"Wicked" Broadway Tour at the Orpheum Theatre

OK people, you don't need me to tell you how incredible Wicked is. The 2004 multiple Tony winner is currently the 9th longest running musical on Broadway (closing in on #8 pretty quickly), and I'm not even going to try to guess how many millions of people have seen it or how many billions of dollars it has grossed. It's a smash hit blockbuster by all accounts, but one that deserves every ounce of its success. No matter how many time I've seen it (six, if you're counting), it never fails to thrill and enchant me with it's larger than life set and costumes, endlessly singable score, and most of all, its beautiful message of friendship and standing up for what's right. So I'm not going to describe the show to you (I've done that twice before, here and here), or tell why you should see it while it's in Minneapolis for a month, I'll just note a few things that struck me about seeing this particular production of the phenomenon known as Wicked at this particular time.

"The Baker's Wife" at Artistry

I had a rare experience at the theater yesterday - I went to see a musical I knew nothing about and was absolutely charmed by it. Stephen Schwartz's Wicked may be the 10th longest-running show on Broadway and one of the most "popular" musicals of recent years, but his 1976 musical The Baker's Wife never made it to Broadway and is rarely produced. I'm grateful that Artistry's resident Music Director Anita Ruth was finally able to do her "dream show," and what a dream it is! The absolutely lovely score, the touching story about love and forgiveness, and the cast, led by everyone's favorite Bradley Greenwald and soon-to-be everyone's favorite Jill Iverson, make this a dream show indeed. Head to Bloomington before November 12 and take a chance on an unfamiliar musical, you just might fall in love.

"Musical Mondays" at Hell's Kitchen, April 2016

Last night was the first Monday of the month, which means it's time for Musical Mondays at Hell's Kitchen! If you're a fan of musical theater, you need to attend one of these monthly cabarets featuring fabulous local talent performing musical theater songs, with a different theme each month. But be forewarned - like potato chips, once you attend one you won't be able to stop! Musical Mondays has also become a monthly gathering of the Twin Cities Theater Bloggers; this month I was joined by Gina from The Room Where it Happens, Laura from One Girl Two Cities, and Keith and Carol from Minnesota Theater Love. A good time was had by all as we discussed all things local theater (from impressive abs to impressive new musicals) and enjoyed some fun entertainment over yummy food and drinks. Join us on May 2, when the theme is "the lusty month of May!" Become a fan of the Musical Mondays Facebook page for information on schedule and performers.

"Pippin" at the Orpheum Theatre

The revival of the 1972 Stephen Schwartz/Bob Fosse musical Pippin ran on Broadway for almost two years, closing just a month ago, and won four Tonys and had audiences and critics raving. I saw it last spring and fell in love with the score and the spectacular circus energy of the revival. The circus has since hit the road and I was thrilled to have the chance to see it again, as it stops in Minneapolis for one short week. There's nothing small or subtle about Pippin, it's truly spectacular in the best possible way. Many different artforms are combined - circus, Fosse-style dance, a great score, even a sing-along! And the result is a fantastically creative and entertainingly unique evening of entertainment.

Pippin is very very loosely based on the historical figures Charlemagne, a King in the Middle Ages, and his first-born son Pepin, a "hunchback" who was passed over for his father's thrown. But in this version, Pippin is a lost young man who's dissatisfied with life and searching for something to make his life meaningful. He tries war, the pleasures of the flesh, and an ordinary life, flitting from one thing to the other, but still feeling empty and unfulfilled. In the original production, the story was told through a performance troupe, but in this version it's a circus, complete with contortionists, trapeze, balancing acts, and acrobatics. It's hugely fun and light-hearted, like a musical/comedy/circus version of Game of Thrones with a touch of Monty Python's Spamalot, where dead men talk and come back to life, and battles are a beautiful dance. But the ending takes a dark turn, and we find out that this circus isn't all fun and games; Pippin was being manipulated into playing a part that was already laid out for him. He rejects this role along with the bright lights and magic of the circus life and instead turns to a simpler life defined by him. But there's always someone else waiting to fill the role, and the circus continues without Pippin. I'm not certain if this is an allegory for the allure of show business, or perhaps more generally, the roles that are laid out for us by society that we're expected to play, but that sometimes need to be rejected to find something that's more individually fulfilling.

Sorry for getting serious for a moment there, for the most part Pippin is just a whole lot of fun. The large ensemble cast is a mixture of singers, actors, dancers, gymnasts, and circus professionals, most of whom are some combination thereof. The stage looks like the inside of the Big Top, with poles and ladders that the performers constantly climb on and jump off of in thrilling feats of daring. Magic tricks, fires, trapeze, hoop-jumping, knife-throwing, amazing one-handed handstands, and so much more delight the audience. Revival choreographer Chet Walker has choreographed some brilliantly cool Fosse numbers to the fun and poppy '70s score.

The role of the Leading Player, a sort of ringmaster, is the only role that has earned a Tony for a man (Ben Vereen in the original) and a woman (Patina Miller in the revival). Those are some big shoes, or rather, knee high black boots, to step into, and Sasha Allen does so brilliantly. She owns the stage, as this character must as she directs the plot and manipulates the players to do her bidding. She also has a big gorgeous voice and looks cool doing the Fosse dances. As the title character, Sam Lips is charmingly awkward, sweetly confused, and extremely likable. A couple of Broadway vets shine in supporting roles, including the original Pippin, John Rubenstein, who 40 years later is playing the role of Pippin's father. He obviously has such a level of comfort with the show, and has so much fun with the role. Priscilla Lopez was also seen on Broadway 40 years ago, in the original cast of a little show called A Chorus Line. In what has got to be a dream role for a woman of a certain age, she gets to hang upside down on a trapeze and lead the audience in a sing-along as Pippin's grandmother, and she looks and sounds fabulous while doing so. Also great are Sabrina Harper as Pippin's step-mother, a not so typical housewife (unless you consider Cersei Lannister and Norma Bates typical housewives), and Callan Bergmann as Pippin's spoiled and favored half-brother. Last but not least, the cast features a Minnesota native in Kristine Reese, who is delightfully loopy as the woman who eventually steals Pippin's heart.

The first national tour of the Tony Award-winning Broadway revival of Pippin plays at Minneapolis' Orpheum Theatre through this weekend only, so get your tickets now if you don't want this circus to pass you by.

"Pippin" at The Music Box Theatre on Broadway

The revival of the 1972 Stephen Schwartz/Bob Fosse musical Pippin debuted on Broadway last year and won four Tonys and had audiences and critics raving. It was on my list of shows to see this week, but not very high up because of all the new shows coming out this season. It was actually our second or third choice when we got to the TKTS window Saturday night, but after some indecisiveness, it's what we ended up with. Turns out it may have been the best decision we made all week! Pippin is truly spectacular in the best possible way. Many different artforms are combined - circus, Fosse-style dance, a great score, even a sing-along! And the result is a fantastically creative and entertainingly unique evening of entertainment.

Pippin is very very loosely based on the historical figures Charlemagne, a King in the Middle Ages, and his first-born son Pippin, a "hunchback" who was passed over for his father's thrown. But in this version, Pippin is a lost young man who's dissatisfied with life and searching for something to make his life meaningful. He tries war, the pleasures of the flesh, and an ordinary life, flitting from one thing to the other, but still feeling empty and unfulfilled. In the original production, the story was told through a performance troupe, but in this version it's a circus, complete with contortionists, trapeze, balancing acts, and acrobatics. It's hugely fun and light-hearted, like a musical/comedy/circus version of Game of Thrones with a touch of Monty Python's Spamalot, where dead men talk and come back to life, and battles are a beautiful dance. In the end, Pippin rejects the circus for his real life, but the circus lives on in our imaginations, always there when we need it.

Ciara Renee and Kyle Dean Massay
have taken over the roles of Leading Player and Pippin

The huge ensemble combines artists of many talents - circus performers, Broadway dancers, and singers. Most of the original cast remains one year later, with three important exceptions. Patina Miller and Andrea Martin, who both won Tonys for their portrayals of the Leading Player and Pippin's grandmother, and Pippin himself. Annie Potts (if you're a fan of 80s sitcoms like I am, you'll remember her from Designing Women) took over the role of the grandmother in January, and she's fantastic, literally singing while hanging upside down from a trapeze (I told her I want to be her when I grow up). Ciara Renee as the Leading Player and Kyle Dean Massey as Pippin are only in their second week of performances, but you'd never know it. Ciara owns the role and is a commanding, confident, and entertaining ring leader of this crazy circus. Kyle's beautiful voice (I saw him Next to Normal a few years ago) is perfection on these songs, and he has the awkward grace of this boy who becomes a man. Also fantastic are original cast-members Terrence Mann as Pippin's father the King, Charlotte d'Amboise as his stepmother (with some head-spinning quick changes), and Rachel Bay Jones as the charmingly loopy woman who wins Pippin's heart. And then there are a couple dozen gorgeous and talented women and men moving around the stage in all kinds of wonderful ways, and one precocious little boy (Ashton Woerz) who sings a capella alone in the center of a Broadway stage.

I really love this score, even though I'd never heard any of the songs before, and will definitely be downloading it. There's Pippin's lovely ballad "Corner of the Sky," the singalong "No Time at All," and the 70s-feeling "Love Song." There are some pretty incredible Fosse-inspired dance numbers, and one jaw-dropping moment after another. It's just good old-fashioned entertainment. Even though I'm a fan of the smaller, more intimate music-theater pieces (like Violet which I saw earlier in the same day), a big beautiful spectacle of a show like Pippin can be so much fun when performed to creative perfection as this one is. It's a revival (directed by Diane Paulus, with her third brilliant revival in a row - see also Hair and Porgy and Bess) that manages to pay tribute to the original and still bring something fresh and new and original to the piece. If you find yourself in NYC, this show is one that cannot be missed. But don't worry, Pippin is coming to us in Minneapolis - the tour will stop at the Orpheum for a week in February next year. Trust me, you'll want to get your tickets to this one as soon as you can!

"Godspell" at Lyric Arts

Godspell is one of those well-known musicals that I've never seen. It's also the first musical with music and lyrics by Stephen Schwartz, who wrote one of my favorite musicals, Wicked. So I was curious to see it, and showed up at Lyric Arts not knowing much about the show or any of the songs (although a few were familiar once I heard them). I found it to be fun and entertaining, with some great songs of various styles, energetically performed by a cast that is obviously having a blast. It's unabashedly corny (e.g., characters touching each other on the nose as a sign of affection), but that's not a bad thing, in fact it sort of revels in the corniness. Godspell is not going to be joining Wicked on my list of favorite musicals, but it's cute and fun with catchy tunes (I can't stop singing "Day by Day").

Godspell is sort of a musical comedy version of the life of Jesus and his followers, with the parables he tells them forming different little skits and songs as they all act out the stories. The show begins with everyone on their cell phones, individuals in this modern world. They soon throw away their phones and come together to listen to and learn from Jesus. The show is overall pretty light-hearted in tone, almost campy at times, with a brief somber moment when Jesus dies. But it ends on a high note, with everyone returning to stage and sharing the joy and love of this community they've built.

Being unfamiliar with the show, I looked for parallels to shows I do know, and I found one in Hair. Godspell premiered off-Broadway in 1971, just a few years after Hair rocked the musical theater world (literally and figuratively). I can see a lot of similarities between the two pieces - a tribe of friends with similar ideals trying to change the world, a loose plot structure more like a series of skits and unrelated songs on a similar theme, a leader who dies in service to his people and then comes back for a glorious final anthem, and an overall message of peace, love, and harmony. In a way, Jesus was the original hippie, with his long hair and sandals, preaching peace, love, non-violence, and community. Godspell is like Hair without the sex, drugs, and nakedness (in other words, not quite as much fun ;).

the cast of Godspell

Director Robert Neu gracefully leads his talented ten-person cast through this high energy and musically challenging show. Other than Jesus (Colin Hutchins) and John/Judas (Charles Goitia), there are no characters as such, rather a group of followers going by each actor's name. Each one gets their moment to shine, and rises to the occasion (standouts include the high schooler Zach Marleau, a total ham in the best possible way, and Quinn Shadko, with a lovely classically trained voice and great onstage presence). But the best part is when they're working as a group, ad-libbing and joking with each other in the moments between scenes. It's almost more fun to watch these side conversations than the main action. The cast is obviously very comfortable with each other and have worked hard to achieve that camaraderie along with the musicality. Another fun aspect of the show is its interactive nature. Audience members are occasionally brought up on stage to participate, and the cast hangs out during intermission to mingle with the audience. This is the kind of thing I enjoy watching but dread being forced to participate in, so I was happy to observe from my inside seat.

The costumes (by Samantha Fromm Haddow) are odd and colorful and quirky, and provide some individuality to the cast of nameless characters. The set (by Kirby Moore) is a series of grey stone blocks and steps that allows the cast plenty of room to play. And the four-piece band capably leads the cast through the diverse musical styles.

Lyric Arts' production of Godspell is a cute, fun show with a talented energetic cast that is having as much fun as the audience. Playing through March 16 with discount tickets available on Goldstar.

"Wicked" at the Orpheum Theatre

Wicked is not just a musical, it's an international phenomenon. Ten years after it opened on Broadway, it continues to sell out both on Broadway and on tour, and is number 11 (and climbing) on the list of longest running Broadway musicals. It has spectacular sets, fantastical costumes, and a huge moving dragon above the stage. But as many musicals have demonstrated, a big flashy production does not make for a great musical. The truly wonderful thing about Wicked is that in addition to all of the hoopla, it's a really great piece of theater. The Stephen Schwartz score is fantastic, with clever lyrics and endlessly singable tunes, the story is inspirational, and the characters are relatable; it's both showy and satisfying. I've seen it four times now, and listened to the score hundreds of times, and it never fails to move me. Several moments in the show are guaranteed to give me chills and bring tears to my eyes (namely, when Elphaba first takes flight in "Defying Gravity," and when she and Glinda sing about their friendship in "For Good"). Whether it's your first time seeing it or your 100th, Wicked is an unforgettable experience. In short, it's a nearly perfect musical.

The National Tour of Wicked is stopping at the beautiful and historic Orpheum Theatre in downtown Minneapolis for a six-week run through the end of October. In case you've been living under a musical theater rock for the last ten years, here's a brief plot summary. Wicked is based on the book of the same name by Gregory Maguire, which is a re-imagining of The Wizard of Oz by L. Frank Baum. In this new mythology, before Dorothy and her house land in Oz, Glinda the good witch and Elphaba the wicked witch are two young women who find themselves roommates at school and become unlikely friends and allies. All is not right in the land of Oz; human-like Animals are seeing their rights and voices taken away. Elphaba discovers that the Wizard is behind all of this, and becomes a fugitive as she works against him to free the Animals. Glinda is seemingly on the Wizard's side, but the two never lose their connection, despite both loving the same man. The romance is compelling but it is refreshingly not the focus of the show; Wicked is really about the friendship between these two very different women and each of them discovering who they are, and helping each other in that discovery ("Because I knew you, I have been changed for good"). Anyone who's ever felt like an outcast in any situation can relate to Elphaba; she's a wonderful inspiration, especially for girls to grow up as strong women ("I'm through accepting limits, 'cause someone says they're so. Some things I cannot change but 'til I try I'll never know"). Wicked explores the ideas of good and wicked ("are people born wicked, or do they have wickedness thrust upon them?") and the fact that in real life (and sometimes in musicals) it's never as simple as good and wicked, there's a lot of room in between where most of us live. Like Fiyero, Wicked is much deeper than its beautiful exterior might imply.

Alison Luff and Jenn Gambatese as the
unlikely best friends

The original Broadway cast is a tough act to follow (including Idina Menzel, who won a Tony for playing Elphaba, Kristin Chenowith, Norbert Leo Butz, and Joel Grey), but this cast does a phenomenal job of living up to the standards they set. Alison Luff is the star of the show as Elphaba, with a powerful voice and a believable transition from green misfit to political-activist-slash-wicked-witch. Jenn Gambatese is perfectly Glinda-like, which is delightfully bubbly but with a bit more depth as she discovers that getting your dreams is a little more complicated than it seems. Curt Hansen (from the first national tour of Next to Normal) is an appealing Fiyero who understandably makes all the girls fall for him. A couple of TV stars shine on the stage. Guiding Light's Kim Zimmer is enthusiastically evil as Madame Morrible, and '80s game show host John Davidson (who still has that gorgeous head of hair, now turned white) is a charmer as the Wizard who isn't what he seems, providing much of the biting social commentary ("there are precious few at ease with moral ambiguities, so we act as though they don't exist"). Supporting them is a huge ensemble of talented singer/dancer/actors who embody everyone from the green-clad citizens of Oz to flying monkeys.

As I mentioned, the sets and costumes are incredible. From the school uniforms at dear old Shiz, to the black and white party outfits (men in skirts!), to the circus-like green-hued wardrobe in the Emerald City, the costumes (by Susan Hilferty, who won a Tony for her work) just keep getting better throughout the show. The more spectacular elements of the set (by Eugene Lee, another Tony-winner) include the aforementioned dragon (who doesn't really figure into the plot, but looks cool), a bubble transport device for Glinda, and the huge talking wizard head. A clockwork motif runs through many of the sets, as if you're in the inner workings of some huge machine.

Wicked features over the top sets and costumes, but it has a fantastic score and great story and characters to back it up. The production doesn't overwhelm the content, but enhances it. It's that rare musical in which all of the different artistic pieces come together to form a wholly satisfying theatrical experience. Unfortunately it's the most expensive theater ticket it town, which makes it inaccessible for some people. But if you can afford it, it's worth the money. (Or try your luck for $25 tickets in the daily lottery.) Unlike the first time it came to town seven years ago, it is not completely sold out, although weekend tickets are scarce. Visit Hennepin Theatre Trust's page to find more info about how to get your ticket to this wonderful world of Oz.

"Wicked" at the Orpheum Theatre

Wicked! It’s one of my all time favorites, even though this is only the third time I’ve seen it. I’ve loved the soundtrack since I saw the show for the first time on tour in 2006, and haven’t been able to stop listening to it (and singing along) since! For those of you who don’t know, Wicked is based on the book of the same name by Gregory Maguire, which is a retelling of the story of the witches in The Wizard of Oz. But that’s really only a starting point; it’s an entirely new creation. Stephen Schwartz (music and lyrics) and Winnie Holzman (book) took this dark and complicated story and made it lighter and simpler, without losing the weight of the story. Both are truly remarkable transformations, as Maguire’s book has little resemblance to L. Frank Baum’s world of Oz, and the musical took the book and went in an entirely new direction. It’s really one of the most perfect musicals, it has everything!

Seeing Wicked live is an entirely different experience than listening to the soundtrack. It’s a true spectacle (in a good way). The set is amazing, complete with a dragon hanging over the audience, a huge mechanical wizard head, flying monkeys, and lots of moving pieces and gears. The costumes are outrageously gorgeous. From the green and white striped school uniforms of Shiz, to the black and white dance clothes, and my favorite, the amazing green dresses of the Emerald City! And the hair is just crazy. But the reason this entire spectacle works is that there’s great substance behind it. As I mentioned, the music is rich and beautiful and fun. But it’s really the story that holds it all together. Wicked is not just about the good witch and the bad witch; it’s about friendship, finding where you fit in, and standing up for what you believe in, no matter what anyone tells you. And that’s something I think everyone can relate to. I certainly can; Elphaba is close to my heart – I consider “I’m Not That Girl” my theme song. ;)

This touring cast is extremely talented. Both Vicki Noon as Elphaba and Rachel Potter as Glinda (the understudy), have the vocal chops required for these two roles. Vicki stopped the show on several occasions: “The Wizard and I” and especially “Defying Gravity.” TV and movie vet Don Amendolia made for a charming wizard. Behind them was a talented ensemble of dancers and singers. Lucky for me I get to see this cast again tomorrow night! They’re performing in a cabaret called "Witches Night Off" to raise money for the Minnesota AIDS Project.

I'll leave you with one of my favorite quotes from the show (did I mention the show also features some biting social commentary?):

“The truth has nothing to do with facts and reason. The truth is what people agree on. Where I’m from we believe all sorts of things that aren’t true. We call it history.”