"Much Ado About Nothing" by Gray Mallard Theater Company at Sociable Cider Werks

My favorite new #TCTheater summer tradition is Gray Mallard Theater Company's "Shakespeare in the Pub." Not quite in the pub, they perform in the parking lot outside of Sociable Cider Werks in Northeast Minneapolis, with a variety of ciders, beers, and non-alcoholic beverages available in their tap room, and a permanent food truck. But best of all, it's Shakespeare performed outdoors the way it was meant to be - fun, playful, professional, and free. Part of their mission is to remove the economic barrier to theater, they don't even have reservations, so you just show up and watch the show (but if you're able, consider making a donation to support their work and mission). For their 4th annual show (my 2nd year attending), they've chosen the original rom-com Much Ado About Nothing. They perform Thursdays, Saturdays, and Sundays at 7pm through August 3, and there's really nothing better than sitting outside on a gorgeous summer evening, sipping a beverage, and watching some great Shakespeare.

"Glory" at Theatre in the Round

Similar to The Wolves or Flex, Glory is a play about a women's hockey team that's about so much more than hockey. These athletes are referred to as hockey dolls, sportscasters talk about how they look in their uniforms, when they're strong and tough and powerful people say they must be men, they get paid less and have less access to the things they need than male athletes, and people in power claim women are soft and weak and therefore aren't qualified to do hard things like play hockey (or serve in combat). Was this the 1930s or last week? The answer is both, which is perhaps why the cast and creative team of Theatre in the Round's production of this beautiful play made me cry about hockey, I sport I've never watched and care nothing about. This play (based on a true story and premiering in 2018) deals with sexism, anti-Semitism, war, poverty, and discrimination in a way that's unfortunately still incredibly relevant today. Go see Glory at the oldest theater in Minneapolis, continuing weekends through February 9.

"Romeo and Juliet" by Zephyr Theatre at Aamodt's Apple Farm

Zephyr Theatre's summer outdoor Shakespeare tradition continues with the rom-com-turned-tragedy Romeo and Juliet at an idyllic spot on Aamodt's Apple Farm. It always feels like Shakespeare was meant to be experienced in the great outdoors, in a more intimate and relaxed setting like this. Despite the tragic outcome of the play (I always hope that somehow the friar's message will get through to Romeo and those two crazy kids get to run away together as they planned, but nope), it's a lovely evening in a perfectly gorgeous setting. So check the weather, dress and hydrate appropriately, and go see some Shakespeare in Stillwater this weekend!

"Mamma Mia!" by Zephyr Theatre at Lowell Park

2021 is THE summer for fantastic outdoor* theater, and Zephyr Theatre's Mamma Mia! is high on that list. The Stillwater theater has been around for a few years, drawing top talent from #TCTheater, but this was my first experience with them. It will definitely not be my last. What's better than walking around charming riverside Stillwater, shopping, eating, and drinking, followed by outdoor theater performed on a stage with the St. Croix River and the historic lift bridge in the background?! In normal times they perform inside the Minnesota Zephyr Train Depot, but this summer they're opening their "Broadway by the Bridge" series with a show that's full of joy (as Artistic Director Calyssa Hall said before the show), Mamma Mia! Perhaps a bit of a guilty pleasure, this long-running hugely successful jukebox musical that spawned two movies (and counting) is so infectious with it's fun, familiar story-songs and heart-warming stories of female friendship and celebrating different kinds of families that you just can't help but love it. And this lovely and talented cast brings out all of the joy, fun, warmth, and humor of the piece, made extra specially poignant by the fact that it's likely the cast and audience's first return to theater after a very long extended intermission. That's a celebration in itself. The only downside of Mamma Mia! is that it runs this weekend only, and I do recommend buying tickets in advance (read: now) because it's close to selling out. Watch for the next "Broadway by the Bridge" in early August; I hear they're doing Shakespeare's As You Like It (dates and details TBA).

"Superman Becomes Lois Lane" at History Theatre

A year after it began, HERstory continues at St. Paul's History Theatre. But this HER had to work a little harder to claim that correct pronoun that many of us take for granted. Superman Becomes Lois Lane is the true story of the playwright Susan Kimberly, who transitioned to her correct gender as a bit of a public figure in St. Paul in the 1980s, and went on to become the first transgender woman to serves as deputy mayor of a major American city. It's an engaging and inspirational story, told in a fantastical yet grounded way, that provides insight into one person's journey to their truest self.

"Juno and the Paycock" at the Guthrie Theater

Ah, Ireland. Such a beautiful country, a land of endless music, rolling green hills, and waves crashing upon the shore, but with such a complicated and tragic history. Yet the unique spirit of the Irish people perseveres. How fitting, then, that Joe Dowling, proud Irishman and leader of the Guthrie Theater for the past 20 years, chose an Irish play as the last one he will direct in his tenure at the Guthrie. And what a play; Seán O'Casey's Juno and the Paycock, set during the Irish Civil War of the early 1920s, is as beautiful and tragic as Ireland itself.

Juno and the Paycock premiered at Dublin's Abbey Theatre (of which Joe Dowling was Artistic Director in the '70s and '80s) in 1924, just a few years after the Irish Civil War, when wounds and divisive opinions were still very fresh and raw. That's pretty revolutionary. It tells of the effects of the war and extreme poverty on one family in Dublin. Beleaguered and overworked Juno, her proud buffoon of a husband Jack (say "peacock" with an Irish accent and you have the title), and her two adult children live in a run-down room in the cramped, cold, and crowded tenements of Dublin. Juno works to keep bread and tea on the sorry table, and Jack avoids work by claiming pain in his legs so that he can drink, eat, and talk with his buddy Joxer. Son Johnny was injured in the recent wars and rarely leaves the house, while daughter Mary hopes for a better future for herself. She brings home her beau Charles, who has some surprising and life-changing news for the family. But the Boyles are not a family to whom good things happen, and their momentary hope and happiness doesn't last. Johnny gets caught up in the after-effects of his time in the service, Mary faces a crisis of her own, and Juno must make a choice. It's devastating to watch this family struggle, and one can only hope that some of them make it out.

the Boyle family (Stephen Brennan, David Darrow,
Anita Reeves, and Katie Kleiger, photo by Joan Marcus)

Joe Dowling brought in three acclaimed Irish actors to play some of the leads, and as much as I love our local acting community, I can hardly blame him for that. They're all wonderful and lend an air of authenticity to this very Irish story. As the title characters, Anita Reeves and Stephen Brennan are so natural, believable, and likeable, even when they aren't. Anita's Juno is the strong, no-nonsense, loving matriarch of her family, the only thing keeping them going. Stephen makes the "paycock" Jack a loveable lout of a man, charming and funny and infuriating. Tony nominee Dearbhla Molloy has a brief but powerfully memorable scene as a grieving mother. But despite these new faces, this still feels very much like a Guthrie show thanks to the inclusion of Guthrie long-time favorites like Sally Wingert (stealing scenes as the busybody neighbor) and Mark Benninghofen (hilarious as drunken buddy Joxer), as well as newer favorites like Katie Kleiger (appealing and fresh-faced as the hopeful young Mary), David Darrow (in a devastating performance as the one-armed war-damaged son Johnny, so physically contorted that I hope he has a good chiropractor), and Casey Hoekstra (Mary's charming suitor).

The set and costumes are essential to setting the scene in the slums of Dublin. The set (originally designed by Frank Hallinan Flood, executed for the Guthrie by Michael Hoover) consists of a huge high-ceiled room that was once great, but has fallen into disrepair, with cracks and stains covering the walls. Appropriately shabby furniture and props fill the lived-in space. Christine A. Richardson's costumes are also shabby and worn, but neat and polished for some characters if called for. Projections on the lowered curtain before the show and between acts give a brief history and perspective for the story.

happy times in the Boyle household (photo by Joan Marcus)

In this play as in all things Irish, there is humor and music to temper the tragedy. One of the most entertaining scenes is when the family takes turns singing; one feels that music is the thing that gets the Irish people through, which is beautifully illustrated in this scene. I found myself drawing parallels between this play and the one I had seen the previous night, The Gospel of Lovingkindess at Pillsbury House Theatre. Are the slums of 1920s Dublin that different from the projects on the South Side of Chicago? Different circumstances perhaps, but inequality, prejudice, poverty, and tragic loss of young life exist everywhere in the world.

Joe Dowling has been the Artistic Director of the Guthrie Theater for 20 years, and I have been a subscriber for 12 of those years. I can't even really say what he's changed and brought to the theater (other than the obvious, the big beautiful blue building on the river) because I don't know a Guthrie without Joe. His final two shows, the American epic The Crucible, and this very Irish story Juno and the Paycock, are a beautiful way to conclude his time with us. The Guthrie will honor and celebrate Joe's accomplishments in the last 20 years with a gala performance called All the World's a Stage this Saturday. I wouldn't miss it for the world! (Juno and the Paycock continues through June 28.)

"God Girl" at the History Theatre

We all know that during the Women's Rights Movement of the '60s and '70s, women fought for equality on all fronts. But one such front that may be a bit lesser known is the ministry. One would think that institutions that are supposedly dedicated to faith and community might be more accepting of the idea of equality. As it turns out, not so much. In fact, religious institutions seem to be some of the last remaining bastions of male power. Minnesotan Kristine Holmgren was among the first wave of women to attend seminary in the '70s, and became one of Minnesota's first Presbyterian pastors. But it was not an easy road; she faced much discrimination and sexual harassment on her path. Lucky for us, she's also a playwright, and has turned her experiences into the new play God Girl, premiering at St. Paul's History Theatre. Her story makes for a compelling, engaging, inspiring, and relatable (judging by the extremely responsive audience) stage play.

The play begins with an introduction from Kristine's mother (a delightful Peggy O'Connell), who serves as a narrator and sounding board for Kristine (an extremely likeable Summer Hagen, portraying a character who's complex and real) throughout the play. She tells us that Kristine was always curious and loved the church, and never wanted anything other than to work in the ministry. The play mostly takes place during Kristine's first semester at an unnamed Ivy league seminary. She and her fellow female students, including Southern belle Cathy (Hannah Benedict) and sensible Unitarian Debi (Meagan Kedrowski) face daily harassment from their male classmates and belittlement from their professors. Kristine is excited to start her field internship with the well-known pastor McGovern (Sean Dooley, whose charm soon turns to creepy). At first he seems quite supportive and helpful, until it eventually becomes obvious that the attention is inappropriate from a married mentor and pastor. But Kristine and her friends "hang on for the blessing;" she endures what she shouldn't have to endure, completes her education, and begins the career she always dreamed of, paving the way for the women behind her.

the God Girls (Meagen Kedrowski,
Hannah Benedict, and Summer
Hagen, photo by Scott Pakudaitis)

Even though it takes place in the '70s, this play is not dated. It's so important to remember what this first generation of feminists went through. I attended college and received a degree in math (also a male-dominated field) a mere 20 years after this play takes place, but I faced none of the discrimination and harassment that Kristine and her classmates did. In fact the idea of women being told not to ask questions in class, or receiving multiple proposals from their male classmates, or being propositioned by their professors, is almost unthinkable today. Not to say that it doesn't happen, perhaps in more subtle ways, or that we don't still have work to do, but the world really has changed for women over the past 40 years. And it's thanks to the brave and determined women like Kristine.

But the play isn't all serious, there are some light-hearted moments and the always popular Minnesota and Unitarian jokes (a la Garrison Keillor). And the '70s setting means fun costumes - bell bottoms and flowered dresses mixed with conservative minister attire (by Kelsey Glasener), and a groovy soundtrack, complete with dancing scene changes, contrasting with Rick Polenek's stately church-like set.

I was lucky enough to attend the show on a day when there was a post-show discussion with the playwright and a few experts. She's so smart, thoughtful, and articulate that it gives me hope for the world, that women like Kristine Holmgren continue to lead the way towards a more egalitarian future. Bring your daughters (and sons) to the History Theatre to see God Girl, the all too true story of a real pioneer (as her mother rightly called her).

Pastor Kristine (Summer Hagen, photo by Scott Pakudaitis)

"Next to Normal" at Bloomington Civic Theatre

Diverging from the usual feel-good classic musicals, Bloomington Civic Theatre is currently presenting Next to Normal, one of the few musicals to win a Pulitzer Prize for drama and perhaps the most brilliantly written musical of this century. Unlike shows like Guys and Dolls or Singin' in the Rain, you won't leave the theater feeling happy and carefree. You'll leave feeling emotionally exhausted and perhaps continuing to think heavy thoughts for several days. Next to Normal is not an easy show to watch, but it's such a rich and rewarding experience. I couldn't be happier that there are not one but two local productions if it this season, at BCT now through November 15, and at Yellow Tree Theatre next spring (which is sure to be a much different show with their small intimate stage). This was my fifth time seeing Next to Normal, and BCT's production is as beautiful and heartbreaking as ever.

Next to Normal tells the story of what at first appears to be a normal American family, until the cracks begin to show. Diana and her husband Dan married young and started a family. They suffered a great tragedy that triggered Diana's bipolar disorder, which she's been dealing with for years. Everyone in the family suffers in their own way. Dan has to be the strong one as Diana falls apart, and therefore never gets the chance to deal with his own feelings about what happened. Their children, Gabe and Natalie, live in the shadow of the tragedy and are trying to deal with it on top of the normal problems that come with adolescence. Natalie's afraid that she'll follow in her mother's footsteps, and Diana's unable to be the mother that she wants to be. Diana hits rock bottom and undergoes ECT, aka shock therapy. It erases her memories, both the good and the bad, and she struggles to get her life and family back. One of the things that this show does is play with the idea of "normal." There is no such thing as a "normal" family; all families look different and are dealing with their own unique issues, both big and small. As Natalie sings, "I don't need a life that's normal, that's way too far away, but something next to normal, would be OK."

Karen Weber gives a raw and fearless performance as Diana, taking her to all her highs and lows, a voice full of emotion. Sean Dooley broke my heart as Dan, the caregiver in the family who sacrifices himself to take care of everyone else. Like he did in RENT, Blake Rhiner gives a passionate and powerful performance as their son Gabe. Aly O'Keeffe (née Westberg) brings her effortlessly beautiful voice to the role of daughter Natalie, imbuing her with all the angst, despair, and hopefulness of a teenager. Rounding out the six-person cast are Erin Patrick Miller, sweet and funny as Natalie's "perfect for you" boyfriend, and the powerful-voiced Dominique Wooten as the doctors.

Music director Anita Ruth usually helms a big traditional pit orchestra, but in this show she directs a six-piece onstage rock band, which is fantastic. Director Joel Sass also designed the set (as he does at the Jungle), and it's really cool. The use of levels, representing different rooms in the house, is continued from the original Broadway set but on a more manageable scale. The sharp clean lines of a modern and orderly home contrast with the chaotic inner life of this family. Barry Browning's bold lighting highlights the changing tones of the songs.

Next to Normal is a truly brilliant musical, but a heavy one, dealing with issues of mental illness, codependency, drug abuse, suicide, and grief, albeit with moments of humor (a great relief to the audience). It's a perfect example of what musical theater can do; it can be so much more than just light frothy entertainment (although there's a place for that too). Next to Normal is real, relevant, poignant, smart, funny, deeply emotional, and yes, profound. Check it out at Bloomington Civic Theatre through November 15, just don't expect big colorful dance numbers (discount tickets available on Goldstar).


This article also appears on Broadway World Minneapolis.

"Cabaret" by Theater Latte Da at the Pantages Theatre

What good is sitting alone in your room?
Come hear the music play.
Life is a cabaret old chum,
Come to the cabaret.

Truer words were never spoken, or sung. If you are reading this sitting alone in your room, immediately book your ticket to see the newest Theater Latte Da and Hennepin Theatre Trust collaboration - Cabaret. The brilliance of this classic Kander and Ebb musical combined with the singular talent of Theater Latte Da in breathing new life into the genre of musical theater, plus the extra resources that partnering with Hennepin Theatre Trust can provide, make for an outstanding theatrical experience. Cabaret is seductive - it lures you in with it's fun, sexy, bright entertainment. But after you get sucked in, the dark cloud hanging over 1930s Berlin begins to descend, and you see that the show is really about much more than scantily clad dancers and entertaining songs. There's nothing more horrific than the Nazi rise to power in 1930s Germany, and Cabaret brings that horror to life as it begins to affect these characters that we've come to love. Life is not just a cabaret, it's a broken, damaged, heart-breaking, but incredibly beautiful thing.

The 1966 musical Cabaret is based on Christopher Isherwood's semi-autobiographical novel about Berlin in the early 1930s. Much of the action is set in a cabaret called the Kit Kat Klub, a mecca of art, creativity, music, love, sexuality, expression, joy, and life, at a time just before the beautiful city of Berlin entered the darkest period in its history, which resulted in the death of all of these things. This world is seen through the eyes of an American writer named Cliff, who moves to Berlin to work on his novel. He soon meets Sally Bowles, the star of the Kit Kat Klub, and begins a complicated relationship with her. He also befriends his landlord Fräulein Schneider and the other residents of the boarding house. They're happy for a while living in the decadence of the time, until reality comes crashing down around them. As Cliff says, "It was the end of the world, and I was dancing with Sally Bowles and we were both asleep."

Like all Peter Rothstein shows, this show is impeccably cast. Either Peter has a great eye for talent, or he's the kind of director that can bring out the best in his cast (I suspect it's some of both). Each actor is pitch perfect in his or her role, from Adam Qualls as the mysterious but seemingly friendly Ernst to Aeysha Kinnunen as the "working girl" boarder. Sean Dooley is sweet and charming at the heart of the show as Cliff, and Kira Lace Hawkins is fierce and vulnerable as the loveable mess that is Sally Bowles, closing the show with a crazy, wide-eyed, running mascara, drug-addled performance of the title song. As Fraulien Schneider, Guthrie regular Sally Wingert adds musical theater to her list of talents and proves there really is nothing she can't do. Maybe she's not a trained singer, "so who cares, so what?" Musical theater is about character and story, and no one can give full expression to a character better than the StarTribune's 2013 artist of the year. James Detmar is her equal partner as Herr Schultz in the sweet and tender later-in-life love story. Last but not least, the show doesn't work without the gorgeous and talented Kit Kat girls and boys (and in between), each one of whom is fantastic and endlessly watchable.

Tyler Michaels as the emcee
(photo by James Detmar)

I haven't yet mentioned the most pivotal character in the piece, the emcee, because he deserves a paragraph all his own. Tyler Michaels rocks my world. There's no limit to this young man's talent. Just two years ago he was my favorite newcomer, and he's exceeded my expectations. No matter who he is playing (from Snoopy to one of Joseph's brothers) he feels the character in every cell of his body. This is a perfect role for him to express his many talents - singing, acting, moving, dancing, crawling all over the scenery, even trapeze and aerial work. As the emcee of the Kit Kat Klub he presides over every scene, observing from the sidelines where you can read his thoughts and reactions on his face (made up in purple glitter) and in the way he holds his body. There are so many wonderful little touches that make this such a full and rich performance, but I don't want to spoil them. Instead I'll just say - keep your eyes on Tyler, in this and future shows (including The Little Mermaid at the Chanhassen and My Fair Lady at the Guthrie). I just hope we can keep him in Minnesota for a little while longer before he goes off to conquer the world.

The set (designed by Kate Sutton-Johnson) is like a giant jungle gym for the actors to play on. Tarnished bronze pipes forms railings, stairs, poles, and ladders in the two story set. Dingy and broken stained glass windows in muted browns and blues serve as backdrops and set pieces, with scene transitions happening smoothly and seamlessly as the Kit Kat boys and girls in various stages of undress, often with a cigarette hanging from the corner of their mouth, move furniture on and off stage. The costumes are unbelievably skimpy, but what there is of them is rich, bold, seedy, and delicious, and the actors move in them with complete confidence. These movements are choreographed brilliantly by Michael Matthew Ferrel; each number is a feast for the eyes with so much going on you can't possibly take it all in in one sitting. And of course, the six-piece orchestra lead by Fräulein Denise Prosek is, indeed, beautiful.

Not since 2012's Ivey Award-winning Spring Awakening has Theater Latte Da created such perfection in musical theater. There is not one single thing that I would change about the show, other than extending it so that I could spend the rest of my life sitting in the Pantages Theatre experiencing the beautiful and tragic world of Cabaret. I don't often say "go see this show," but I'm saying it now. Go see this show, playing now through February 9. It's musical theater at its best, and a fantastic display of our brilliant local talent.

Start by admitting from cradle to tomb
Isn't that long a stay.
Life is a cabaret old chum,
Only a cabaret old chum,
And I love a cabaret!

the fabulous cast of Cabaret
(photo by James Detmar)

"C." by Theater Latte Da at the Lab Theater

The 1897 French play Cyrano de Bergerac has been adapted many times and in many forms, so much so that everyone knows the story of the poet Cyrano and his unusually large nose, who writes the words for a handsome but ineloquent man to woo his love Roxane. After musicals, operas, and countless movies (including the 1987 movie Roxanne, the only version of the story I've seen), it may seem like there's nothing new to say. But Bradley Greenwald's new musical adaptation (with composer Robert Elhai), presented as part of Theater Latte Da's new works initiative NEXT, strives to do just that. It lies somewhere in the intersection of theater, musical, poetry, and opera, emphasizing the music and poetry that is in the original piece. Or as Bradley writes in a note in the playbill, "It's the story of Cyrano and music, of Cyrano and poetry, and the story of what music and poetry mean to Cyrano, Roxane, Christian, me, you, all of us in this room right now." Still in its earliest form (they've been working on it for less than a year, and I saw the very first public presentation - how cool is that?), it feels a little rougher than the last week's NEXT piece, When the Moon Hits Your Eye, but it also feels like it has great potential. There's a lot going on, with many characters (a 13-person cast, many of whom play multiple characters, plus someone reading a few stage directions) and a fairly ambitious staging, so it's quite remarkable that in just two weeks the creators, cast, director Peter Rothstein, and music director Denise Prosek have gotten it into the shape that it is. They're still making changes, they mentioned in the post-show discussion (which is a big part of NEXT - getting audience feedback to make the work better) that another song will be added after the curtain call tonight. I feel privileged to have seen it in this early form and look forward to seeing where it will go from here.

As I said, we all know the story. Cyrano loves Roxane, a childhood friend, but she loves Christian. Cyrano reluctantly agrees to help Christian woo her by giving him words to say ("we poets always have epistles to our imaginary lady loves in our pockets"), because he is unable to express himself in the poetic way that Roxane desires. Roxane falls even more deeply in love with Christian from the letters that he sends her when he's away at war, not realizing that who she's really falling in love with is Cyrano. When she tells Christian she would love him even if he were ugly, he realizes that she doesn't really love him, and is devastated. He begs Cyrano to tell her the truth, but tragedy intervenes. (Not at all like the happy ending I remember from Roxanne!)

Apparently there are no limits to Bradley Greenwald's talents. He has an incredibly gorgeous voice, and could easily make a career doing nothing but musicals and opera. But he doesn't just rest on that effortless voice, he also does non-musical theater - from drama, to comedy, to an Ivey-winning performance in the one-man show I am My Own Wife. Adding to that list of talents, he did his own translation of Cyrano from the original French, so as not to be influenced by anyone else's interpretation of the work (I knew he could speak and sing German, but French too!). He's taken this literal translation and formed it a fresh new perspective on the story. The original play is all in verse, but Bradley chose to have only Cyrano speak in verse to distinguish his poetic voice from the masses. He focuses on the music that's in every scene, so when we hear music it feels organic to the story - the first scene takes place in a theater, another with a group of composers in the next room, another at war where soldiers sing to keep their spirits up. The plan for a fully staged production is to have the musicians be on stage and part of the action, rather than a separate band or orchestra. After all that creative muscle, Bradley also sings beautifully and expressively, and has a glorious death scene.

Bradley has a large and talented cast supporting him, some of whom I know from other shows and some who were new to me. One of the latter is Elizabeth Griffith, who is sweet and serene as Roxane, with a lovely voice, but also shows her longing and grief. Sean Dooley (whom I don't think I've seen since the 2004 Michael Brindisi production of Hair, one of my favorite local theater memories) is a great choice for Christian. His voice doesn't have the depth and richness of Bradley's (but whose does?), rather, his voice is like Christian's own words - simple and straight-forward and from the heart. Cyrano speaks in poetic flourishes, with a singing voice to match, and it makes sense that when Christian sings, his voice also matches his words. He's charming and sweetly awkward when trying to express himself and falling short, showing that Christian really does love Roxane as much as Cyrano does. "I love you and want you to always know it, that's the best I can say it, I'm no poet."

The music, composed by Robert Elhai, is comprised of a variety of styles, which he chose to do to give the piece a timelessness, or as Peter Rothstein said, "immediacy." There's a marching-off-to-war-WWI-ish song, a charming Renaissance era duet between Cyrano and Roxane recalling their childhood, a rousing duel song (in which Cyrano appears to be making up the lyrics as he goes), a touching love song "Love Lies Waiting," and what sounds like a folk song from Gascony. It's a nice collection of songs that fit the story and enhance it.

The two pieces I've seen so far in Theater Latte Da's "NEXT: New Musicals in the Making" have been so different, but equally intriguing, satisfying, and promising. When the Moon Hits Your Eye is an intimate and modern story with just seven characters, each of whom we get to know and love, featuring songs from the public domain. C. is more epic and timeless, with a huge cast of characters (sometimes difficult to keep track of, especially without costume changes to give us a clue), and original music that feels like a real part of the story. So far NEXT is showing the great diversity that can be found in music-theater, and I can't wait to complete the trilogy next week with Bessie's Birthday. But you still have two chances to see C. - don't miss out! For more information and to purchase tickets for this weekend and next weekend, see Latte Da's website, or just show up at the Lab Theater (a great setting for this series because of its vast open space like a blank slate).