, Harriet, and the Professor.
• A standout among the kids is Keegan L. Robinson as Bjorn, the first chair coronet player, with a strong voice and confident stage presence.
• The music is typical musical theater stuff, and the choreography (by Cat Brindisi, adding to her already long list of talents) is organic to the story and characters.
• The rough and rustic two-story set by Rick Polenek and beautifully polished or unkempt period costumes by Kathy Kohl create the world in which the story takes place.
• I love a marching band, and happily the boys do get it together to play and march around the theater like a real marching band. I would have loved to have heard even more from them!

If you're looking for a fun, feel-good musical with great performances by professionals and kids alike, look no further. The Working Boys Band is playing at the History Theatre through June 1 (discount tickets available on Goldstar).

the Professor with the boys
(photo by Scott Pakudaitis)

"The Incredible Season of Ronnie Rabinovitz" at the History Theatre

This really is an incredible true story. In 1960, a 15-year-old Wisconsin boy was friends with both Jackie Robinson, who broke major league baseball's color barrier, and the 35th American President John F. Kennedy. One would think that this was a story made up to create a great play, except that it's true. Ronnie Rabinovitz met JFK through his father, a prominent lawyer in Sheboygan who worked on Kennedy's campaign in the 1960 presidential primary. Ronnie also wrote fan letters to Jackie Robinson, who responded, leading to a lifelong pen-pal relationship that included telephone conversations and in-person meetings. When the History Theatre's Artistic Director Ron Peluso heard this story, he commissioned Midwest playwright Eric Simonson to write a play about it, which was presented as part of last year's "Raw Stages" new works festival. The Incredible Season of Ronnie Rabinovitz is now being presented with a full production at the History Theatre's downtown St. Paul stage. It's a really engaging and entertaining look at baseball, politics, and civil rights through the eyes of one precocious teenager.

JFK and Mr. Rabinovitz talk politics
(photo by Scott Pakudaitis)

There's lots of fourth wall breaking in this play, with Ronnie beginning the play talking directly to the audience and acknowledging that this is a play in which he's telling his remarkable story, and breaking into the action several times to explain things to the audience. It's quite a clever and effective device, a great way to relax and engage the audience. The action of the play flashes back and forth between two evenings when the two Jacks are in the Rabinovitz home on separate occasions. Kennedy wants Robinson's support in the election, and asks Ronnie's father to talk to him about it. But Robinson supports Humphrey first, Nixon second, and won't be budged. A scene showing the meeting of the two men explains why. Already retired from baseball in 1960, Jackie was active in Civil Rights, and his visit to Wisconsin prompts racist graffiti that seems to upset Ronnie's father more than it does Jackie.

The strong cast begins with the adorable and exuberant Jack Alexander as Ronnie. Mark Benninghofen is great as always as his father, and Teri Park Brown provides much of the comic relief as his mother. Peter Middlecamp plays JFK with the suave charm a Kennedy requires, and Ansa Akyea is comfortable in the role of Jackie Robinson, which he also played in Children's Theatre Company's Jackie and Me last year. Rounding out the cast are E.J Subkoviak with an amusing turn as the sheriff, and Jim Stowell as a frustrated striker.

Jackie Robinson in the Rabinovitz living room
(photo by Scott Pakudaitis)

The very cool set (by Rick Polenek) looks like it's from a 1960s TV show. But not with the harsh realism of Mad Men, more like the nostalgia-tinged sitcoms from the era. Picture Rob and Laura Petrie's living room, in color. In fact that sums up tone of the play as well, it's a little like a 1960s sitcom, with the precocious child, the hard-working, stern, slightly comic father, and the apron-wearing mother making her husband drinks and hors d'ouevres. It just so happens that into this sitcom wander two of the most famous Americans of the 20th Century. The play includes many amusing local references (cheese curds!), although I couldn't figure out why Wisconsonites would be Atlanta Braves fans, until I discovered that they were the Milwaukee Braves until 1965, and the Brewers didn't arrive until 1970.

The Incredible Season of Ronnie Rabinovitz is the History Theatre doing what it does best - presenting an entertaining and informative new play about a moment in Minnesota (er, Wisconsin) history that has larger implications to American history. It's an entertaining, engaging, nostalgic look back at the extraordinary friendships of one ordinary youngster. Playing through February 23, with discount tickets available on Goldstar.com.*



*If you've never used Goldstar.com, I highly recommend that you sign up. They offer half-price (or better) deals for many theaters around town. You'll receive a weekly email that will tell you about some of the deals available. Click here for more information and to see all of the great deals currently offered.

"Christmas of Swing" at the History Theatre

The holiday season has begun, at least on theater stages across the Twin Cities. Since I was out of the country for the opening of the Guthrie's A Christmas Carol this year, my first taste of Christmas (other than the bitterly cold weather) is History Theatre's WWII-era musical review Christmas of Swing, featuring the Minnesota trio The Andrews Sisters. The return of this popular show is a fun and peppy showcase of 40s-era popular music (also featuring appearances by Bing Crosby and Danny Kaye), that incorporates real letters from WWII soldiers, paying homage to our veterans of this and other wars.

For the most part Christmas of Swing is a light-hearted show, with a few somber moments acknowledging the hardship of the soldiers. But The Andrews Sisters’ job was to entertain and uplift, not wallow in the sorrows of war, and that they do in abundance. The play, written by Bob Beverage and Artistic Director Ron Peluso, is set at a dress rehearsal for a 1944 Christmas Eve show at a VA Hospital for wounded soldiers. This allows us to see all of the great numbers, as well as witness the banter between the sisters and their band and manager between songs. It also has the light and easy feel of a dress rehearsal; the efforts of the cast do not seem labored, but loose and effortless.

Some highlights of the show are:

The Andrews Sisters (Ruthie Baker,
Stacey Lindell, and Jen Burleigh-Bentz)
read a soldier's (Bryan Porter) letter home
(photo by Scott Pakudaitis)

• Ruthie Baker, Stacey Lindell, and Jen Burleigh-Bentz as the sisters Patty, Maxene, and LaVerne are just perfection in voice, movement, and personality, all of which blend together beautifully to create some tight harmonies and precise dance numbers. Ruthie gets most of the solos as lead singer Patty, but we also get a chance to hear the other ladies’ voices on their own, and all are lovely solo or in harmony.
• Bill Scharpen channels Bing Crosby in songs such as "Christmas in Kilarney" and "Here Comes Santa Claus," and Eric Heimsoth does a wonderful impression of the lanky and goofy Danny Kaye.
• Bill Scharpen also generates some laughs with Mark Rosenwinkel as the comedy duo Abbot and Costello.
• Bryan Porter and Eric Heimsoth (again) portray many different soldiers as the sisters read their letters, bringing the desperation, longing, and joys of these long ago men to life.
• The fairly simple set by Michael Hoover features some elaborate pieces that are wheeled out, including a sleigh and a huge two-sided cutout for an amusing number with the sisters and Danny Kaye.
• The choreography by Jan Puffer is a highlight – fast, sharp, concise, with that 40s swing action, effortlessly performed by the cast.
• The ever-busy Raymond Berg plays the piano while sitting in for the sisters' actual band leader Vic Schoen, leading the four-person band in a swingin' big band sound.
• I'm a sucker for period costumes, and these costumes (by Kelsey Glasener) do not disappoint! I love the sisters' black dresses with varying-sized polka dots and red trim and shoes, accented with long black coats with fur trim, red jackets, or authentic military green jackets. The men (who, for a change, have to change costumes much more frequently than the women) are dressed in authentic period uniforms and suits, as well as costumes for their various roles in the show.
• The sisters sing many Christmas songs, familiar and lesser known, and close the show with their most well-known song, the crowd-pleasing "Boogie Woogie Bugle Boy." 

The History Theatre’s Christmas of Swing, playing now through December 22, is a great choice for a holiday show this year. Filled with the Christmas spirit (which I for one am not quite ready for, until Thanksgiving is over and/or we get our first big snowfall), humor, great songs and dancing, an energetic and entertaining cast, and respect for and celebration of vets, it’s a fun and feel-good show.