Musical Mondays at Lush, July 2025

The last time I went to Musical Mondays, it was the night before the 2024 presidential election. At such an uncertain and scary time, it was so comforting to be there in the welcoming community that is Musical Mondays. Now, eight months later, when the world is even more scary and uncertain than we could have imagined on that night, it still feels so good to gather in community and celebrate artists, music, and being together. Because no matter what, "the world goes round," and so does this monthly cabaret series started by BFFs Max Wojtanowicz and Sheena Janson 13 years ago. This was the 108th installment of Musical Mondays (but only my 23rd), and featured an incredible cast of six talented performers, some old faves and some new faves, supported by an awesome three-piece band. Truly, if you're a fan of local music-theater and you've never been to Musical Mondays, you are missing out on one of the things that makes this community so great. And as I say all the time - if you're a person who casts local musicals, you really should check this out and cast all of these people in your shows! Read on for a summary of this month's show, and make your plans to attend the next show on August 4 (if you can take a night off Minnesota Fringe, which I probably cannot). Watch their Facebook page for the cast announcement and other details.

"Little Shop of Horrors" at the Guthrie Theater

For their summer musical this year, the Guthrie has chosen the cult favorite Little Shop of Horrors. The 1960 B-movie filmed in just two days (per a great article in the program) - turned successful Off-Broadway musical - turned 1986 film starring Rick Moranis, Ellen Greene (from the original Off-Broadway cast), and Steve Martin - finally landed on Broadway in 2003. And 20 years later it's on the Guthrie stage, the first regional theater to produce a Broadway musical in 1983 (per another great article in the program). It's a bit of a departure from the more classic musical fare usually seen at the Guthrie, and it's a risk that has paid off greatly. This production leans heavily into the story's B-movie roots, features a super talented (and mostly local) cast, and is loads of fun while not ignoring the tragic aspects of the story. Visit the Guthrie through August 18 to see this fantastic production of this brilliant little musical, but please, don't feed the plant.

"Hello Dolly!" at the Ritz Theater by Theater Latte Da

Put on your Sunday clothes and head to the Ritz Theater for Theater Latte Da's absolutely joyous production of Hello Dolly! They've set the classic musical in a racially diverse world, which is not untrue to the world of late 19th Century New York, it's just one we don't often see. They've also stripped the typically huge cast and orchestra down to about a third of the size. Though the costumes are scrumptious and the design is charming, there are no trains or trolleys driving across the stage, as seen in the recent Broadway revival and tour. But what this show lacks in size it makes up for in heart and gumption. It's a wonderful new take on a classic that lets the original story and beloved score shine. Hello Dolly! plays Wednesdays through Sundays until March 19, but don't wait too long to get tickets - this one will sell out.

"Beauty and the Beast" at the Ordway Center for the Performing Arts

Here's one thing I'm grateful for this season: after more than three years, the Ordway Original is back! As Executive Producer of the "Broadway @ the Ordway" series Rod Kaats noted in his pre-show speech, the Ordway is one of the few theaters in the country that both hosts Broadway tours, and does original Broadway-scale productions using local talent. There have been some great tours coming through the Ordway (a pre-Broadway SIX, and a little show called RENT in 1997 and many years thereafter), but my favorites have always been their original productions, because #TCTheater absolutely has the talent in cast, creatives, and crew to build a big beautiful show. In 2019 they were on a roll with a fan-freakin-tastic 42nd Street and a terrific Smokey Joe's Café. The extended pandemic intermission interrupted that momentum, but now they're back with a Disney favorite - Beauty and the Beast (which they last produced back in 2019, shortly pre-blog). It is everything I expected it to be and more: an incredibly talented and mostly local cast, a fabulous 12-person pit orchestra, and an all-around impressive design, combining into one enchanting theatrical experience for all ages. The show continues through New Year's Eve but it's a popular one, so book your tickets now and head to downtown St. Paul, which is particularly beautiful this time of a year, for a magical night. Click here for the official ticket site, with prices ranging from $50-$150.

"Buddy! The Buddy Holly Story" at History Theatre

"That'll Be the Day." "Peggy Sue." "Oh, Boy." "Maybe Baby." These iconic songs by '50s rocker Buddy Holly are so much a part of our culture that everyone knows them, even those of us born long after his tragic death in a plane crash in 1959. Buddy! The Buddy Holly Story, a jukebox musical that uses Buddy Holly's music to tell his story, premiered in London in 1989 before crossing the pond to be seen on stages around the country. It's a fitting choice for the History Theatre, which brings varied and sometimes obscure pieces of Minnesota history to life on stage. What does Buddy Holly have to do with Minnesota? His doomed plane was on its way from Clear Lake, Iowa to Moorhead, Minnesota when it crashed, killing Buddy Holly, Ritchie Valens, and the Big Bopper. This production, which premiered at the History Theatre in 2005 and was remounted a few times, is back this year for the first time since 2015, with many returning cast members and creatives (including director Ron Peluso in his final season as Artistic Director). Buddy! is a fun celebration of the all too short life and career of this pioneering rock-and-roller, enjoyed equally by those who remember first-hand his life and death, and those who only know the legend (although the audience skews much more towards the former).* This run of Buddy! continues through the end of the month; click here for info and tickets.

"Twelve Angry Men" by Theater Latte Da at the Ritz Theater

I know what you're thinking: the classic American film and play Twelve Angry Men... as a musical?! It sounded pretty odd to me too when I first heard about it a few years ago, but after seeing Theater Latte Da's world premiere musical adaption (on stage at the Ritz through July 17), I'm sold! It just goes to show that literally any subject can be made into a musical, if done well and thoughtfully by talented artists. Check, check, check. Telling this story that was originally a TV show in 1954 through a modern and musical lens heightens the themes of justice and productive communication. It's still the 1950s on stage, but the cast and creators are aware that it's 2022 in the audience, and this story needs to speak to now, which it pretty geniusly does. Combined with a really interesting jazz score that's seamlessly woven into the dialogue, a simple and classic design, and a diverse cast of 12 talented men, and it feels like this story was crying out to be a musical all along.

"Thunder Knocking on the Door" by Ten Thousand Things at Capri Theater

When I returned home from two weeks in paradise (aka New Zealand) on March 11, 2020, one of the shows I had on my schedule to see that weekend was Ten Thousand Things' production of Thunder Knocking on the Door. That didn't happen, for reasons we are all too familiar with. But now, more than two years later, I was finally able to see it. While they're still unable to tour like they usually do (to prisons, community centers, homeless shelters, and other locations were people don't usually have access to theater), Ten Thousand Things is performing the show at Capri Theater and Plymouth Congregational Church, with pay-what-you-can tickets, and have even recorded a cast album (that never happens in regional theater!). No one does theater like Ten Thousand Things, so accessible, raw, up-close-and-personal, with "All the Lights On," but with the highest quality of performance. This show is a rollicking, feel-good, fairy tale of a "bluesical" that was worth the two-year wait (trite but true). Catch in North or South Minneapolis through May 8 (click here for info, tickets, and to purchase the cast album).

"Puttin' on the Ritz" by Theater Latte Da at the Ritz Theater

After 611 long dark days, Theater Latte Da is finally back performing again in their Northeast Minneapolis home, the Ritz Theater. They opened their 24th season last weekend with a special cabaret concert for subscribers (and me!) and it was such a joyous celebration. I've missed Theater Latte Da's brand of music-theater so much, and am thrilled that they're finally back. The first official show of the season is a remount of their gorgeous annual holiday show All is Calm (seen on PBS stations around the country last year), to be followed by La Boheme in January, nearly two years after the production was shut down after just a few preview performances. Next spring we'll see the area premiere of the 1992 multiple Tony-nominated musical Jelly's Last Jam, and the season will conclude with the world premiere of a new musical adaptation of the classic play Twelve Angry Men, which Latte Da has been developing for several years. Click here for info on their season and to purchase season tickets, or individual tickets for the first two shows, and read on for highlights of last weekend's Puttin' on the Ritz.

"Rondo '56: Remembering St Paul's Black Main Street" at Crooners Supper Club

The story of Rondo, St. Paul's thriving Black neighborhood that was destroyed with the construction of I94 in the '50s and '60s, has been told before (e.g., in History Theatre's 2017 play The Highwaymen), and now it's being told through music. Created by Dan Chouinard in collaboration with T Mychael Rambo, Thomasina Petrus, and Charmin Michelle, featuring music of the era, and utilizing historical photos, Rondo '56: Remembering St Paul's Black Main Street is a celebration of what we had and a memorialization of what was lost. One wonders what our community would look like today if Rondo had been allowed to continue to flourish as an integral part of the greater Twin Cities community, instead of literally splitting it in two and displacing hundreds of Black families. The celebration of Rondo continues today with two performances (click here for details and tickets).

"Crowns" by New Dawn Theatre Company at the Summit Center for Arts and Innovation

It's a new dawn. A new dawn of theater that lifts up unheard voices and tells untold stories. The newest #TCTheater company, aptly named New Dawn Theatre Company, is here for it, leading the way. They have a company overflowing with talent and an ambitious mission to produce three works each year (a play, a musical, and a devised work) that "are by, for and feature women, minorities and members of the LGBT communities." Their inaugural production just opened at the new Summit Center for Arts and Innovation, a former Summit Avenue church that has been converted into a performance space. It's the perfect setting for Regina Taylor's Crowns, a free-flowing musical piece that explores the tradition of wearing hats in the African American community as it relates to spirituality, history, legacy, and family. Theater is my religion and this is my kind of church - a completely mesmerizing and engrossing piece that takes me to another place as if in a dream.

A Cabaret Featuring the Cast of the Ordway's "42nd Street"

Friends, I had the most amazing night at the Dakota Jazz Club last night. The cast of the Ordway's "fan-freakin-tastic" 42nd Street presented a cabaret that lasted for over three hours and showcased the many varied talents of this ridiculously talented cast. As I overheard in the bathroom (a great place to gauge audience reaction), the cabaret was almost better than the show itself. I have decided that the cast of every musical needs to do a cabaret show (this is the 4th at the Dakota, after the casts of Theater Latte Da's Hedwig and the Angry Inch, Park Square's Marie and Rosetta, and the Jungle's Lady Day at Emerson's Bar and Grill). It was a particularly genius idea for this cast that is overflowing with talent from every single member. They get to show off a lot of that talent in 42nd Street, which features tap dancing like I've never seen before, but there's so much more to them all. From poetry (Annie Jo Ermel) and spoken word (Phillip Attmore), to freestyle rap (Rush Benson), to country music (Jarrod Emick), to crooning standards (Tyler Michaels King, Tamara Tunie, Kimberly Immanual), to insane tap-dancing (several members of the cast), to the musical stylings of Music Director Raymond Berg and the band, to the most charming and genial hosting (T. Mychael Rambo, underused in 42nd Street), to whatever magic it is that Jamecia Bennett creates that blows the roof of of whatever room she's in and brings the crowd to their feet, last night was a display of talent unlike anything I've seen before. It truly will go down as one of the best and most memorable evenings of musical performance I've ever experienced.

"42nd Street" at the Ordway Center

Come and meet
Those dancing feet
On the avenue I'm taking you to
Washington Street

Washington Street in downtown St. Paul, the address of Ordway Center for the Performing Arts, is the new 42nd Street. The Ordway Original production of 42nd Street is an expertly updated classic that in three words is: Fan. Freakin. Tastic. I've seen the show several times, but never like this. The show opens with the above familiar refrain, the curtain lifting a few inches to reveal feet moving in classic tap-dancing style. Then producer Julian Marsh says something along the lines of - we've done that before, let's do something new. What follows is something entirely new, while still paying homage to the beloved 1933 movie (adapted to the stage in 1980). These dancers (comprised of local and national talent) are some of the best I've ever seen performing this whirlwind tapping, the lead and supporting actors are divine, and the music is familiar yet excitingly modern. If you're a fan of music-theater, get yourself to "naughty, bawdy, gaudy, sporty" Washington Street as soon as you are able! But hurry, the show closes on August 11 after a too-short three-week run (click here for all the deets).

"She Loves Me" by Artistry at Bloomington Center for the Arts

This was my third time seeing She Loves Me in under a year, and I'm not mad about it. Yes, I would prefer that the people of #TCTheater talk to each other a little more so as not to produce duplicate shows, but it happens (e.g., everyone jumping on the Ordway's bandwagon - the Guthrie producing West Side Story the year after they did, the same for Chanhassen Dinner Theatres and Mamma Mia!). If there's a musical I have to see three times in a year (OK I don't have to, I choose to, because I'm me), I'm glad it's this darling little gem of a musical. Each theater (see also Lyric Arts and DalekoArts) brings their own spin to it, and a different delicious cast. Now playing at Artistry in Bloomington, She Loves Me is definitely worth a visit, whether or not you've seen it on stage recently, or perhaps one of the other iterations of the 1937 Hungarian play (such as the 1940 Jimmy Stewart movie The Shop Around the Corner or the 1998 Tom Hanks/Meg Ryan remake You've Got Mail or the successful 2016 Broadway revival of She Loves Me broadcast live via BroadwayHD). It's a sweet, funny, charming, and relatively egalitarian love story considering when it was written.

"Present" at Illusion Theater

Prior to his one-man autobiographical musical show, T. Mychael Rambo was introduced as "a gift to all of us." So true. I've been a fan of his since I can't even remember when. He's performed just about everywhere in #TCTheater, and he always brings his big beautiful voice and plenty of charisma. It's fitting that he titled his show Present, now playing at Illusion Theater, because watching it is a present (meaning gift), as he reminds us to be present (aware, mindful) in the present (now). Only one week remains of the limited three-week engagement, so act fast to see this joyful and life-filled performance.

"Five Points" by Theater Latte Da at the Ritz Theater

On Hennepin Avenue in Minneapolis, the Broadway tour of Something Rotten! is celebrating the "must see magical new original musical" with a wonderfully ridiculous imagining of the genre's beginnings. A few miles away in Northeast Minneapolis, Theater Latte Da is dedicated to continuing the growth of the musical into the future. Several years ago they committed to developing 20 new musicals by the year 2020 (which is almost upon us). Their latest entry into this project opens this weekend, with the "must see magical new original musical" Five Points, written by #TCTheater's current "it" playwright Harrison David Rivers (his charming immigrant story Crack in the Sky opened at History Theatre last month, and Penumbra will produce his love story This Bitter Earth later this month), with music by NYC-based Ethan D. Pakchar and Douglas Lyons and lyrics by the latter. It's an ambitious story set in Manhattan's Lower East Side in 1863, dealing with themes of immigration, racial tension, war, poverty, and of course, dancing. As always Latte Da has put together a top-notch creative team to bring this story to life, and the result is an exciting musical that's traditional in structure, gorgeously designed, fantastically performed, with many thrilling moments of dance.

"The Wiz" at the Children's Theatre, a co-production with Penumbra Theatre

"Combining CTC's critical literacy work and Penumbra's racial justice work allows us to forge something together that neither could do alone." These words in the playbill of The Wiz, the first collaboration between these two acclaimed #TCTheater companies, brought tears to my eyes before the show even started. Especially after wading through a sea of children of all shapes, sizes, colors, and creeds. In an increasingly divided world, Penumbra (one of the longest-running and most acclaimed African American theater companies in the nation) and Children's Theatre (ditto for children's theater) give me hope, as individual companies and especially in this collaboration in which an all-black cast tells a story of a young black woman who discovers her own power through the help of friends. They give me hope that maybe we can overcome our seemingly insurmountable differences and join together in song and awesome dance to solve our problems. It's possible, right? Can't you feel a brand new day? Indeed I can.

"Children and Art" - A Cabaret Performance by the Cast of the Guthrie's "Sunday in the Park with George" at Lush

In what was essentially a very special episode of "Musical Mondays," the sublime cast of the Guthrie's Sunday in the Park with George (now playing through August 20) gathered at Lush on Monday night for a cabaret performance. Hosted by cast member Max Wojtanowicz (who also co-hosts the usual "Musical Mondays at Hell's Kitchen" on the first Monday of every month), the theme was "Children and Art," and the proceeds of the night went to an organization called Project Success. Partnering with the Guthrie and other theaters in town, Project Success provides support and activities (including theater and the arts) for young people in order to "motivate and inspire them to dream about the future, help them take steps to get there, and give them the tools the need to achieve their goals." A worthy cause, and a wonderful celebration of music.

"Orphan Train" at History Theatre

The History Theatre excels at telling often unknown Minnesota stories, as they did in 1997 with the original musical Orphan Train. At the time, most people hadn't heard of the so-called orphan trains, in which from 1858 to 1929 some 200,000 children were sent west from the East Coast to new homes across the country. The recent New York Times best-selling book Orphan Train has brought more attention to this fascinating bit of American history. Perhaps that's why the History Theatre is bringing back Orphan Train this season. The musical tells fictional stories of orphan train riders based on real events. While it's a bit cheesy and, well, Disney (for lack of a better word), the stories and music brought a tear to my eye on more than one occasion. The wonderful ensemble of seasoned pros and children alike, the excellent folk/Americana score played by a sparse but lovely orchestra, and the moving stories about immigrant orphan children in search of a home is a very affecting combination.

"Jitney" at Penumbra Theatre

Jitney is the first play in the so-called "Century Cycle" that August Wilson wrote, but, set in the '70s, it's the 8th in the series chronologically. Each of the ten plays speaks to the African American experience (which I've learned at Penumbra Theatre is really the American experience) in one decade in the 20th Century. This is only the third Century play I've seen, after Ma Rainey's Black Bottom (set in the '20s) and Two Trains Running (the '60s) in 2011. I seem to recall that Penumbra planned to produce one of these plays every year, or maybe every other, but plans were derailed during their financial setback of 2012. I'm happy that they've returned to August Wilson's work during this, their 40th anniversary season. Penumbra has a long history with August Wilson, having produced his first professional play and more of his plays that any other theater. We are privileged to have Penumbra in our community, and I hope that they continue to do the Century plays until I've seen them all. August Wilson wrote such rich characters and specific experiences that speak to the universal truths of friends and family, love and heartbreak. And Penumbra's troupe of actors is experienced and quite brilliant in bringing these stories to life, as they do in Jitney.

"The Color Purple" at Park Square Theatre

"I think us here to wonder, myself. To wonder. To ask. And that in wondering bout the big things and asking bout the big things, you learn about the little ones, almost by accident. But you never know nothing more about the big things than you start out with. The more I wonder, the more I love."

Alice Walker's 1982 novel The Color Purple is a story so beautiful, moving, inspirational, and epic that it needs to be seen and heard in as many formats as possible. If someone wants to turn it into a Saturday morning cartoon series I'm all for it, as long as it stays true to the spirit of the original. And the 2005 Broadway musical does that and more. I saw the Broadway tour in 2009 and wept like I never have at the theater, so overwhelming is the emotional impact of this story of a woman who is beaten down by life for so many years, yet somehow comes through it all and discovers her own strength, beauty, identity, and sense of self-worth, the emotional impact increased by the addition of music. Park Square Theatre is presenting the first local production of The Color Purple as part of an ambitious and exciting season that includes the addition of a second stage, partnership with theater companies and artists around town, and a greater commitment to diversity and the community. It's a wonderful statement, but more importantly, The Color Purple is a truly beautiful and moving production that brings to vivid life this epic and beloved American story.

The Color Purple is Celie's story, a young, poor, black woman living in rural Georgia in the early 20th century. At 14, she's had two babies by her father, who has "gotten rid of them" and then sells her to a widower who needs a wife to take care of his home and children. The only love Celie knows is that of her sister Nettie, from whom she is separated and not allowed contact. Celie is repeatedly told by everyone that she's ugly and worthless, so of course she believes it. But as the 40 year story plays out, she meets a few women who inspire her and teach her that life can be more than pain and drudgery. Celie's hard-working daughter-in-law Sofia is a strong woman who demands respect, the glamorous singer Shug Avery teaches Celie about love, and Nettie comes back into her life from far away. It's truly remarkable to watch this woman who has gone through so much choose to reclaim her life from those who have belittled and diminished her, and create a happy life with people and work that she loves, and a renewed faith in herself and the goodness of the world. In Celie's crowning moment, just after the woman she loves leaves her, she sings, "Most of all I'm thankful for loving who I really am. I'm beautiful. Yes, I'm beautiful, and I'm here!"

Shug and Celie (Regina Marie Williams and
Aimee K. Bryant, photo by Petronella J. Ytsma)

This brilliant cast of local talent is led by Aimee K. Bryant as Celie, who brings such humanity, vulnerability, and strength to the role. Jamaica Meyer is a newcomer to the Twin Cities theater scene, but she more than holds her own on this stage full of veterans. Her Nettie is ray of light and hope. T. Mychael Rambo is menacing as the cruel Mister, and his portrayal of Mister's breakdown and rebirth make me forgive him against my will. Thomasina Petrus is perfect for the role of Sofia, so strong and funny and just a delight to watch. Darius Dotch is her equal as Harpo, and the two portray perhaps the most loving and healthy relationship in the story. Their duet "Any Little Thing" is especially charming. Last but not least, Regina Marie Williams fully embodies the larger than life character Shug, and the Shug/Celie duet "What About Love?" is a highlight. The entire ensemble (which includes local favorites like powerhouse Jamecia Bennett and the super smooth Dennis Spears) is fantastic in multiple roles, but special mention must be made of the Greek chorus of gossipy church ladies - Ginger Commodore, Shirley Marie Graham, and Samia Butler - an absolute hoot as they patter in gorgeous and intricate harmonies.

The score is a mix of gospel, jazz, traditional African, uptempo playful numbers, and moving ballads, and sounds beautiful under the musical direction of Gary D. Hines (with new orchestrations by Denise Prosek to fit the score to a smaller six-piece orchestra). The sparse stage allows room for the story and characters, with just a few simple set pieces moved on and off the stage to hint at the location. There's also plenty of space for director/choreographer Lewis E. Whitlock III's creative and diverse dance numbers, including a working man's dance dance, lively church dances, and lovely African movement.

The Color Purple is a big Broadway style musical in a more intimate setting with a fantastic local cast. This is such a story of hope, resilience, faith (not in an overly churchy way - this is Alice Walker, a self-described "born again pagan"), community, and love. It's a truly moving and emotional experience to go on Celie's journey of self-discovery with her, led by this awesome cast and creative team. Head to downtown St. Paul between now and February 15 to be inspired, moved, and uplifted by Celie and friends.

 the cast of The Color Purple (photo by Petronella J. Ytsma)

This article also appears on Broadway World Minneapolis.