"Anyone Can Whistle" by Minneapolis Musical Theatre at the Conn Theater

It's time to check another Stephen Sondheim musical off my list - the rarely done Anyone Can Whistle. For just six performances over two weekends, Minneapolis Musical Theatre (whose motto "rare musicals, well done" really applies here) is presenting a concert version of this musical that famously flopped when it premiered on Broadway in 1964. This is a smart way to do a lesser known and less successful work by one of the best composer/lyricists in musical theater history. For musicals that are hard to stage or challenging in other ways, a concert version still allows us to appreciate the music and get a gist of the story and characters, highlighting the good parts and jettisoning the bad. Anyone Can Whistle is a weird musical for sure, satirical and absurd in ways that work and ways that don't. But it's a lot of fun to watch in this concert version with a super talented (and mostly new-to-me) cast under the direction of Max Wojtanowicz, with a small but mighty on-stage band. If you're a Sondheim fan, don't miss your chance to see this rare and oddly charming show!

"Passion" by Theatre Latte Da at the Ritz Theater

Updating my Sondheim spreadsheet this morning (because of course I have a Sondheim spreadsheet), I have now seen ten of the 17 musicals for which he wrote music and lyrics, in a total of 31 productions (most of which you can read about here). Can you guess which theater company I've seen do Sondheim the most? Theater Latte Da of course, whom I've seen do seven different shows (they've done more, but a few were before I "discovered" them). I was able to check Sondheim show #10 off my list* this morning thanks to their new production of the rarely done Passion, which Latte Da's Artistic Director and director of this piece Justin Lucero calls "one of the most divisive works in the American musical canon." I can see why it's not done as often as, say, Into the Woods (the Sondheim musical I've seen the most productions of). It's a messy love triangle with not very likable or even at times understandable characters. As Justin notes, it's "not a traditional love story - it's a meditation on obsession, vulnerability, and the aching rawness of human need." It's not a pretty love story, but the score is very pretty, the characters are fascinating and compelling, and Latte Da's production is all-around gorgeous. It's an unusual musical for sure, but that's not a bad thing, in fact in this case it's a very good thing, and I'm grateful to Theater Latte Da for the chance to experience yet another intricate creation by arguably the best musical theater creator of the 20th Century. The messy, tragic, gorgeous Passion continues through July 13 at the Ritz Theater.

"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.

NYC Theater Trip 2024: "Merrily We Roll Along" at the Hudson Theatre

Show*: 1

Title: Merrily We Roll Along

Location: Hudson Theatre

Written By: music and lyrics by Stephen Sondheim, book by George Firth

Summary: The story of three artist friends told backwards - from the unhappy ending to the happy beginning.

Broadway tour of "Company" at the Orpheum Theatre

On my first trip back to NYC after Broadway reopened in late 2021 after an unprecedented 18-month intermission, one of my must-sees was Company. Director Marianne Elliott's reimagining of the 1970 Sondheim musical played West End in 2018-2019 to great success, but had only a handful of previews on Broadway in March 2020 before everything went dark. It finally opened in December of 2021, and this genius production of a brilliant Sondheim creation was worth the wait. Flipping the gender of the main character (which I've been calling for practically since I first saw the show), as well as other slight tweaks, brought this 50-year-old musical into the 21st century with a whole new exploration of relationships and gender roles. I loved everything about it. And now, this brilliant revival is finally here in Minneapolis, but only for one week! Sondheim fans, fans of classic musicals, fans of forward-thinking music-theater - get yourself to the Orpheum Theatre in downtown Minneapolis now! Click here for info (including info about student/educator rush tickets) and to purchase tickets.

"Into the Woods" at the Guthrie Theater

Six years after their stunning production of Sunday in the Park with George, the Guthrie Theater is returning to Sondheim with Into the Woods. It's probably his most frequently produced work; I've seen it eight times now, all local productions in the last 12 years. Based on familiar fairy tales, it's also perhaps the most accessible. But once you're drawn in by the familiar stories, you find that it's surprisingly complex, with themes of good and evil, right and wrong, the consequences of choices, self-interest vs. the common good, and what happens when the fairy tale subsides to reality. It also contains some of Sondheim's most playfully clever lyrics ("while her withers wither with her") and singable melodies (the most famous songs being "Children Will Listen" and "No One is Alone"). For this production, the Guthrie has enlisted Sarna Lapine as director, niece of book writer and original director James Lapine, who obviously has a deep connection to the piece. Her direction is smart, clear, and playful, and the mostly local cast is a joy to watch. Whether you've gone Into the Woods a dozen times, or this is your first time, this production makes it well worth another journey.

"Merrily We Roll Along" by Theater Latte Da at the Ritz Theater

Stephen Sondheim was 91 when he died last November, but it still felt too soon, like there was still more he could do and write and say. But the good news is he left us an incredible body of work, songs and musicals and stories that will never die, as long as there are companies like Theater Latte Da to perform them (which many seem more eager to do in the wake of his recent passing, the Guthrie will produce Into the Woods next summer). Latte Da teased us with a couple of Sondheim cabarets at Crooners earlier this year, and is now opening their 25th season with the lesser produced Merrily We Roll Along. The 1981 Broadway flop was reworked a few times, and has gained popularity over the years*. I knew nothing about it before seeing the show, but I knew that I was in good hands with Theater Latte Da, my favorite interpreters of Sondheim's work. Seeing this production it's hard to imagine why it wasn't an instant hit, but I guess the show took a while to find itself, similar to its characters. The unique backwards storytelling is interesting and challenging and fun, as the pieces fall into place in this story of three friends trying to make it in show business, while still holding on to what matters. As per usual with Theater Latte Da, it's an all-around impeccable production that made me fall in love with this piece and want to see and listen to it over and over again.

"Celebrating Sondheim, Act II" by Theatre Latte Da at Crooners Supper Club

My favorite Sondheim interpreters, Theater Latte Da, return with Act II of their Celebrating Sondheim cabaret series at Crooners Supper Club. And the good news is - there are still some tickets remaining for today's two shows! Click on this link right now to snag one before they're gone, so that you too can experience this beautifully curated selection of songs from arguably our greatest music-theater creator.

"Celebrating Sondheim, Act I" by Theater Latte Da at Crooners Supper Club

A memory popped up on Facebook this morning from 12 years ago: "Stephen Sondheim is a genius. I saw him tonight in a sort of Q&A, and I felt like I should have been taking notes. It was like taking a class in musical theater from one of the masters of the form." Even though I didn't take notes, I did write down what I remembered afterwards, and later that year when I started Cherry and Spoon, I posted it (you can read it here). This is a timely memory because last night I had the pleasure of watching a Sondheim cabaret by my favorite interpreters of his work, Theater Latte Da. 

NYC Theater Trip 2021: "Company" at the Bernard B. Jacobs Theatre

Show*: 2

Title: Company

Location: Bernard B. Jacobs Theatre

Written By: Stephen Sondheim (music and lyrics) and George Furth (book)

Summary: A revival of the Sondheim favorite about a singleton turning 35 in the midst of married couples, but this time the singleton is a woman.

"Into the Woods" at Lakeshore Players Theatre

Lakeshore Players Theatre has been the community theater in White Bear Lake for 65 years. Even though I'm kept very busy by professional #TCTheater, I'm a little ashamed to admit I've never attended an LPT show despite living in the Northeast metro. This spring, they're opening a brand new performing arts facility just off of Highway 61 in downtown White Bear Lake, which speaks a lot to their audience and donor support, as well as to their commitment to continuing and furthering their legacy. This new building, combined with the fact that their first show in the new space is one of my favorite Sondheim musicals, convinced me to make the short drive to finally check them out. I was impressed not only with the new facility, but also with the quality of their production of Into the Woods. Sondheim isn't easy for professional theaters, much less community theaters, but there were zero cringe-worthy moments and they really pulled off this tricky show remarkably well.

"Follies" at Artistry

Artistry's production of Stephen Sondheim's 1971 musical Follies, the final show of their 2017-2018 season, opened two weeks ago, but the Great April Blizzard of '18 caused them to cancel several shows on their opening weekend. I finally had the opportunity to see it this weekend, and it was worth the wait! Having seen the 2011 Broadway revival, I knew what a gorgeous, but complicated, musical Follies is (does Sondheim write any other kind?). During my two-week delay in seeing the show I've been listening to the 2011 recording, so I was primed and ready for this show, and I loved every minute of it. Music Director Anita Ruth's 21-piece pit orchestra, Director Benjamin McGovern's large and talented cast (which includes three Equity actors, perhaps the most I've seen in a single show at Artistry), plus the dazzling design do justice to Sondheim and book writer James Goldman's complicated and beautiful musical. Congratulations to Artistry for tackling tricky Sondheim and pulling it off beautifully!

NYC Trip 2018: "Sweeney Todd" at the Barrow Street Theatre

Show*: 6

Title: Sweeney Todd: The Demon Barber of Fleet Street

Location: Barrow Street Theatre

Written By: Stephen Sondheim (music and lyrics) and Hugh Wheeler (book)

Summary: Stephen Sondheim's story of the murderous barber gets immersive treatment in this Off-Broadway production in a theater that's been turned into a pie shop.

"Assassins" by Theater Latte Da at the Ritz Theater

Someone tell the story
Someone sing the song
Every now and then the country
Goes a little wrong
Every now and then a mad man's
Bound to come along
Doesn't stop the story
Story's pretty strong
Doesn't change the song.

Once again, Theater Latte Da brings us exactly the show we need, right when we need it most (see also Ragtime on the cusp of the election, and last fall's hopeful Man of La Mancha). This time it's Stephen Sondheim's darkly funny and deeply disturbing look at historical presidential assassinations and attempts, and the individuals who perpetrated these horrific crimes. Assassins is not an easy show to watch. It draws you in with the fun carnival atmosphere and the wildly comedic characters, as well as the incredible staging and performances in TLD's production, helmed by #TCTheater's best music-theater director Peter Rothstein. But it will leave you with an unpleasant feeling deep in your gut at the true horror of the crimes the assassins committed, and the world that created them, the world we all live in.

"Sunday in the Park with George" at the Guthrie Theater

Of late, the Guthrie Theater has had a tradition of producing a classic crowd-pleasing musical every summer (most recently: South Pacific, The Music Man, and My Fair Lady). But inexplicably, they have never produced a musical by the great Stephen Sondheim on the main stage. Perhaps it's because Sondheim is not easy, to do or to watch; not as readily familiar and accessible as the classics of the '50s. But Sondheim is the Shakespeare of musicals, and it's about time the Guthrie remedied this gross oversight. They do so in splendid fashion this summer with their stunning production of what is perhaps the musical theater master's greatest masterpiece, Sunday in the Park with George, directed masterfully by Artistic Director Joseph Haj. Sondheim and frequent collaborator James Lapine first joined forces on this piece that won them a Pulitzer Prize, getting their inspiration from the 19th century painting "A Sunday Afternoon on the Island of La Grande Jatte" by Georges Seurat, one of the leaders of the Impressionist movement. Artists being inspired by the work of another artist who lived a century earlier to create art about art. It's pretty meta, and no surprise that it's a favorite among musical theater artists. The Guthrie has assembled a sparkling cast and created a gorgeous design that brings this work of art about art itself to brilliant life.

"Company" by Shoot the Glass Theater at New Century Theatre

"Company! Lots of company! Years of company! Love is company! Company!" So ends my favorite Stephen Sondheim musical, the 1970 multiple Tony winner Company. A new theater company in town called Shoot the Glass Theater has kindly chosen to do this, my favorite Sondheim, on this, my birthday weekend, as just their second show as a company. They're presenting a fairly simple staging and a fairly straight-forward and traditional production at the New Century Theatre, with a talented young cast, some new to me, some familiar. I was thrilled to begin my birthday celebration with Bobby and his crazy married friends. If you're a Sondheim fan, act fast, because they're only doing six shows (discount tickets available on Goldstar).

"Sweeney Todd" by Mill City Summer Opera at the Mill City Museum Ruin Courtyard

In just it's 5th season, Mill City Summer Opera has become hugely successful, with six sold-out performances of fantastic outdoor opera in the spectacular location that is the Ruin Courtyard at the Mill City Museum. And even though this year's selection, Stephen Sondheim's Sweeney Todd: The Demon Barber of Fleet Street, isn't technically an opera, it works beautifully performed by this 30+ member opera company (and orchestra of nearly that many) in this unique location. Only one performance remains, but tickets have been sold out for months, so watch their Facebook page in early 2017 for the announcement of next year's show, and get tickets early!

"Sweeney Todd" by Theater Latte Da at the Ritz Theater

Friends, Theater Latte Da has done it again. They've created a music-theater production that is so stirring and chilling, it's nothing short of brilliant. After the delightfully innovative and stripped-down Into the Woods this spring, they return to Sondheim with a similarly innovative and stripped-down Sweeney Todd: The Demon Barber of Fleet Street. But where Into the Woods was a fun and slightly sinister mish-mash of classic fairy tales, Sweeney is all darkness and death, albeit with a bit of dark humor. Director Peter Rothstein again cast just ten actors in the show, many playing multiple roles and all perfect for the parts, and Denise Prosek leads a pared down orchestra of just four, that still somehow sounds musically full on this gorgeous and disturbing score. With a couple of actors not known for their singing leading this talented cast, and a cohesive look to the set, costumes, and theater space that is well used, this Sweeney is completely engaging and all-consuming, and brilliantly shows what Latte Da can do with not musical theater, but theater musically.

Sweeney Todd is a tale of vengeance and murder, as Sweeney returns to London after 15 years imprisonment for a crime he didn't commit, only to find his wife and daughter gone thanks to the very judge who put him away. His barber business turns deadly as he becomes intent on exacting revenge on those who wronged him. His partner in crime Mrs. Lovett finds a creative way to dispose of the bodies at her pie shop and the two take in the boy Toby, who's just happy to have a home, until he discovers what's really going on. Meanwhile, the young sailor Anthony has fallen in love with Sweeney's daughter Johanna and he and Sweeney team up to get her away from the evil judge. This isn't a happily ever after kind of story so don't expect things to end well, but it's deliciously chilling to watch it all play out.

In Theater Latte Da's production, this sordid story takes place in what looks like a dilapidated carnival. The theme continues from the stage to the lobby of the theater, with slightly off-kilter carnival music playing and donuts sold at the concession stand. Scenic Designer Kate Sutton-Johnson (who also designed the German beer garden fairy tale world of Into the Woods) has built the most terrifying jungle gym you've ever seen on the Ritz Theater stage, complete with ladders, bridges, swings, and a very sinister (yet very cool) slide. The performance space moves beyond the stage as the cast makes great use of the space, wandering through the audience and hanging out with people sitting at the bars on either side. I was afraid they were going to start offering us meat pies (no thank you!). Along with Alice Fredrickson's faded and tattered costumes, and Paul Whitaker's effective lighting design, the whole think has a dark and creepy atmosphere that'll give you chills.

Mark Benninghofen and Sally Wingert
as Sweeney and Mrs. Lovett
(photo by George Byron Griffiths)

Music-theater (as Nautilus and I like to call it) is about character and story first, and music second (even Sondheim himself agrees). With that in mind it makes sense that Mark Benninghofen and Sally Wingert, two of the Twin Cities' best actors but not known for their singing, play the lead roles. Sally already showed us in Cabaret last year that singing is yet another tool in her vast acting toolbox, and her Mrs. Lovett is so funny, cunning, needy, and dangerously motherly. But this is Mark's first performance in a musical, and all I can say is - welcome to the wonderful world of music-theater Mr. Benninghofen, please stay a while! It's almost incomprehensible that someone would decide to do their first musical 30 years into their career, jump right into one of the most challenging and iconic roles, and do so with such aplomb that it seems like he's been performing in music-theater all his life. The entire cast is wonderful, but the show is called Sweeney Todd and it doesn't work without a strong Sweeney, and Mark is that and more. Fierce, ominous, darkly brooding, murderous yet sympathetic, and with a lovely voice too! Mark and Sally together are, as always, a delight to watch and sound like they've been singing Sondheim all their lives, not an easy trick.

Sally Wingert and Tyler Michaels
as Mrs. Lovett and Toby
(photo by George Byron Griffiths)

And now for the rest of the cast, who are known for their singing but are wonderful actors as well. I thought nothing could top Tyler Michaels singing "On the Street Where You Live," but Tyler Michaels as Toby singing "Not While I'm Around" does just that, so soaring and beautiful and moving. And he brings his trademark physicality to the role of this eager limping young lad, and also climbs, jumps, and hangs on the set as a member of the ensemble. The lovely-voiced Sara Ochs is almost unrecognizable and terrifying as the beggar woman with a secret, and also portrays her humanity beneath the madness. James Ramlet makes the Judge a villain you love to hate, and the "Pretty Women" duet is a highlight featuring James' yummy low rumbling timbre on the "bum bum bum bum." Elizabeth Hawkinson's Johanna is delicately lovely, and she sings like a nightingale. Also wonderful are Matthew Rubbelke as Anthony, Dominique Wooten as Beadle (with a bit of humorous pounding on the piano), Evan Tyler Wilson as the pompous barber Pirelli, and Benjamin Dutcher in a number of roles.

If you're a fan of Sondheim, music-theater, or just a really well-told story, Theater Latte Da's gleefully maniacal Sweeney Todd is not to be missed. Everything is perfection, top to bottom. An incredible and fully committed cast, spot-on direction, gorgeous music, and attention paid to every detail (watch for Sweeney's entrance, repeated at the end) to create an all-around stunning production. Playing through October 25, get your tickets now before it sells out.


This article also appears on Broadway World Minneapolis.

"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.

"Into the Woods" at Lyric Arts Main Street Stage in Anoka

The more I see the Stephen Sondheim/James Lapine fairy tale mash-up musical Into the Woods, the more I like it. I'd seen it on stage twice (BCT and Mu) before the big star-studded movie came out a few months ago, which I also enjoyed, but seeing it on stage again is even better. Like most pieces written for the stage, it works better as a stage experience. With repeated viewings, I'm able to appreciate even more Sondheim's clever lyrics and complicated melodies and Lapine's funny and poignant book, which can be best summed up by the statement "be careful what you wish for, you just might get it." A new production* opens tonight at Lyric Arts, a community theater in Anoka that has continued to improve over the last few years. This show continues on that trajectory and is perhaps the best thing I've seen at Lyric Arts, except of course for the fantastic production of my favorite musical RENT last summer. The cast is all-around excellent with not a weak link among them, the production design includes inventive puppetry, and Sondheim's gorgeous and intricate score sounds so beautiful it sent me out of the theater singing and inspired me to finally download the cast recording (OBC, of course). If you have not yet made the drive out to Anoka to visit Lyric Arts, this might be a good time to start.

Into the Woods is a mash-up of familiar fairy tales, but with a twist. We have Cinderella with her handsome prince and missing shoe, Jack and his beanstalk that leads to a kingdom of giants, Rapunzel with her unusually long and strong hair, and a little girl in a red cape going to visit her Granny. Tying these stories together is a Baker and his Wife, who long to have children but were cursed by their neighbor, who happens to be a witch. The witch promises to reverse the spell if the couple completes a series of tasks, which will allow her to become the beautiful young witch she once was. Everyone heads into the woods to accomplish their task, where their stories intersect. At the end of the first act, everyone seems to have accomplished their "happily ever after." But the second act shows us what happens next. Happiness is complicated, actions have consequences, and things are not always what they seem. It's a little like growing up; as children we're told these fairy tales, but when we grow up we learn that life is not like fairy tales, it's complicated and messy, and "sometimes people leave you halfway through the wood." But the good news is, "no one is alone," not even witches and giants.

It's hard to pick out standouts in this large ensemble cast that is excellent across the board, under the direction of Matt McNabb, who also directed the aforementioned RENT, as well as the outrageous Young Frankenstein. Alyssa Seifert is a lovely Cinderella, Nykeigh Larson is at her most adorable as Little Red Ridinghood, Molly Jo Hall is the angelic voice in the tower as Rapunzel, Kyler Chase and Daniel Vinitsky are hilariously pompous and shallow as the dueting princes in "Agony," Joseph Pyfferoen and Kelly Matthews bring much humanity to their roles of the Baker and his Wife, Sam Sanderson is a sweet and open-faced Jack, Lara Trujillo's witch is creepy and deliciously over-the-top, and last but not least, 13-year-old Carter Skull is a great narrator, leading us through this story, always onstage, observing or taking part in the action.

In addition to the great cast, the production elements are all well done. The stage is dominated by a large tree, with wooden stairs and platforms leading from the floor of the stage to the top of the tree, all well-utilized by the cast (set design by Ben Olsen). The animals (and some of the humans) are represented by charming puppets reminiscent of Avenue Q. Most of the puppets don't have legs, and the puppeteers are visible and as much a part of the performance as the puppets. The wolf is particularly fun, with two puppeteers manipulating the puppet and performing an intricate waltz (Kyler Chase and Gabriel Gomez, who also designed the puppets and plays Milky White). Finally, Jeff Geisler's sound design creates some ominously loud giant steps, as well as cool and mysterious echoing effects.

Lyric Arts is a community theater, but their productions are often at professional levels. Now that Bloomington Civic Theatre has transitioned from a community to a professional theater (which seems to be a bit of a blurry line in most cases), Lyric Arts is stepping up to be the top community theater in the region, one that serves as a stepping stone for new young talent. I really can't ask more of a production of one of Sondheim's best musicals than a talented, enthusiastic, and dedicated cast, music that sounds beautiful (music director Louis Berg-Arnold leads a nine-person off-stage orchestra), and creative sets, puppets, sound, costumes, and choreography.

Into the Woods is a musical that tickles your funny bone, tugs at your heartstrings, and challenges your brain, all set to beautiful music. If you've only seen the movie, you owe it to yourself (and the show) to see it on stage, where it was meant to be seen. Into the Woods opens tonight and continues Thursdays through Sundays through March 8 at Lyric Arts on Main Street in Anoka (if you've never been to this theater before, check out my venues page, with info and tips on thirty venues around town).


*Lyric Arts' Into the Woods is the first of two local productions this year. Theater Latte Da will be presenting their version of the show, set in a German beer garden, at the Ritz Theater, opening in March.