"The Christmas Spider" by Skylark Opera Theatre at the Lowry Lab Theater

For the last several holiday* seasons, Skylark Opera Theatre has been presenting a modern one-act English-language opera. They're continuing that tradition this year with the one-weekend-only performance of The Christmas Spider, based on a Ukranian folktale. The super sweet story of a poor family finding miracles in nature and kindness has been turned into a beautiful and accessible opera. It would be the perfect introduction to opera for kids, with a sparse 45-minute runtime and two adorable and talented children in the cast. But no matter your age, it's a heart-warming and moving piece that as always is gorgeously performed by Skylark. Catch one of the four remaining performances at The Lowry Lab Theater inside St. Paul Conservatory for Performing Artists in downtown St. Paul, which is particularly pretty right now with all of the lights and the recent snowfall. It makes for a very festive outing.

"Marry Me a Little" by Sklark Opera Theatre at the Crane Theater

I interrupt this all-Fringe-all-the-time coverage to bring you news of Skylark Opera Theatre's one-weekend-only engagement of the Sondheim revue Marry Me a Little. Originally scheduled for June, the show had to be rescheduled (because covid is still a thing), and has finally debuted at the Crane Theater this weekend. At about an hour long, it almost could be part of the Fringe (if only the start time were at 7 instead of 7:30). It was worth taking a break to see this lovely little show chock full of great Sondheim songs that most of us have never heard, performed by two experts in music-theater-performance.

"The Gift of the Magi" by Skylark Opera Theatre at the Lowry Lab Theater

Last weekend, Skylark Opera Theatre presented an opera based on the classic O. Henry story The Gift of the Magi. It's a simple story of love and sacrifice, but one that's stood the test of time and receives a beautiful musical treatment in this opera adaptation by David Conte (music) and Nicholas Giardini (libretto). Unfortunately it was a short run that has now concluded, but with any luck they'll bring it back next holiday* season. And mark your calendars for next June when Skylark will be presenting the Sondheim revue show Marry Me a Little, featuring songs cut from some of his musicals

"Three Decembers" by Skylark Opera Theatre at Jungle Theater

Skylark Opera Theatre is definitely my kind of opera. No offense to traditional opera with large casts in large venues sung in foreign languages. But the kind of opera that Skylark does - always sung in English, usually with smaller casts in smaller or non-traditional venues - is easier for me to connect with. For six performances only they're presenting the new (i.e., written this century) opera Three Decembers, with music by Jake Heggie and libretto by Gene Scheer based on a play by Terrence McNally. Just three performers accompanied by two pianos tell the intimate (and Mother's Day Weekend appropriate) story of a mother and her two adult children. She may not be the best mother, but she loves her children, she just may love the theater more (can you blame her?). I had an almost front row center seat for this gorgeous performance, feeling really connected to the story that's told so beautifully through words and music in the entirely sung-through show. The characters are singing their dialogue instead of speaking it, which only heightens the emotions of love, grief, frustration, disappointment, and betrayal. If you're someone who feels intimidated by opera, or isn't quite sure it's something you'd like, I encourage you to start with the accessible, intimate, English kind of opera that Skylark does (click here for info and tickets).

"Eugene Onegin" by Skylark Opera Theatre

Once again, Skylark Opera Theatre brings us a classic opera in a stripped down, accessible, intimate way. They're performing the 19th Century Russian opera Eugene Onegin (pronounced oh-NYAY-gun) by Tchaikovsky, based on a novel in verse by Alexander Pushkin, at The Museum of Russian Art. In an audience of about 100 arranged along a long corridor stage area, surrounded by Russian art, listening to this unamplified nine-person cast (singing in English) accompanied only by a grand piano is a uniquely satisfying musical experience. Only four performances remain, click here for info and tickets.

"Amahl and the Night Visitors" by Skylark Opera Theatre at Park Square Theatre

Time to celebrate the return of another theater company back after the extended intermission of 2020-2021, namely Skylark Opera Theatre, who brings us accessible opera in English! They return to live performance after more than two years with Amahl and the Night Visitor, a one-act opera by Italian composer Gian Carlo Menotti. The first opera written for American TV (in 1951), Amahl tells the Nativity story through the eyes of a child who sees the star and is visited by the Three Kings. It's a sweet little story (just about an hour long), well performed by the large and talented cast in the intimate space of Park Square Theatre's Andy Boss thrust stage. But only three performances remain this weekend, so act fast to catch this charming holiday* offering for kids and adults alike (click here for info and tickets).

"The Most Happy Fella" by Skylark Opera Theatre at the Historic Mounds Theatre

This fall, Skylark Opera Theatre brings us Frank Loesser's The Most Happy Fella, which is technically a musical, but one with operatic qualities to some of the music. And the fact that some of the songs are in Italian (or mixed English and Italian) also make it feel a little like an opera. It's an unabashedly romantic old-fashioned love story, but not without a few modern tweaks. Skylark's production in St. Paul's Historic Mounds Theatre is charming, intimate, engaging, and gorgeously sung by the 12-person cast.

"Cosi fan tutte" by Skylark Opera Theatre at the Historic Mounds Theatre

The last (and only) time I saw Mozart's comic opera Cosi fan tutte was 24 years ago when I was studying abroad in his lovely hometown of Salzburg, at the Marionettentheater during the week celebrating his birthday (a big deal in Salzburg). I remember nothing about it, other than that I saw it. No better way to experience it, for basically the first time in memory, than with Skylark Opera Theatre, which specializes in performing both new and classic operas in an accessible way, including performing in English. For an opera that roughly translates as "women are like that," Cosi fan tutte could be a difficult one to present in 2019. But Skylark has managed to make it modern and fun, with the jerks not getting away with the nasty tricks they play on their fiances. Performed in the small intimate space at the Historic Mounds Theatre in just over two hours, it's a fun and accessible way to experience the work of this gifted composer.

"As One" by Skylark Opera Theatre at North Garden Theater

The new incarnation of Skylark Opera Theatre, under new Artistic Director Robert Neu, is presenting their third work of accessible, intimate opera. As someone who usually stays on the musical theater side of the music-theater spectrum, this approach seems like a good one for me, sort of bridging that gap between opera and music theater. After last year's stripped down adaptation of Carmen and an immersive Don Giovanni, they're now presenting a contemporary opera about a very timely subject. As One is a two-person 90-minute English language opera about Hannah, a transgender woman becoming herself. She is played by both a man and a woman, pre- and post-transition. It's a beautiful, heart-breaking, inspirational, ultimately hopeful story gorgeously told through music. The intimate new space that is North Garden Theater, in St. Paul's West 7th neighborhood, is the perfect location to experience this sparse-in-spectacle but rich-in-substance opera. But act fast - only three more performances remain this weekend (click here for more info and tickets).

"Don Giovanni" by Skylark Opera Theatre and Angels & Demons Entertainment at the Woman's Club of Minneapolis

For five years, I spent one or two nights at Concordia University's E.M. Pearson Theatre watching opera/operetta/musical theater as part of Skylark Opera's Annual Summer Festival. Last year, the festival was abruptly cancelled as the company went through financial and leadership challenges. I'm happy to report that Skylark is back, rebranded as Skylark Opera Theatre, now with their second show under new Artistic Director Robert Neu. The Summer Festival has not returned, but Skylark's commitment to presenting accessible opera in English hasn't changed. Their second production (after The Tragedy of Carmen earlier this year) is a site-specific production of Mozart's Don Giovanni, with new English translation by Robert Neu and Gabriel Preisser, who also plays the title character. It bears more than a little resemblance to last summer's site-specific Mozart (The Marriage of Figaro in the James J. Hill House) by Robert Neu's other company, Angels and Demons Entertainment, a co-producer of this show. Like Marriage of Figaro, this Don Giovanni is an intimate, immersive experience that one doesn't usually get with opera.

"The Tragedy of Carmen" by Skylark Opera Theatre at the Midpointe Event Center

Welcome back, Skylark Opera! After cancelling their annual summer festival last year, something I had thoroughly enjoyed the previous five summers, they're back in 2017. Newly rebranded as Skylark Opera Theatre, but still committed to making opera accessible to neophytes like me (they always perform in English, for one thing), they've got a couple of shows on the schedule early this year (although no word on the summer festival). First up is The Tragedy of Carmen, a 90-minute English adaptation of one of the most well known and frequently performed operas, Georges Bizet's Carmen. With just six actors and a three-piece orchestra, performed in a small space, it's an intimate and thrilling up-close-and-personal take on a classic opera, even for those of us who maybe aren't that into opera.

"Putting It Together" and "La Rondine" by Skylark Opera at E.M. Pearson Theatre

One of the theatrical highlights of the summer, Skylark Opera's Annual Summer Festival, is upon us! As usual, the two shows playing in repertoire include one that's more of a traditional opera (but always in English) and one that skews a bit more towards musical theater: Puccini's La Rondine and the Sondheim musical revue Putting It Together (put together by Sondheim himself). As someone who loves musical theater but doesn't venture into the world of opera very often, Skylark's Summer Festival offers a fun, easy, accessible way to enjoy to dip my toes into the opera scene and indulge my love of musical theater. Both shows are highly entertaining with excellent casts and orchestras. But the runs are short with just four performances of each show. So read on, take your pick, and get your tickets before this all-too-brief Summer Festival is gone like the all-too-brief Minnesota summer!

Putting It Together
A terrific five-person cast, a fantastic eight-piece orchestra, and over 30 of Sondheim's greatest songs. What could be better?! Written in the early '90s, Sondheim pulled together songs from over a dozen of his musicals (including some that were cut from the original shows) and tied them together loosely with the story of two couples, one that's been together a long time and one that's just starting out. This allowed him to use many great relationship songs from the likes of Merrily We Roll Along, A Little Night Music, Company (my personal favorite, and perhaps Sondheim's as well because he included five songs in this revue), Follies, and the movie Dick Tracy. (Does anyone remember that Sondheim wrote five original songs for the 1990 movie? Me neither, but he included four of those five songs in this revue, maybe because it was so recent.) There's not much of a story here, so much as a study of relationships, and all of these diverse songs work surprisingly well to explore different facets of these relationships and give us a picture of who these people are (although some work better than others - the wolf's song from Into the Woods doesn't really fit in any context outside of the woods, although it is a commentary on a certain kind of relationship).

On a set that looks like a posh and sparse NYC apartment with a terrace, the long-married couple, the new couple, and their butler/commentator have a dinner party, dressed of course in tuxes and gowns. Each song is like a little story in itself, exploring a different facet of the relationships. There's little to no dialogue tying them together, although the commentator does declare the theme of certain segments, like "seduction," "desperation," and "competition." The long-married couple is full of regret ("The Road You Didn't Take" from Follies) and desperation ("The Ladies Who Lunch" from Company), the new couple full of hope ("Marry Me a Little" from Company) and sweetness ("Unworthy of Your Love" from Assassins). The men talk about women ("Have I Got a Girl for You" from Company, "Pretty Women" from Sweeney Todd) and the women talk about men ("Every Day a Little Death" from A Little Night Music). And then there are some silly songs that don't have much to do with anything but are fun nonetheless ("More" from Dick Tracy, "Buddy's Blues" from Follies).

Jeffrey Madison, Emily Gunyou Halaas, Paul Coate,
Vicki Fingalson, and Gabriel Preisser (photo by Matt Bellin)

The original 1993 Off-Broadway production starred Julie Andrews. Despite having Julie Andrews' cute pixie cut, Emily Gunyou Halaas is not known in this town as a singer, but rather as a talented actor in straight plays. I suspect that will change after this performance, in which she proves that singing is another tool in her acting toolbox that is readily available to her. I've always thought she has a melodious speaking voice, and she sings like she talks. Not only is her voice lovely, rich, and pleasant to listen to, but she brings all of her acting talent to the song, making us feel every emotion in Sondheim's intricate lyrics, which is perhaps the most important part of musical theater. She tackles some of the most difficult songs in this show ("Could I Leave You" from Follies, "Getting Married Today" and "The Ladies Who Lunch" from Company) and comes out on top every time.

The rest of the cast more than holds their own, and they all sound beautiful individually and in various combinations of duets, trios, and group numbers. Commentator Paul Coate nicely delivers "Invocations and Instructions to the Audience" from Frogs (which sounds a lot like my recent audience DOs and DON'Ts post) and the super fast and funny "Buddy's Blues" from Follies. As the husband, Jeffrey Madison hits some poignant and creepy notes, respectively, in "The Road You Didn't Take" from Follies and "Hello, Little Girl" from Sweeney Todd. The new couple Vicki Fingalson and Gabriel Preisser share a lovely duet in "Unworthy of Your Love" from Assassins, as well as some nice solo moments including Vicki's seductive "Sooner or Later" from Dick Tracy and Gabriel's triumphant "Marry Me a Little" from Company. And of course, no Sondheim revue about relationships is complete without one of his best songs on the subject, "Being Alive" from Company, a song I've heard many times but never quite like this, as the entire company joins in on a beautiful five-part version of the song.

With direction by Robert Neu and music direction by Andrew Fleser leading this terrific cast and orchestra through some of Sondheim's best work, put together by the man himself, Putting It Together is a must-see for fans of Sondheim, and music-theater in general.

La Rondine
Perhaps most famous for La Boheme (this inspiration for my favorite musical RENT), Puccini called La Rondine "perhaps, my best music" (per a note from director Ben Krywosz of Nautilus Music-Theater). Written in the early Twentieth Century, Skylark sets the story in 1920s Paris. The three acts depict different phases in the life of our heroine, Magda. The first act takes place in her posh Paris apartment (reusing some of the set pieces from Putting It Together). At a dinner party with friends, she reminisces about an exciting and romantic encounter with a man long ago. But now she has settled for a comfortable but loveless life with her patron (or sugar daddy, to put it in modern terms) Rambaldo. The second act takes place in a crowded dance hall, where Magda has decided to go in disguise for a bit of excitement. There admidst the dancing and revelry she meets the charming young Ruggero and they fall instantly in love (because such things happen in opera). She decides to leave Rombaldo and run away with Ruggero to the country, where we see them living blissfully in act three. But alas, their love cannot last because... something about Magda's shameful past? She doesn't think his mother would approve? They ran out of money? It doesn't quite ring true that in 1920s Paris these two crazy kids would conform to social standards and not be able to make it work. But tragedy is as sure to happen in opera as sudden all-consuming love, and the story ends on a tragically beautiful note.

the cast of La Rondine (photo by Matt Bellin)

Cecilia Violetta Lopez is a star as Magda. Not only does she have a stunning voice, but she makes you feel Magda's every emotion, from dissatisfaction to hope to resignation. As Ruggero, Won Whi Choi is her match. They both have huge voices, and when they sing in harmony it's really quite something. The large supporting cast is great and creates some stirring sounds when their voices join together on this gorgeous score. Lindsay Russell provides some comic relief as Magda's spunky and ambitious maid Lisette, and Norman Shankle is lovely and charming as Madga's poet friend and Lisette's secret lover. Paul Hindemith does a good job with Rambaldo, despite the distracting and borderline offensive old man make-up (is "oldface"a thing?).

Skylark's Artistic Director Steven Stucki conducts the 20+ piece orchestra through this lovely and luscious score. Lynn Farrington's costumes recreate that '20s flapper look for both the high society crowd and the dance hall revelers with dropped waist dresses, smart hats, headbands, and jewels. Kit Meyer has designed a flexible set of faux-marble columns and pieces that can be rearranged for the necessary sets in both shows.

Both shows in Skylark Opera's Summer Festival are perfectly lovely and a wonderful summer treat. Head down to St. Paul's Concordia University campus in the next week to see one or both of these very different but equally satisfying shows.


This article also appears on Broadway World Minneapolis.

Summer 2015 Twin Cities Theater Preview

For some people, summer means baseball, barbecues, boating, and other outdoor activities. For me, summer means more theater (and iced mochas)! Here are a few shows I'm looking forward to this summer. If I missed any, please add in the comments below.


One of the highlights of the summer theater season is always Skylark Opera's Summer Festival, which I've attended for the past four years. They do two shows in repertoire that fall on various locations on the music-theater spectrum. For their 8th festival, they're doing a Sondheim revue (is there anything better?!) called Putting It Together and Puccini's La Rondine. Both shows can be seen at the EM Pearson Theatre on St. Paul's Concordia University campus, just four performances of each between June 12 and 21 (more info here).

This summer the Ordway is producing not one but two local musicals - Damn Yankees (did someone mention baseball?) in June and Pirates of Penzance in August. Their last local musical, A Christmas Story, was delightful, and I expect more of the same with these two shows (more info about Damn Yankees here and Pirates here).

Park Square Theatre has had much success with their summer Sherlock Holmes plays, and this year they are presenting the world premiere of a new one - Sherlock Holmes and the Ice Palace Murders. No, Sir Arthur Conan Doyle did not send his famous detective to Minnesota, but author Larry Millett did, and my favorite local playwright Jeffrey Hatcher has adapted this recent novel into a play. A summer mystery featuring the world's most beloved crime-solver and plenty of local flavor, what more could you ask for (playing June 19 through July 19, more info here)?

Over in Uptown, the Jungle's summer selection is the classic comedy You Can't Take It With You, featuring a huge and star-studded cast, including three real-life married couples - Charity Jones and John Middleton, Angela Timberman and Jay Albright (possibly the funniest couple in existence), and Cathleen and Nathaniel Fuller. The family that plays together... (playing June 19 through August 9, more info here).

More often than not, the Guthrie celebrates the summer with a big beautiful musical. They're following up last year's hit, "the hummable and quotable" My Fair Lady, with another American classic - The Music Man, "the toe-tapping musical for the whole family." It's sure to be a luscious extravaganza with lots of familiar faces in the supporting roles and ensemble (playing June 20 through August 23, more info here).

"Summer lovin', had me a blast!" The quintessential summer musical Grease is coming to Lyric Arts in Anoka, July 10 through August 2. It's sure to be a fun time, but Lyric Arts musicals have a tendency to sell out, so get your tickets soon (more info here).

If you're someone who hates to be inside on a lovely summer day, you can still enjoy theater and the outdoors. Check out one of the many options for outdoor theater, including Mill City Summer Opera (presenting Daughter of the Regiment in the picturesque and historic courtyard of the Mill City Museum in July) and Mixed Precipitation (touring Escape from Alcina's Island in area parks in August and September).

If you're heading Up North to the cabin this summer, don't worry, you can still catch some theater. A great thing to do on a rainy day is drive into Bemidji to the Paul Bunyan Playhouse. I have not yet had the pleasure, but I know that many of my favorite Twin Cities artists go up there in the summer to put on some great theater. They've got five shows on the schedule this summer, including one of the best new plays I saw last year, the local true crime caper Prints, and the hilarious musical Spamalot (more info here).

And of course, you can't talk about summer theater in Minnesota without mentioning the Minnesota Fringe Festival. The full schedule of the hundreds of one-hour shows at a dozen venues will be announced in the next month or so. Until then, check out their website for a tentative list of participants, and cancel all other plans between July 30 and August 9.


I hope you enjoy all of the wonderful things that summer in Minnesota has to offer, including the above theater, because winter will be back again before we know it!


This article also appears on Broadway World Minneapolis.

"Berlin to Broadway with Kurt Weill" and "Candide" by Skylark Opera at E.M Pearson Theatre

For their annual summer festival, Skylark Opera is presenting the Leonard Bernstein classic operetta Candide and the musical revue Berlin to Broadway with Kurt Weill. The two shows run in rep, with just four performances each over two weekends. I've attended the festival for several years now, and as a musical theater geek who doesn't know much about opera, I always appreciate seeing shows that fall on the more opera side of the music-theater spectrum, presented in an accessible way (Skylark always performs in English) with fantastic casts and musicians performing beautiful music. This summer's shows are both wonderful examples of that.

Berlin to Broadway with Kurt Weill
Rather than a traditional musical or opera with characters and plot, this piece is a compilation of songs by German-American composer Kurt Weill. I have only recently become familiar with Weill, first at last year's Patti LuPone concert in which she sang several of his songs, and then just this spring, when I saw not one but two productions of Weill's most well-known work, The Threepenny Opera. What I liked best about Threepenny was the music, and the more I hear it the more I like it. Berlin to Broadway is a beautiful showcase of the work of this great composer and his complex, interesting, and gorgeous melodies. It's the kind of music that the more time you spend with it, the more you appreciate it.

Four singer/actors and a six-piece band, under the direction of Sonja Thompson, lead us through the life of Kurt Weill, from the beginning of his career in Berlin, to his exile in the Nazi era to Paris and eventually America, to his growing success in his new homeland. The songs are structured chronologically, with one or another of the actors giving a short explanation to establish place and time. Several songs from each piece are presented together, giving us a taste of what the show is like. Wendy Knox, who also directed Frank Theatre's recent production of Threepenny, directs the piece and has truly created a whole that's greater than the sum of its parts. Songs and shows flow from one to the next, with visual interest created by slight costume changes and movement around the stage. It's almost like seeing several little shows in one great show.

Christina Baldwin and Bradley Greenwald
(photo by John Engstrom)

This four-person cast is a dream - Christina Baldwin, Dieter Bierbrauer, Vicki Fingalson, and Bradley Greenwald. This is my first time seeing Vicki onstage, but she fits right in with the other three who I already knew were wonderful. Each of these four voices is stunning on its own, and all of them joined together in four-part harmony is something quite special. But these professionals don't just sing the songs, they also act the songs, adding humor or pathos where required. Some of my favorite moments from the show are: the entire Threepenny section because that's the music I'm most familiar with; Dieter and Bradley singing the rousing "Bilbao Song" (Bradley Grünwald und Dieter Bierbrauer singen auf Deutsch, es war das Schönste auf der Welt!); Christina singing the classic "Pirate Jenny;" Bradley singing the poignant "September Song;" Dieter's absolutely lovely rendition of "Lonely House;" Vicki's sweet love song "That's Him;" and the comic highlight - Christina's hilarious "Saga of Jenny" backed up by Dieter and Bradley.

In short, Berlin to Broadway with Kurt Weill a wonderful exploration of the life of an important musical composer, one I didn't previously know much about, with gorgeous music sung by four impeccable voices.

Candide
Leonard Bernstein is another great American composer, and this 1956 operetta is one of his most celebrated works. Unfortunately it was bogged down by a troublesome book that went through several rewrites over the years. Skylark is presenting a combination of two more recent and more successful revisions. Based on the 18th Century novella by Voltaire, Candide is a satire that skewers the establishment of both 18th Century France and 1950s America. In the broadly comical plot, the bastard Candide is thrown out of his uncle's castle after falling in love with his cousin, the lovely Cunegonde. War breaks out, the castle is destroyed, everyone thinks everyone else is dead, the lovers reunite and travel the world looking for a place to be happy. Lots of other crazy things happen, which eventually disavow the optimist teachings of Dr. Pangloss, that we live in "The Best of All Possible Worlds" and everything that happens is perfect and wonderful. It's a wild romp accompanied by beautiful music.

Jennifer Baldwin Peden, Gary Briggle, and Peter Middlecamp
(photo by John Engstrom)

The huge cast and twenty-plus piece orchestra create a rich and luscious sound, with only three microphones hanging overhead to provide additional amplification of these beautiful trained voices. As the title character, Peter Middlecamp sings like a dream. Jennifer Baldwin Peden (yes, Christina and Jennifer are sisters - such talent in one family!) is adorable and hilarious as Cunegonde, and does unbelievable things with her voice, especially in the famous aria "Glitter and Be Gay." Gary Briggle plays Voltaire, a sort of narrator and guide through the show, and he's wonderfully ridiculous in the other characters he plays. All of these elements combine and build to the stunningly gorgeous finale, "Make Our Garden Grow." This song almost feels like it's from another show; up until then all of the songs are comic and tongue-in-cheek, but this song is unabashedly sincere and completely lovely.

The two productions share much of the same creative team, including set designer Ann Gumpper, with the moving staircase set pieces being used for both shows. Costume Designer Lynn Farrington has put the Berlin to Broadway cast in classy period clothing, with a few accessories for some of the roles being played. The wardrobe for the Candide cast is more colorful and cartoonish, with the ensemble wearing Converse tennis shoes.

If you're an opera lover, then Skylark Opera's Summer Festival should be on your must-see list. If, like me, you're a bit of a novice when it comes to opera, don't be intimidated. Skylark makes opera fun and accessible, and has chosen two important 20th Century American composers in Kurt Weill and Leonard Bernstein, brought to life by not one but two groups of talented singer/actor/musicians. Both shows have just a few more performances this weekend, pick one or both and go see some opera on a summer evening.


This article also appears on Broadway World Minneapolis.

Summer 2014 Must-See Musicals

It's hard to believe with the weather we've had, but summer is just around the corner. And if you're a musical theater fan like I am, it's going to be a great one! Here are a few summer musicals I'm looking forward to this year. I realize most people aren't able (or willing) to see as much theater as I do, so take a look at the list and see what piques your interest, and go see some local musical theater! (Click on the title to find out more info about the show and how to order tickets.)

Bloody Bloody Andrew Jackson, Minneapolis Musical Theatre, June 6 - 29
I saw this hilarious and smart political-satire-emo-rock-musical on Broadway in the fall of 2010 and absolutely loved it. I've been waiting for a local theater company to do it, so I'm thrilled that Minneapolis Musical Theatre chose it as their final show of the 2013-2014 season.
Update: read my review of the show.

Candide/Berlin to Broadway, Skylark Opera, June 13 - 22
I've enjoyed attending Skylark Opera's summer festival for the past few years because it introduces me to shows I'm not familiar with, typically musicals that veer a little more towards the opera side. This year they're doing Bernstein's operetta Candide and a celebration of composer Kurt Weill (The Threepenny Opera). And the fantastic casts include some of my faves: the fabulous Baldwin sisters (Jennifer Baldwin Peden in Candide and Christina Baldwin in Berlin to Broadway), Bradley Greenwald, and Dieter Bierbrauer (both in Berlin to Broadway).
Update: read my review of the shows.

Little Shop of Horrors, 7th House Theater Collective, June 20 - 29
The uber-talented young musical theater artists who last summer brought us a raw and real production of the ground-breaking musical Hair return this summer with Little Shop of Horrors, the dark comedy about the man-eating plant. With just seven performers (including the band), it's sure to be another wonderfully sparse reinvention of a classic. (Ticket prices are a mere $12, but if you can afford more, you can help support them through their fundraising campaign.)

My Fair Lady, The Guthrie Theater, June 28 - August 31
The Guthrie's summer blockbuster is everyone's favorite rags to riches story, My Fair Lady, which includes such gems as "I Could Have Danced All Night," "On the Street Where You Live," "Wouldn't It Be Loverly," "Get Me to the Church on Time," and "The Rain in Spain." While none of the lead actors are local (boo), the supporting players and ensemble include many local favorites (yay), including Robert O. Berdahl, Angela Timberman, and superstar Tyler Michaels. It's sure to be a big beautiful production.

RENT, Lyric Arts, July 11 - August 3

Last but not least is my favorite musical RENT. It's a show I will go see anytime, anywhere (I've seen it 13 times over the past 17 years). I'm super excited that Lyric Arts in Anoka is doing it this summer; I've been pleased by everything I've seen there so I think they'll do a great job. No day but today!

UPDATED TO ADD...

A Little Night Music, Mu Performing Arts, July 25 - August 10
I forgot about this one when I was writing my list last month, but obviously, Mu + Sondheim = must-see. Two years ago they set Sondheim's fairy-tale inspired Into the Woods in the woods of Asia with an all Asian-American cast, and it was truly delightful. I can't wait to see their take on another Sondheim classic. Send in the clowns!


This article also appears on Broadway World Minneapolis.

"Opera Demystified" by Skylark Opera at the Landmark Center

Christina Baldwin and Jennifer Baldwin Peden
perform Opera Demystified at a school

Two of Minnesota's best music-theater actors just happen to be sisters: Christina Baldwin and Jennifer Baldwin Peden. Both are incredibly talented and appear in everything from opera to musicals to plays, with theater companies all over town. If either one of them is in a show, it's guaranteed to be good, so the two of them together is double the thrill! I haven't seen them perform together since my favorite Guthrie show ever, Pirates of Penzance, in which Jennifer played Mabel and Christina played her sister, naturally. So I was not going to miss an opportunity to watch a free performance with the two of them at St. Paul's beautiful Landmark Center. They presented a version of the program that they do in schools called Opera Demystified. I am a musical theater geek, but I can count the number of operas I've seen on one hand, so this was a great education for me as well. And it really makes me want to see more opera (who needs a night off?).

Jennifer and Christina started the show with a medley of opera "hits," familiar even to an opera novice such as me, which proves that opera is a part of our popular culture. They then launched into an interactive mini history of opera, complete with dates, facts, musical snippets, and silly made up statements by Jennifer, sure to entertain kids (and adults). True to the title of their program, they make opera completely accessible, understandable, and enjoyable. Some of their lessons include singing "Wrecking Ball" in an operatic style to demonstrate that opera is not appropriate for every song and situation, explaining that vibrato was developed to help singers be heard over the orchestra before the days of amplification (thanks, electricity!), and translating well known pieces into English to show that opera really is telling a story. As sisters, Christina and Jennifer have such a great rapport and are quite amusing to watch, in between blowing the audience away with their gorgeous voices.

The Baldwin sisters have a bit of help with this program, including Steven Stucki on piano and audience plant Aaron Larson, whom they brought up on stage and pretended to teach about opera, until he began to sing and it was revealed that he's an accomplished opera singer himself.

the stage in the stunning atrium
of the Landmark Center

Skylark Opera sponsors Opera Demystified, and also hosts a summer festival which I've attended for the past few years. Jennifer and Christina will both be performing in this year's festival, and gave us a little taste of what we'll see at Concordia University's E.M. Pearson Theatre in June. Jennifer will be appearing in Leonard Bernstein's Candide (which I've been wanting to see since getting a taste of it at a Broadway Songbook last year), and Christina in From Berlin to Broadway, featuring the music of Kurt Weill. In addition, two other songs featured in the history lesson are operas you can see locally in the coming weeks. The Gershwins' Porgy and Bess is coming to the Ordway at the end of March, and Frank Theatre is doing The Threepenny Opera in April.

If you work with a school (high school, middle school, or elementary) and are interested in exposing the students to the arts, I highly recommend you contact Skylark Opera to inquire about the Opera Demystified program. It's highly entertaining and educational, and guaranteed to create a few new opera fans.  It worked for me!

"The Fantasticks" and "The Mikado" by Skylark Opera (in collaboration with Mu Performing Arts)

It's (sort of) summer, which means it must be time for Skylark Opera's Summer Festival! Every year they present two shows in repertory, typically classics from musical theater or operetta. The last two years I've attended one of the two shows, but this year I was able to see both. Unlike in past years, there is no overlap in cast or orchestra between the shows. Another new feature this year is that The Mikado is being presented in collaboration with Mu Performing Arts, which continues their tradition of the past few summers of putting a new and Asian-American spin on a classic (they've previously done Into the Woods and Little Shop of Horrors). This year they reinvent Gilbert and Sullivan's The Mikado, famous for not only its music but also its stereotypical representation of Japan. But first up - the world's longest running musical.


The Fantasticks
This small-scale musical opened Off-Broadway in 1960, where it has played almost continuously ever since. I saw it there four years ago in the Jerry Orbach theater (named after its most-famous and well-loved original cast-member), and was absolutely charmed by it. I'm happy to report that Skylark Opera's production is just as charming, funny, silly, smart, wacky, and entertaining.

The Fantasticks is a fantastical story that also rings true. It's a love story, but with a sharp edge so that it's not too sappy. A boy (the charming and charismatic Matt Berdahl) and girl (the equally charming Quinn Shadko, with a lovely voice) fall in love, living next door to each other on opposite sides of a wall. The wall was put up by their fathers (Jeffrey Madison and Paul R. Coate, who are hilarious and sound fantastic together), seemingly to keep them apart. But it's a bit of reverse psychology, as the two are pals who really want their offspring to marry. They arrange a kidnapping with the smooth and seductive bandit El Gallo (Gabriel Preisser, possessing the necessary height, deep voice, and devilish smirk). Everything goes as planned and the couple are happy together. Until the second act, when they get bored with and annoyed by each other. They go their separate ways to experience the world on their own, and find out things aren't so great out there after all.

This is a small cast for a musical, with a small onstage two-person orchestra (Min Kim on harp and Andrew Fleser on piano). There is a bit of stage magic in the use of props and confetti, all supplied by the graceful Penelope Freeh, who never utters a word as she guides the story along (she also nicely choreographed The Mikado). In addition to a lovely and lively score which includes the wistful "Try to Remember" and the love song "They Were You," the play also features some poetic monologues by narrator El Gallo. It's a strange and delightful mix of a play, with music, sword fights, slapstick comedy, a sense of melancholy, a bit of cynicism, and also the hope of young love. No wonder it's the longest running musical in the world!

There is a curious paradox that no one can explain.
Who understands the secrets of the reaping of the grain?
Who understands why spring is born out of winter's laboring pain?
Or why we all must die a bit before we grow again?
I do not know the answer
I merely know it's true
I hurt them for that reason
And myself a little bit, too.


The Mikado
The English writing duo Gilbert and Sullivan are famous for their fast and clever lyrics and witty satirical send-up of the British establishment (see also HMS Pinafore). They set one of their most popular works, The Mikado, in Japan, which "allowed Gilbert to satirise British politics and institutions more freely by disguising them as Japanese" (Wikipedia). In doing so, they also play on stereotypes of Japan, and many productions throughout its history have employed yellowface (casting Caucasian actors as Asian characters). Mu has attempted to remedy the situation by rewriting some of the libretto and casting Asian actors in the main roles, thereby eliminating the offensive stereotypes while keeping the charm and wit of the original piece. I've never seen another production of The Mikado so I can't speak to what has changed, but I like what I saw, and I trust that Mu did it right (because they usually do).

In the fictional town of Titipu, the son of the emperor (or Mikado) is disguised as a traveling musician (a second trombone). Franki-Poo (Phong Nguyen) is looking for his love, Tum-Tum (the adorable Isabella Dawis). Sadly for the lovers, she is the ward and betrothed of the Grand High Executioner Co-Co (Randy Reyes, hamming it up in the best possible way). Because of the complicated laws of the land (which include a mandatory punishment of beheading for the crime of flirting) and Franki-Poo's desire to die if he can't be with Tum-Tum, Co-Co grants them permission to marry for a month, after which time Franki-Poo will be executed and Tum-Tum can marry Co-Co as planned (do you follow?). This crazy plan is approved by Co-Co's right hand man Pooh-Bah (from which we get the term pooh-bah), played by the very entertaining Alex Ritchie. The Mikado himself (an impressive James Ramlet) appears in the second act and plans must be changed. Co-Co woos Franki-Poo's previous betrothed Katy Shaw (Ashley Cutright, with a voice that fills the theater) so that Franki-Poo can confess his true identity, marry the woman he loves, and not be executed (still following?). Yes, it's a silly and convoluted story, but it's great fun. 

The songs are fast and funny, especially those that have been rewritten with modern references. This huge cast of over two dozen sounds amazing when they all join their voices together. Along with the gorgeous 20-piece pit orchestra (directed by Steve Stucky), the sound coming from these singers and musicians is full and lush and layered. I appreciate that Skylark presents their productions "without artificial amplification." In the proper room, with people who know what they're doing, no mics are needed, and it's a refreshing change to hear the pure and natural sound of music.


I would say that if you only have time to see one show in Skylark Opera's Summer Festival, it's a tough choice which one to pick. The more intimate musical with a lovely score and whimsical nature, or the full and lush operetta with the huge cast. But since The Mikado is completely sold out, the choice is easy - see The Fantasticks (which, if pressed, I might choose as my favorite of the two). Only two of the total three performances remain, so act fast! Perhaps Skylark needs to consider a longer run for next year's festival. After creating these beautiful shows, it a shame that more people don't get to see them!

"Wonderful Town" by Skylark Opera at the E.M. Pearson Theatre

This is my second year attending Skylark Opera's summer festival, and I quite enjoy it. It introduces me to classical musicals that I've never seen (or in this case, heard of), which is a great thing for my continued musical theater education. Skylark follows last year's On the Town with another classic Bernstein/ Comden&Green collaboration - Wonderful Town. In addition to the similar names, both are traditional musicals set in New York City, with slightly dated stories but great music (you really can't go wrong with a Leonard Bernstein musical). This year's show features many of the same actors as last year, which in this case is a good thing. It's another well done production of an American classic.

Wonderful Town follows two sisters from Ohio as they move to NYC to pursue their dreams, one as an actor, the other as a writer. They rent a run-down studio apartment on Christopher Street in the West Village, where they meet many interesting characters. They encounter several obstacles to fulfilling their dreams, but this being a 1950s musical (the action takes place in 1935, but the musical was first produced in 1953), they eventually overcome and are successful in life and love. (As Neil Patrick Harris sang at the Tonys, wouldn't it be nice if life were more like theater!)

A few of my favorite things:

• I'm afraid Sarah Gibson is being typecast as the 1940s tough broad after playing a similar role last year and this. But she's so great at it! Her Ruth is my kind of heroine - a tall, strong, independent, capable woman (who therefore knows "One Hundred Easy Ways" to lose a man).
• Sarah Lawrence also returns from last year's festival, playing the pretty, perky, popular blond Eileen, who, unlike her sister, easily attracts men wherever she goes...
• ... including the amusingly diverse trio of the newspaper man Bob (Gabriel Preisser, who sounds beautiful on "A Quiet Girl" and "It's Love"), the nerdy Frank (Paul R. Coate), and the slimy Chick (Riley McNutt).
• The huge ensemble portrays lots of different characters in this colorful city, with several great ensemble dance numbers. I particularly loved the sharp, rhythmic, almost Fosse-like "Swing." (choreography by Penelope Freeh)
• Fantastic period costumes! (designed by Lynn Farrington)
• Last but not least, the fabulous score: clever, catchy, beautiful, silly. I only knew one song, the gorgeous duet performed by the sisters - "Why oh why oh why oh, why did I ever leave Ohio?" (Thanks to Sue Sylvester and her mother, Carol Burnett.) Oh how I love a great big pit orchestra sound!

Ruth (Sarah Gibson) and Bob (Gabriel Preisser)

If you're interested in classic musical theater and opera, be sure to check out Skylark Opera's summer festival, playing for one more week at the E.M. Pearson Theatre on the Concordia University campus in St. Paul. The festival also includes the opera Mlle. Modiste, which I don't plan to see because opera's not as much my thing, and I have a hard enough time seeing all of the musicals and plays I want to! (But you know what Stephen Sondheim says about the difference between opera and musical theater...)

"On the Town" by Skylark Opera at the E.M. Pearson Theatre

As much as I love new, edgy, innovative musical theater, I also love a good classic musical.  On the Town, about three sailors on leave in New York City for 24 hours in 1944, is a classic.  I'd never seen it before on stage (the playbill notes that this is probably the first time it's been professionally produced in the Twin Cities) or screen (for a musical theater fan, I haven't seen many classic old movie musicals).  With my love for musical theater and NYC, it's about time I saw this one!

Skylark Opera is presenting On the Town in repertoire with The Vagabond King in their summer festival at the E.M. Pearson Theatre.  The two shows have overlapping, but not identical, casts and musicians, and different directors and choreographers.  Leonard Bernstein wrote the music for On the Town based on an idea of Jerome Robbins, who also choreographed the original Broadway production (the two most famously collaborated on West Side Story, coming to the Orpheum this summer).  Comden and Green wrote the book and lyrics (and now I understand one more reference in the musical about musicals, [title of show]).

The plot follows three sailors in NYC for one short day: the organized and determined sightseer Chip (Paul R. Coate, who appeared in one of my favorite shows of 2009, Theater Latte Da's The Full Monty), the playboy Ozzie (Jon Andrew Hegge, a constant in the Guthrie's annual production of A Christmas Carol), and the naive farm boy Gabey (Dieter Bierbrauer, a favorite from the Chan, Latte Da, and several other theaters).  While riding the subway, Gabey falls in love with a girl on a poster and is determined to find her.  The boys split up in their search for "Miss Turnstiles," and each meet a girl of their own.  Chip runs into taxi driver Hildy and the two sing a charming duet in which he asks her to drive him to see various sights in NYC, and she slams on the brakes of the cab and tells him it's no longer there, so "Come Up To My Place."  Sarah Gibson as Hildy really looks the part of a tough, tall, 1940s broad, and can really belt out a tune (including the fabulous "I Can Cook Too").  Ozzie meets Claire (Jennifer Eckes), an anthropologist who's studying men in an effort to get them out of her system and settle down with her fiance.  I like that Hildy and Claire aren't your typical movie/musical girlfriends; they're both career women who go after what they want.  Maybe this is a reflection of the times, when women filled the employment vacancies left by men off fighting in WWII.

Back to the main love story.  Despairing of ever finding his "Miss Turnstiles," Gabey laments how lonely the city can be, and the audience is treated to Dieter's beautiful voice in the sad and lovely "Lonely Town."  But since this is a musical, he does find Ivy (Sarah Lawrence), at her singing lessons with the hilarious and boozy Madam Dilly (Kinsey Diment).  They make a date for that evening, but what Gabey doesn't know is that Ivy has a job "dancing" at Coney Island, and she stands him up because she can't afford to miss work.  Gabey is reunited with his friends and their dates, and they take him out on the town and try to cheer him up with the fun friendship song "You Got Me."  It doesn't work, and when he finds out where Ivy is, he takes the train to Coney Island to see her.  The other two couples follow, and on the long train ride they realize how short-lived their romances must be in the poignant "Some Other Time."  Gabey and Ivy reunite and the three couples enjoy the rest of their short time together, in and out of jail.  The sailors say their goodbyes to the girls and the city, as a fresh batch of sailors arrives on shore.  And the story begins anew.

This production features a large and capable ensemble, including Laurel Armstrong and Jake Endres (who opens the show with the low and lovely "I Fell Like I'm Not Out Of Bed Yet"), both of whom recently appeared in Flying Foot Forum's beautiful and moving original musical Heaven.  The ensemble scenes celebrate NYC nightlife and the activities and people of Coney Island.  (They remind me a bit of Annie, which also features ensemble scenes celebrating NYC life.)  There are also a few beautifully choreographed and performed "dream ballet" sequences, one during "Lonely Town" and one when Gabey's riding the subway to Coney Island to confront Ivy.  The traditional orchestra in the traditional pit was great; I love entering a theater and hearing the cacophonous sounds of the orchestra warming up and tuning.  I also loved the 40s era costumes and hats!

This is a perfectly delightful show.  Leonard Bernstein's gorgeous score, Comden and Green's witty lyrics, great performances by all of the leads and a strong ensemble backing them up, and fun choreography.  You can't ask for more from a classic piece of musical theater.