"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.

"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.

"The Bluest Eye" at the Guthrie Theatre

"This soil is bad for certain kinds of flowers. Certain seeds it will not nurture, certain fruit it will not bear, and when the land kills of its own volition, we acquiesce and say the victim has no right to live." This quote from Toni Morrison's 1970 debut novel The Bluest Eye, an adaptation of which is currently playing on the Guthrie thrust stage, is a brilliant metaphor for the Civil Rights movement, the Black Lives Matter movement, the Women's Rights movement, the Gay Rights movement, really any cry for equality and justice. All we want is for all kinds of flowers to have a chance to grow. What they do with that chance is up to them, but the promise of America (a promise that feels like it's slipping further away every day) is that every flower, every child, is given an equal chance to grow and flourish and become their best self. The protagonist of The Bluest Eye, a poor and "ugly" black girl named Pecola living in the 1940s, is not given that chance. This cast and creative team, most of whom are new to the Guthrie, bring Toni Morrison's story to heartbreakingly vivid life in an intense, engaging, at times humorous, and incredibly moving hour and 45 minutes of theater.

"The Royal Family" at the Guthrie Theater

If you know me, you know that I'm a morning person who loves a 90-minute no intermission show - short, succinct, and to the point. The Royal Family, now playing at the Guthrie, is not that show. With its three acts and two intermissions, the show is pushing three hours. The good news is it doesn't feel nearly that long. In fact it's quite a delight to spend three hours with the wacky and extremely theatrical Cavendish family (as long as they're not your own). This 1927 Broadway play is a spoof of the real life Barrymore family of actors, a hilarious family comedy in addition to being an exploration of the sacrifices made by those in the theater. Directed by Rachel Chavkin (who also directed the new musical Natasha, Pierre, and the Great Comet of 1812, currently on Broadway*), the strong 15-person cast, made up of mostly local favorites with some national talent thrown in for extra spice, is a joy to watch. Continuing through March 19, The Royal Family provides plenty of laughter and a much needed escape.

"Akeelah and the Bee" at Children's Theatre Company

Children's Theatre Company opens their 50th season with an adaptation of the 2006 movie Akeelah and the Bee, about an 11-year-old girl from a poor neighborhood who discovers her power and self-worth through competing in Spelling Bees. Written by Cheryl L. West, directed by Charles Randolph-Wright, and featuring a fantastic local cast, the production will travel to Washington DC after its debut at CTC, with the possibility of continuing on after that. But first, we get to enjoy it here in Minnesota. This heart-warming and inspirational story has been brought to life on the CTC stage with energy, warmth, humor, and heart.

We meet Akeelah, who lives with her mother and older brother, soon after the death of her father in a neighborhood shooting. Akeelah's mother is busy trying to make ends meet and doesn't have time for Akeelah's interest in spelling. Reggie is unemployed and tempted by a life of crime to provide for his family, which includes a new baby. A good student, Akeelah is reluctant to participate in the Bee because of the teasing she receives from her classmates, but her love for spelling, a special connection she shared with her dad, wins out. She trains with the curmudgeonly Dr. Larabee and, like all good teacher/student relationships, she teaches him as much as he teaches her. But to win at the national level Akeelah needs the help of her friends and everyone in her community. They all rally behind her, encourage her, and help her train for the Bee. Her success means success for all of them.

my favorite moment of the Bee (photo by Jeff Wheeler)

Newcomer Johanna Easley portrays Akeelah, and she's a natural actor, easily conveying Akeelah's spunk, sadness, and determination to succeed (and she very likely could win a few Spelling Bees with all of the words she's learned for this part!). She and the other talented youngsters, including the delightful Zaria Graham as Akeelah's fashion- and fun-loving friend, are surrounded by a veritable Who's Who of Twin Cities talent, including the magnificent James A. Williams as Dr. Larabee, Aimee K. Bryant as Akeelah's mother, homegrown talent Nathan Barlow (he trained at CTC as a kid and the U of M/Guthrie BFA program as a young adult) as Reggie, Darius Dotch pulling double duty as the neighborhood gangster and the host of the Bee, and Greta Oglesby and Shawn Hamilton, bringing much heart and soul to the proceedings. The cool set design by Alexander V. Nichols features four rotating two-story metal cells. They represent houses, shops, and, when turned to reveal shelves full of books, Dr. Larabee's library.

Akeelah and the Bee may not be an original story (there are countless variations of the underdog training for and winning at a big competition, and we've seen the odd and delightful quirkiness that is the Spelling Bee onstage before in The 25th Annual Putnam County Spelling Bee), but it's charmingly told and speaks to the power of family, community, education, and a common goal. It's a story worth sharing and is sure to encourage young people to follow their dreams, and maybe not-so-young people as well. Akeelah and the Bee continues through October 11.

"River Road Boogie" at History Theatre

Does the name Augie Garcia ring a bell? Unless you were a young person who frequented the local Rock and Roll clubs in 1950s St. Paul, probably not. Augie is considered the Godfather of Minnesota Rock and Roll, but unlike his contemporary Buddy Holly, he was a one-hit wonder who never achieved national fame, whether by choice or happenstance is unclear. A new play at the History Theatre, written by local actor and playwright Joe Minjares, sheds light on the fascinating story of this man who was not just a pioneering Minnesota musician, but also a Korean War vet and a devoted family man. Like The Buddy Holly Story (a History Theatre hit remounted last fall), River Road Boogie tells the story of Augie's life through his music as performed by this fabulous cast, but unlike The Buddy Holly Story the music takes a back seat in the second act as Augie's life starts to turn away from a music-focused one into a family-focused one. As always at the History Theatre,* this play is a wonderful opportunity to learn about a great Minnesotan you might never have heard of, but whom you will certainly admire and appreciate after seeing him brought to life on stage.

Augie Garcia grew up in a tight-knit Mexican-American family in St. Paul's West Side neighborhood, specifically an area know as The Flats across the river from downtown St. Paul. He and his friends were such loyal St. Paulites that they refused to drink Grain Belt beer (brewed "across the river"), only Schmidt or Hamm's would do! Our story picks up when Augie returns from a few harrowing years serving in the Korean War. He's happy to be home with his family, friends, and music, and channels his conflicting feelings about the war into his music. He starts a band called the Augie Garcia quintet (inexplicably with six members) and they become quite successful in the local music scene, with a standing gig at the River Road Club in Mendota. In what was perhaps the highlight of their career, Augie and the boys opened for Elvis and were famously kicked off the stage by Colonel Parker because they were coming dangerously close to upstaging the King. Soon after, fame came a-callin' with the promise of bigger gigs and national attention, forcing Augie (in this interpretation of his life) to do some serious soul-searching and decide what he truly wanted in life. Jersey Boys showed us what happens when you succumb to the dangers of fame and success, but Augie chose a different path. As a result most people today don't know his name, but those who saw him perform remember, and thanks to the History Theatre, so will I.

a '50s dance party on the History Theatre stage

Augie released a handful of singles in the mid-50s, the most successful of which is "Hi Yo Silver," inspired by the popular Lone Ranger TV series. The show incorporates five Augie Garcia originals, including this hit and the title song, as well as a few other hits of the time and traditional Mexican songs. All are performed in the context of a concert, rehearsal, or just singing around the house or bunker with friends, making this more of a play with music than a traditional musical. This along with the fact that the cast doubles as the band (a mix of actors and musicians) means that the music feels organic to the story, rather than an add-on. The big Rock and Roll numbers all come in the first act and are fabulously performed by cast, band, and dancers. The second act only features a few quieter songs, the musical spectacles of the first act fading into memory as did Augie's musical career. The tone of the piece shifts as Augie grows up and deals with his demons.

Ricardo Vázquez channels Augie Garcia
(photo by Scott Pakudaitis)

The Ivey Awards 2013 Emerging Artist Ricardo Vázquez is the perfect choice to play Augie Garcia. He embodies the man physically, emotionally, and musically. Augie's music inhabits his body in a specific way, particularly in the song "Ivy League Baby," when he's all over the stage energetically performing crazy dance moves in Augie's trademark shorts (in the post-show talk back Ricardo said he was able to watch a video of a performance Augie gave in the '90s, and extrapolated that back a few decades with his own unique spirit). In addition to the music, Ricardo also brings depth to the character, particularly in Augie's emotional breakdown after a local tragedy reminds him of the hell of war. The excellent supporting cast includes Matt Rein with a couple of diverse performances as Augie's tormented war buddy and band mate (playing the upright bass), and a sleazy radio DJ; Lara Trujillo and Pedro R. Bayón as Augie's supportive parents; Kelly Matthews as Augie's girlfriend Nancy in a sweet love story; and Shawn Hamilton as the sax player who serves as a sort of narrator of the story. Like they did for Buddy Holly, History Theatre has brought in some students from St. Paul Conservatory for Performing Arts to serves as dancers and concert attendees, bringing a youthful energy to the stage.

Tom Mays' cool scenic design provides a perfect backdrop for the story. A replica of the Robert Street Bridge, so important in Augie's life and memories, dominates the back of the stage, with the outline of a huge guitar behind it (something I didn't actually notice until I attended the "hiatus concert" by my favorite local band Storyhill on the same stage later that day). The stage on which Augie and the boys perform rolls out for the concert/rehearsal scenes, and then rolls back again to allow room for scenes in Augie's house, a bar, or other locations.

I truly appreciate the History Theatre for bringing to life people who are important in the history of my beloved home state of Minnesota, but who may not be written about in the history books. Augie Garcia is one such Minnesotan, and it's a treat to watch him shine on stage in the person of the uber-talented Ricardo Vázquez, supported by all these great actors, musicians, and dancers. River Road Boogie continues through May 31 (discount tickets available on Goldstar).


*The History Theatre recently announced their new season, and I'm super excited that the season opens with my favorite Raw Stages reading Glensheen, a musical about the famous Duluth mansion and the strange murder mystery that occurred there. My favorite Minnesota playwright Jeffrey Hatcher sets just the right tone, with some really great songs by Chan Polling. Another very promising reading from this year, Complicated Fun, closes out the season next spring. And if you missed Buddy Holly last time around - don't worry, he's back this fall.

"Cyrano" at Park Square Theatre

The story of Cyrano de Bergerac is one everyone knows, even if you haven't seen one of the many dramatic interpretations of this 17th Century French poet's life. Despite being familiar with the story (Cyrano is in love with Roxane but fears that she could never love him back because of his unusually large nose, so he agrees to supply the poetic words of love to the handsome Christian that cause Roxane to fall in love with him), I hadn't seen the play before last year (although I have seen the 1987 Steve Martin/Daryl Hannah flick Roxanne, if that counts). Bradley Greenwald's musicalized translation of the original late 19th Century play, presented as part of Theater Latte Da's new work initiative last year, was my first exposure to the full story. Park Square Theatre is currently presenting another new-ish translation by Michael Hollinger, and with a fantastic cast, impressive set, and "immediate, rhythmic, and lively" language (as the playwright himself notes in the program), it's a wonderful interpretation of this story that is a great mix of comedy and tragedy.

There's a feeling of a-play-within-a-play as actors wander on stage before the show begins and start prepping, dressing, and adjusting wigs. The character of Le Bret (Shawn Hamilton) functions as a sort of narrator, setting the stage and introducing characters. Cyrano (J.C. Cutler) and Christian (Sam Bardwell) are soldiers in the same regiment, the former known for his skill with words and the sword, and the latter a bit of an unknown as newcomer to the regiment. Cyrano is in love with his beautiful cousin Roxane (Emily Gunyou Halaas), so when she tells him that she loves the handsome Christian, he agrees to look out for him. Unbeknownst to Roxane, he also agrees to write letters to her from Christian, who is not blessed with the gift of poetry as Cyrano is. Roxane continues to fall in love with Christian through his (Cyrano's) letters, culminating in a lovely balcony scene reminiscent of Romeo and Juliet. The second act sees Cyrano and Christian going off to war, with Roxane in pursuit, unable to be parted from her love. When she tells Christian that she loves him for his soul, and would love him even if he were ugly, he realizes that it's Cyrano she truly loves, not him. It's a tragically bittersweet ending, as truths are revealed too late.    

Roxane and Cyrano
(Emily Gunyou Halaas and J.C. Cutler)

There are many reasons to see this show, but the number one reason is J.C. Cutler's beautiful and nuanced performance as the titular hero. His impressive talent (see also last season's Red) is a perfect fit for Cyrano; he's everything you want Cyrano to be. His voice is loud and commanding or soft and gentle, he's smart and witty, an ace swordsman, and speaks entrancing words of love. It's easy to see why Roxane falls in love with him, albeit unknowingly. The always great Emily Gunyou Halaas is a Roxane worthy of his affections, smart and spirited. Sam Bardwell is perfectly charming as Christian; even though he may not be able to put words together very well, there are still plenty of reasons to love him, and you almost wish that Roxane could see and love him for who he really is.

This wonderful cast of nine seems much larger, as everyone except for J.C. plays multiple roles, quickly coming and going from the stage with dizzying speed. Of special note are Jon Andrew Hegge and Craig Johnson who each create such different characters they're almost unrecognizable from one to the other, with fast and fantastic costume changes happening backstage. Jon transforms from the town drunk to the kindly nun, and Craig from the theater owner to Roxane's over-protective and fluttery pastry-loving nurse, and several characters in between.

When the director is also a choreographer as Joe Chvala is, you know that movement is going to be an interesting and integral part of the show, as it is here. One example is Cyrano's famous battle against 100 thugs, which is a delight to watch (with fight choreography by Annie Enneking). The period costumes (by Matthew J. LeFebvre) are gorgeous, from Roxane's flouncy dresses to the men in tall boots and capes. The set (by Robin McIntyre) is dominated by two large set pieces with stairs and a balconies that move and turn to create different shapes and spaces on stage. Lastly, there are also a few musical interludes that feel organic and are quite fun and lovely.

Cyrano is many things in one play - great comedy, a tragically beautiful love story, sword fights and epic battles, and beautifully poetic language. This impressive production is playing at Park Square Theatre now through April 6.

"Appomattox" at the Guthrie Theater

The Guthrie Theater is opening their 50th anniversary season with three plays by British playwright Christopher Hampton (author of the play and movie version of Dangerous Liaisons). Tales from Hollywood, a dark comedy about exiled Germans in Hollywood in the 1930s, is playing on the Thrust stage. Embers, "a fascinating study of passion (love and hate), truth, friendship, the urge to be the stronger and the need to survive," is playing in the nine floor Studio Theater. I'll see both of these plays in a few weeks, but I began Hampton-fest with the new drama Appomattox, playing on the Proscenium stage. It's an epic historical drama that tells about two important moments in our nation's history - the surrender of the Confederacy in 1865 at the Appomattox Courthouse in Virginia, and the passage of the Civil Rights Act a century later. With a running time of three hours (including one intermission), it's a long play and a heavy one. At times it feels long, but it's also a fascinating look at our history with impeccable staging, sets, and costumes.

The play is structured in two acts that are almost like two separate plays, but with related themes and the same cast of actors playing a character (or two) in each act. It's a little like the repertoire days of old at the Guthrie. The first act centers on battles of the Civil War, while the second act centers on legal and political battles for Civil Rights. The play draws parallels between the two periods, aided by the fact that often the same actor plays related characters in each act. Harry Groener plays President Lincoln and President Johnson, two very different men but both effective proponents of Civil Rights. Harry really provides a center to the play. His portrayal of LBJ is incredibly engaging and charismatic - he is quite a colorful character, speaking with frank language and funny and folksy metaphors. Mark Benninghofen is a grounding force playing both presidents' right-hand man - General Grant and attorney general Nicholas Katzenbach. The divine Sally Wingert plays both first ladies, who are about as different as the two presidents. One a bit crazy and dramatic, the other more sane and strong, but both sharing their opinions with their husbands about how the country should be run. The cast is huge and features many fine performances, some quite brief, including Joe Nathan Thomas as Frederick Douglass and Shawn Hamilton as Martin Luther King, Jr. The play ends with a short scene in the present, showing us that the past isn't that far behind us.

The Guthrie does period pieces like no other. Scenes and set pieces move in and out on sliding panels, with actors freezing at the end of scenes, like moving historical tableaus. The costumes are perfection, especially in the first act - military uniforms and hoop skirted concoctions that look good enough to eat! Photos are projected on the back wall of the stage, showing scenes of war or riots, or providing a backdrop for the action.

I remember my high school history teacher saying that when the authors of the Declaration of Independence wrote "all men are created equal," what they really meant was that all white property-owning men aged 21 and over are created equal. The last 240 years has been about expanding that narrow category until all people truly are equal under the law, and we're not quite there yet. On the night I attended Appomattox, there was a post-show discussion featuring experts on human rights. Much of the discussion centered on the Voter ID Amendment that will be voted on here in Minnesota in just a few short weeks, threatening to take away some of those rights that were fought for and won. Consider this exchange from The Daily Show between host Jon Stewart and "Senior Black Correspondent" Larry Wilmore:

Larry: How old is this country?
Jon: About 240
Larry: How long have black people been allowed to vote?
Jon: About 150
Larry: In Alabama?
Jon: About 48

48 years is a relatively short time in the history of this country. There are African American people alive today who can remember when they weren't able to vote. I can't imagine how that must feel as things start to move the other way again, towards exclusion rather than inclusion. Despite being a historical drama, the themes of this play are very timely. I'm not sure how a British man capture American history so well. The three plays in the Christopher Hampton celebration seem quite diverse. This American drama is pretty intense and thought-provoking; I look forward to seeing the other two plays.

"Standing on Ceremony: The Gay Marriage Plays" at New Century Theatre

Planning a wedding. Writing your vows. Pre-wedding jitters. Pressure from one’s parents to get married. The loss of a loved one. All of these things are associated with a common milestone in life – getting married. The one tiny difference in the series of short plays called Standing on Ceremony: The Gay Marriage Plays is that the couples living through these common experiences are same sex-couples. But the emotions conveyed in this funny, touching, and at times heart-breaking play are universal human emotions that everyone in the audience can related to, no matter their sexual orientation or marital status.

Standing on Ceremony: The Gay Marriage Plays began as a series of benefits in L.A., continued Off-Broadway last fall, and is now being produced in theaters across the country. Nine playwrights contributed to the work, and their collective body of work is impressive, including some plays I’ve seen recently: I Am My Own Wife (Doug Wright), Compleat Female Stage Beauty, What’s the Word For (both Jeffrey Hatcher), reasons to be pretty (Neil LaBute). Wendy Knox of the innovative Frank Theatre directs six talented local actors who portray a variety of characters in the nine stories. In one a couple is writing their vows, and discovering that the traditional words don’t really apply. Another is in the airport on their way from L.A. to Iowa (of all places) for a hometown wedding and coming to terms with the gravity of what they’re about to do. A New York mother pressures her single gay son to find a husband, because all of her friends' gay kids are getting married now that it’s legal. A heterosexual couple amusingly deals with the possibility that the husband is gay and worry that their son may follow in his father’s footsteps. A crazy woman begins hearing voices in her head and feels that her traditional suburban lifestyle is being threatened. A man delivers a heart-wrenching eulogy for his partner of 40 years. And finally, a happy couple celebrate their union with all of their friends.

About that talented cast of six. Jim Lichtsheidl (recently seen in the delightful fairy tale Vasa Lisa with Ten Thousand Things) is always a delight to watch, especially when he gets to play several characters in one piece. Shanan Custer brings her very funny style to stories both serious and ridiculous (the aforementioned crazy woman, in a hilarious monologue). Shawn Hamilton (Ragtime and Avenue Q) and Aimee K Bryant (Hairspray at the Chan) unfortunately don’t get to sing, but they do play a hypocritical evangelical couple determined to stay together despite her husband’s indiscretions and scandals. Mark Rhein is the man whose wife tells him he has a “gay sense of humor,” and in the most moving vignette, talks about his 40-year love story. Last but not least, Laura B. Adams is strong and funny as the Jewish mother and a woman planning a wedding, something she never thought she'd do.

Mark Rhein and Jim Lichtsheidl

Standing on Ceremony: The Gay Marriage Plays is playing at the newest of the Hennepin theaters – the New Century Theatre in City Center in downtown Minneapolis. It’s the first time I’ve been there and I quite like the space, which includes little cocktail tables among the seats in the audience, reminiscent of Hennepin Stages (Hey City Theater) down the street. The plays are staged very simply staged, with a row of chairs on the stage and a few tables to the sides. The actors occasionally hold scripts; its more like a reading than a fully staged production.

I very much recommend this show (it runs for two more weekends). It’s an entertaining evening of theater that tells universal human stories, and it might get you thinking and talking about the subject of marriage equality. Which is something that we as Minnesotans need to think and talk about in light of the upcoming vote on the Marriage Amendment. For more information on that check out Minnesotans United for All Families.

"Avenue Q" at Mixed Blood Theatre

The Tony award-winning musical Avenue Q is Sesame Street for adults.  Particularly young adults in their early 20s who are transitioning to adulthood and realizing that Sesame Street didn't tell the whole story.  The happy sing-song-y score sounds like something you would hear on a kids' show, but with songs like "Everyone's a Little Bit Racist," "Schadenfreude," "It Sucks to Be Me," "If You Were Gay," and "The Internet is For Porn," you know you're not in kids territory anymore!  The show is delightfully irreverent and non-PC; pretty much every ethnicity and social group gets skewered.  But in the end it's a hopeful story about friendship and enjoying what you have in life when you have it, because "everything in life is only for now."  I've seen the show on Broadway and on tour, and Mixed Blood's production (directed by Artistic Director Jack Reuler) is just as wonderful and inventive.

Like Sesame Street, many of the characters in Avenue Q are puppets.  Mostly human puppets but a few monsters as well (aka people of fur).  But unlike Sesame Street, the actors portraying the puppets are completely visible.  The puppets were designed to look like their human counterparts and they wear identical clothing, so it's almost like you're seeing double.  This amazing cast does a fantastic job of matching their human emotions and movements to their puppet's emotions and movements.  The human emoting complements the puppet's movements so the puppet actually looks sad or confused or upset.

The show is perfectly cast, not a weak link among them.  In the Broadway/touring version several of the actors do double duty as more than one character.  There's less of that here; instead, several of the actors join the band (led by Jason Hansen) when they're not onstage.  In fact, there's only one member of the band who doesn't also play a character onstage.  The most ingenious example of this is Eric Mayson, who plays Trekkie Monster and also plays bass in the band.  He's dressed in black with a full-sized monster puppet strapped to his back.  He walks around backwards onstage, and then goes back to the band with Trekkie still on his back while he plays the guitar.  There is one instance of an actor playing dual roles; like in the Broadway version, the same actor plays our monster heroine, Kate Monster, and her nemesis, the sleazy lounge singer Lucy T. Slut (her name says it all).  Bonnie Allen does this brilliantly, at times having conversations with herself, smoothly going back and forth between the boozy, throaty voice of Lucy and the girlish voice of Kate (Ruth Christianson inhabits the puppet Kate when Lucy's on stage).  The center point of this triangle is Princeton, the naive and idealistic newcomer to Avenue Q who learns that adulthood isn't as easy as he thought.  I've seen Tom Reed before in a different incarnation - as Lounge-asaurus Rex, host of Sample Night Live (a monthly showcase of the local arts/music/theater scene), which I saw once last fall and am still hoping to get back to sometime soon.  Tom is very funny and clever as Loung-asaurus Rex, ad libbing songs and entertaining the audience between the acts.  But I could hear a great voice behind the comedy, which he shows off in this show.  Other puppet residents of Avenue Q include roommates Rod and Nicky (think Bert and Ernie).  Seth Tucker will break your heart as Rod, the closeted gay Republican investment banker who wants nothing more than to be loved.  He dreams one night of having his love for Nicky (Brian Skellenger, one of my Chanhassen faves) returned, and it's a beautifully cheesy and romantic scene with the puppets flying and twirling through the air (Lauren Chapman choreographed the puppet and human movements).  The non-puppet residents of Avenue Q include engaged couple Brian ("unemployed and turning 33") and Christmas Eve (a stereotypical Japanese immigrant who has two masters degrees but can't get a job), played by Shawn Hamilton (who also plays the sax, onstage and off) and Rose Le Tran.  The superintendent of Avenue Q is none other than Gary Coleman (Brittany Bradford) - "I had a lot of money that was stolen by my folks."  Rounding out the cast of characters are the adorably sinister "bad idea bears" who represent that little voice inside of us that says things like "spend all your money on beer!" or "have a long island iced tea, they're yummy!"  You know it's a bad idea, but they're so darn cute they're impossible to resist!

I didn't realize the Mixed Blood Theatre was a black box theater until I walked in and the stage was on the opposite end of the room.  The brick townhomes of the Broadway/touring production have been replaced by simple black and grey boxes with sliding sections that reveal the various apartments in the building.  It's an efficient and clever use of space, with scene changes accompanied by drum solos by Andy Mark.

This is a fabulous show.  If you're familiar with this blog, you know I love everything.  But really, this production is fun, hilarious, accessible, light-hearted, and heart-warming, with great performances of catchy, singable songs.  The house was packed last night and the audience was clearly having a good time.  It's playing through the end of the month, so get your tickets now!

Update: the show has been extended through May 29.