"Guys and Dolls" at Chanhassen Dinner Theatres

When the Guthrie did Guys and Dolls as their summer musical in 2019, I wrote that the Guthrie should not be doing a dated musical like this. The Guthrie should be doing the Sondheim masterpiece Sunday in the Park with George (as they did in 2017), a stunningly relevant Cabaret (last summer), and regional premiere musicals like Come From Away (coming this summer). But Guys and Dolls, which is a beloved, well-known, and comforting classic, is exactly the kind of show that Chanhassen Dinner Theatres, the comfort food of #TCTheater, should be doing. I still think the show is dated and misogynist and chock full of gender stereotypes from the title to the characters to the lyrics, but as summer escapist entertainment, it's fantastically fun. It wasn't that long ago that the Chan did three regional premiere musicals in a row (The Prom, Jersey Boys, and Beautiful), so I hope that they continue to mix in some newer shows, but a return to this classic that they first did in 1969, just the second year of the theater, and last did in 1989, is not a bad choice. And Tamara Kangas Erickson, in her main stage directing debut, has assembled an incredibly talented cast of Chan favorites and also newcomers to the Chan. The highlight of the show is the outstanding choreography and this infectious score full of endlessly singable songs that are just delightful, as long as you don't pay too close attention to the lyrics. Guys and Dolls plays all spring and summer and into September, so you have plenty of time to head West and see a really great production of a classic; the Chan really can't be beat for group dinner-and-a-show outings.

"Grease" at the Chanhassen Dinner Theatres

I'd been looking forward to the opening night of Grease at the Chanhassen Dinner Theatres for weeks, months even. It's always the best press night in town - free food and drinks, a welcoming and celebratory atmosphere, the bloggers are seated at a table together, and it's always a high quality production - and Grease is a classic and always fun show. But everything changed two days before opening when it was announced that Michael Brindisi, longtime Artistic Director and co-owner since 2010, died suddenly after a brief illness. It's a devastating loss for his family (including wife Michelle Barber, daughter Cat Brindisi, and son-in-law David Darrow, all of whom are talented and beloved members of the #TCTheater community in their own right), the people he's worked alongside of for decades, artists he's mentored and to whom he's given life-changing opportunities, and those of us in the larger community who know him mostly through his work. But it's eerily fitting that he died doing what he loved - directing a musical that meant so much to him, that started his career when he was cast in a tour in the 70s. And it also felt appropriate that while that grief and shock is fresh in all of our minds and hearts, we were able to gather in a room and be together, laugh together, cry together, celebrate his life and legacy together. Grease is scheduled to run through early October, followed by a remount of White Christmas which he directed just previous to this show, so whatever the future of Chanhassen Dinner Theatres looks like, his work will live on on that stage for the next year through these shows, and forever in the community that he created and the culture he fostered (which by all accounts is welcoming and respectful and supportive) and the artists he inspired. I can't imagine what it was like for the cast to go on and perform this show the night that they heard their leader was gone, and the next night, and the next. But rest assured that this cast is giving their whole hearts, souls, gorgeous voices, comedic chops, and hand-jiving bodies to this show to make their leader proud, and I know he is.

"Irving Berlin's White Christmas" at the Chanhassen Dinner Theatres

It may still feel like summer outside, but winter has arrived at Chanhassen Dinner Theatres! The #TCTheater holiday* season begins early this year with their production of Irving Berlin's White Christmas, a nostalgic and heartwarming charmer. And demand for it is high - the show is already virtually sold out in the months of November and December (more availability in October and January). Audiences will be rewarded will a ridiculously talented cast, familiar and beloved Berlin tunes (more than we hear in the movie), thrilling dance numbers, and an overall warm glow that'll prepare us for holiday celebrations and (hopefully) a snowy winter to come.

"The Prom" at Chanhassen Dinner Theatres

This late winter/early spring, Chanhassen Dinner Theatres is bringing us the regional premiere of a new original modern-day Broadway musical, a bit of a step outside their comfort zone of classics and retro pieces (like the recent '80s-set Footloose, which ran for a full year). But what a great and exciting choice The Prom is - a musical that’s all about love, inclusion, acceptance, friendship, community, and seeing the goodness and worth of all humans regardless of who they are or whom they love. It's a beautiful and necessary message, with recent threats to LGBTQ+ and transgender rights. The Prom shows is that we all belong, we all deserve to go to the prom exactly as we are, we all deserve to love whom we chose to love, be who we truly are, and be happy. That's not so radical, is it? Despite the modern message, The Prom is in many ways an old-fashioned classic musical, with big dance numbers, broad comedy, Broadway references, and a fantastic and mostly upbeat score that'll send you out into the cold singing, with a heart warmed from this beautiful story. But unlike many of their open-ended shows, this one has an end date - June 10. So don't wait too long to get your tickets and head out to the Western suburbs for this super fun and heart-warming show. Click here for info and tickets, and keep reading for information on discount tickets at the end of this post.

"Little Women: The Broadway Musical" at Artistry

After cancelling their originally scheduled opening weekend due to a positive COVID test in the vaccinated cast (statistically speaking, this was bound to happen somewhere amongst the many shows in production right now, even with a low breakthrough rate), Artistry finally opened their production of Little Women: The Broadway Musical. Louisa May Alcott's classic story of four very different but loving sisters has stood the test of time and many adaptations. While this is not my favorite adaptation of the story, it's still a heart-warming tale, and the talented cast and creative team make the most of the material.

"The Music Man" at Chanhassen Dinner Theatres

Chanhassen Dinner Theatres opened their production of The Music Man in early March of 2020, when I was out of town on vacation in paradise, aka New Zealand. I was scheduled to see it mid-March when I returned, but we know how that story goes. Fast-forward through 16 long months to their re-opening a few weeks ago, and I was finally able to see the show. It was only my second time inside a theater since I left town in late February of 2020, and my first large-scale musical with a full house. I attended with my mom, aunties, and cousins, and in the middle of the first act one of them leaned over to me and said "it's so good I can hardly stand it!" I couldn't agree more. It was a very emotional experience for me, watching a huge group of talented performers (many of whom I've watched on stage for years) doing what they do best, with a few hundred people in the same space experiencing it live. Something that I used to take for granted, but no longer will. And I can't think of a better show with which to return than The Music Man, a celebration of the importance of music, community, connection, and working together towards a common goal, all things that have been sorely missing of late. It's a fantastic production from start to finish, and such a joy to be back. Tickets are on sale through the end of the year, so make your plans to visit River City!

"Mamma Mia!" at Chanhassen Dinner Theatres

I fell head over heels for the Ordway Original production of Mamma Mia! last summer, calling it "fantastically fun and surprisingly moving, performed by a mostly local and all fabulous cast." So when I heard that Chanhassen Dinner Theatres had chosen it as their summer 2019 production, I thought, so soon? why? The answer is that it's an inherently fun and feel-good show show, and while the Ordway production still holds a special place in my heart, it only ran for two weeks and the Chan reaches a much larger out-state audience. There's room for two big, beautiful, fantastically fun Mamma Mia!s in this town. What I love most about this show is that it's very female-forward. Yes there are male characters, but it's truly about the women's stories. Better yet, it's about women loving and supporting each other, not competing with each other. The true love story at the heart of this piece is the love between parent and child, the love of lifelong female friendships. I can't think of any better message to celebrate this summer.

"Holiday Inn" at Chanhassen Dinner Theatres

Christmas may be over for another year, but that doesn't mean we have to stop celebrating. After all, Christmas is only one of many holidays celebrated around the world, and only one of the seven holidays celebrated in Chanhassen Dinner Theatres' gorgeously fun production of the Broadway musical Holiday Inn. Based on the 1942 Bing Crosby/Fred Astaire movie of the same name, the musical debuted on Broadway in 2016, and is now receiving its Minnesota premiere. This is the kind of thing that Chanhassen does best - a big splashy musical with wonderful recognizable music and fantastic dance numbers. If you didn't see it this holiday season, don't worry, it's still playing through February 23, and there are still plenty of holidays to celebrate.

"Newsies" at Chanhassen Dinner Theatres

The Children’s Crusade: kids walk out of their jobs or schools to take to the streets and stand up for what they believe in, for a fairer and safer world. Does this describe recent current events, a historical event, or the plot of a Disney musical? Trick question - the answer is all of the above! At the same time that the children of Stoneman Douglas High School, the site of latest tragic school shooting, are leading children across the country in making their voices heard, Chanhassen Dinner Theatres is presenting the regional premiere of Newsies, a new musical adaptation of the 1992 Disney movie based on the historical newsboy strike of 1899. As is happening today in real life, the kids involved the historical strike and the characters in the musical demand that the people in power listen to them in their call for justice. But the latter group does it with music and fabulous dancing. Children truly are our hope for the future, and Newsies celebrates that idea while providing a fun, entertaining, and inspirational show.

"Camelot" at Chanhassen Dinner Theatres

The rain may never fall till after sundown.
By eight, the morning fog must disappear.
In short, there's simply not
A more congenial spot
For happily-ever-aftering than here
In Camelot.

Even in a musical, this idyllic world cannot last forever. The problems of the real world - war, greed, betrayal - come crashing in despite the legendary King Arthur's dreams of peace. Perhaps turning a blind eye to reality is not the best way to keep the peace, but it sure was nice while it lasted. Even though I have some issues with the book, Chanhassen Dinner Theatres beautifully brings the mystical and idyllic world of Camelot to life with gorgeous design, a fantastic cast, and beautiful music.

"Hello Dolly!" at Chanhassen Dinner Theatres

Everyone loves Dolly. The title character of the popular musical Hello Dolly! is a matchmaker, dance teacher, entrepreneur - basically a woman who knows how to get things done. She "puts her hand in" here and there, and makes people's lives better with her helpful manipulative ways. You can't help but love her, and you can't help but love the Chanhassen's shiny new production of this 50 year old musical. It's charmingly old-fashioned, with a fantastic cast from the lead to the supporting players to every last member of the ensemble, wonderful dance numbers, gorgeous period costumes with those all important extravagant hats, and familiar music beautifully played by the orchestra. It's silly and fun and adventurous - a grand old time.

It's the late 19th Century in New York City, and Dolly is tired of working to make everyone else's lives better at the expense of her own. She decides to marry the noted "half a millionaire" Horace Vandergelder, and asks her beloved deceased husband for a sign to move on. In order to catch the gentleman, who is one of her clients, she sabotages the other matches. He's supposed to marry the widow Irene Molloy, owner of a hat shop, but Dolly quickly squashes that. Instead Irene falls in love with Horace's employee Cornelius who, along with his friend Barnaby, has come to New York City for an adventure. Said adventures include a parade, a dinner they can't pay for, a quick trip to jail, and falling in love. But this is Dolly's story, and when Dolly decides she wants something, she gets it, for better or worse.

Highlights of the show include:

the mother/daughter act - Michelle Barber
as Dolly and Cat Brindisi as Irene

• As I said, this is Dolly's show, and Michelle Barber owns the role and ably leads the show. The highlight is Dolly's moment "Before the Parade Passes By," her declaration to live her life to the fullest. But another wonderful moment is the title song, when Dolly is being serenaded by singing waiters. Michelle is so easy and comfortable in the role as she makes her way across the stage and through the audience, shaking hands, kissing my table-mate on the head, sharing little asides and knowing winks with the audience. She just is Dolly.
• The Chanhassen has always been a family affair, and never moreso than in this show. Michelle's husband, by the way, is the Chan's Artistic Director and director of this show, Michael Brindisi. And their daughter, Cat Brindisi, is making her adult debut on the stage on which she grew up, after proving that this is no act of nepotism with brilliant turns in such shows as Aida and Hair (by a theater company she co-founded). As Irene Molloy (a role her mother played the last time the Chan did this show), Cat is strong and spirited, and provides a quiet, lovely moment in the otherwise busy and high energy show with the song "Ribbons Down My Back." As my companion said, I only wish she had a chance to sing more.
• "It Only Takes a Moment" to fall in love with Tyler Michaels and his unique performance style, and if you haven't already done so in one of his previous appearances, most recently as the Emcee in Cabaret, Prince Eric in the The Little Mermaid, or Freddie in My Fair Lady, you will here. Watching him dance badly as Dolly teaches Cornelius to dance is more fun than watching most people dance well. He brings an awkward grace and boundless enthusiasm to the role of this young man who's determined to have the night of his life.

the boss and his hard-working employees
(Keith Rice, Adam Moen, and Tyler Michaels)

• Who else but Keith Rice, a longtime favorite at the Chan, could play Horace? Even though "It Takes a Woman" may be the most sexist song in musical theater history, it's somehow almost charming coming out of the mouth and person of Keith Rice. The last time I saw Helly Dolly! I did not get the appeal of Horace at all, but I do now. Of course no man is quite good enough for our Dolly, but he'll do.
• Several actors shine in smaller roles. As second fiddle Barnaby, Adam Moen holds his own with Tyler and is quite charming himself, and the two often dance and move in perfect unison. Jessica Fredrickson is sweet and adorable as Irene's assistant and friend, and as Horace's niece Ermengarde, Krysti Wiita wails perfectly on pitch. As per usual, Kersten Rodau steals her few brief scenes as Horace's (mis) match Ernestina, turning her beautifully powerful voice into something hilariously grating.
• All elements of the production are top-notch, from Tamara Kangas Erickson's choreography perfectly and precisely performed by the ensemble (oh, those dancing waiters!), to Rich Hamson's gorgeous costumes (spats! hats! gowns!), to the simple set by Nayna Ramey that lets the show shine, to Andrew Cooke's always wonderful onstage orchestra (with banjo!).

This fun, charming, entertaining, perfectly cast, and well performed classic musical plays all winter. The weather may be getting colder, but it's always warm and pleasant at Chanhassen Dinner Theatres*. Dolly will never go away again... until February, when Mary Poppins takes her place.

the cast of Helly Dolly! (all photos by Heidi Bohnenkamp)

*If you happen to go in the next month or so, you should also head over to the Arboretum for TigerLion Arts' lovely and poignant outdoor walking play Nature, about the friendship of Ralph Waldo Emerson and Henry David Thoreau.

"Joseph and the Amazing Technicolor Dreamcoat" at the Chanhassen Dinner Theatres

celebrating 45 years at the Chanhassen
(can you name the actor who appears
three times, and the actor currently
starring in a Broadway musical?)

On last week's episode of A Prairie Home Companion from Town Hall in New York City, Garrison Keillor said a good musical can "pick you up and throw you up in the air." The Chanhassen Dinner Theatres' new production of Joseph and the Amazing Technicolor Dreamcoat is just such a show. While I was a little disappointed that they chose to do this show for the third time in the last seven years, I can see why they picked this one to repeat. In addition to being a big commercial success for them, it's a fun, light, happy show - just what you want to see in the summertime (that is hopefully coming). With a super high energy cast, great performances in lead and featured roles, fantastically performed music, and a colorful set and costumes, it's fun for all ages. You will leave the theater feeling a little lighter. And hopefully the success of this five-month run will give them the freedom to choose something a little bit risky and interesting for their next show.

Written by Tim Rice and Andrew Lloyd Weber in the late 1960s, Joseph and the Amazing Technicolor Dreamcoat is based on the biblical story of Joseph, youngest and favored son of Jacob.  He was sold into slavery by his jealous brothers, but because of his talent for reading dreams, he rose to power as the Pharaoh's second in command.  He led the country through bounty and famine, and forgave his brothers when they unknowingly came to him for help. In other words, it's just a fun romp about slavery and famine. This is an entirely sung-through musical, with no spoken dialogue. It's pretty intense musically, and the almost thirty-person cast and nine-piece onstage orchestra (under the musical direction of Andrew Cooke) sounds full and fantastic.

Some highlights of the show:

• The show may be named after Joseph, but the main character is nameless. Jodi Carmeli reprises her role as the Narrator and is completely comfortable in the role, vocally and from a character standpoint. She carries the show and is a wonderful friendly guide for the audience (and the two lucky children picked to join the actors on stage*) as she leads us through the story with a winking, knowing look (you'll be OK Joseph, we've been outside and seen the marquee).
• In a completely different role from the last time I saw him (Theater Latte Da's Aida), Jared Oxborough is a delightful Joseph - childlike and almost goofy (my friend compared him to Keanu Reeves in Bill and Ted's Excellent Adventure). His voice sounds fantastic as always. "Close Every Door" is the one somber moment in the show, a bit of a tonal disconnect with the rest of the show, which is almost giddy. This is an angsty song, but there's zero angst in this show, so it doesn't quite fit. Still, it's a nice vocal moment for Jared.

the Pharaoh (Keith Rice) with his many admirers
(photo by Rick Spaulding)

• Keith Rice may have let his hair go gray, but he's still got it! He steals the show as the Elvis-like Pharaoh, making the women faint by flexing his jewel-nippled pecs, doing the splits, thrusting his hips, curling his lip, and singing in that great baritone voice of his. He really hams it up in the best way.
• Joseph's eleven brothers sing in full and beautiful harmony in a variety of styles - the twangy "One More Angel in Heaven," the mock-mournful French "Those Canaan Days," and the tropical "Benjamin Calypso." In the latter song, the brothers are pleading for mercy for Benjamin (Tyler Michaels, with his usual expressive physicality), who has been wrongly accused of stealing. As Benjamin tries to escape the accusation, Tyler non-chalantly whistles "Bye Bye Birdie," a nice nod to the last show at the Chan, in which he also appeared.
• The choreography by Tamara Kangas Erickson is fun and fast, and very ably performed by the energetic young ensemble. Julianne Mundale, one of the best dancers to ever grace the Chanhassen stage, gets her fantastic dance scene (in which I swear she almost kicks herself in the face).
• In a show with the phrase "technicolor dreamcoat" in the title, you expect color. And costume designer Rich Hamson delivers. The coat is indeed technicolor, and everyone from the Egyptian slaves to the brothers to Joseph in his sparkly gold loincloth are well-clad (almost making one forgive the bad wigs and fake beards). The set (by Nayna Ramey) is dominated by huge letters on rollers spelling out "JOSEPH" that are cleverly used as various set pieces.

Joseph and the Amazing Technicolor Dreamcoat is a safe choice for the Chanhassen, but they really deliver. Director Michael Brindisi says in a note in the playbill, "I think we'll just do it and have fun." Light, fun, happy, and highly entertaining - sometimes that's all you need from a musical. The show continues through August so you have plenty of time to make your way out to the Southwest suburbs and check it out. (I only hope it's not snowing when you see it, like it was when I did.)

Joseph (Jared Oxborough) with his pleading brothers
(photo by Rick Spaulding)

*If you have a little one with a yen for the theatrical, you can enter them into a drawing before the show in the lobby. Two lucky kids are chosen each night to join the cast on stage and take part in the show. You might also want to consider the Chanhassen's summer musical theater camps.

"Jesus Christ Superstar" at Chanhassen Dinner Theatres

I don't think I need to explain to anyone what Jesus Christ Superstar is about (except for my sister, who asked me, so what's the show about?).  It's the story of, obviously, Jesus of Nazareth and the last days of his life, as told in the form of a rock musical by Andrew Lloyd Webber.  What I didn't realize going into the show, however, is that there's virtually no talking.  It's pretty much two and a half hours of straight singing, and pretty intense singing at that.  Unfortunately, the two leads - Ben Bakken as Jesus and Jared Oxborough as Judas - had the night off when I saw the show.  Their understudies did a great job, but Jared (who was so amazing as Che in Theater Latte Da's Evita last fall) is one of those actors I would go see in anything, and I like Ben too, so I was disappointed to see that dreaded slip of paper in the playbill.  That being said, it was another great night of theater at the Chan, if a little more heavy than usual.

The show began with a love-fest, people wandering onto the stage and greeting each other and their teacher Jesus with hugs and smiles.  But we soon find out that not everything is as pleasant as it seems.  Judas is not happy with the direction things are taking.  And Jesus is overwhelmed by his followers' adoration of him.  Mary Magdalene seems to be the only person who really understands his very human struggles, and soothes him with the song "Everything's Alright."  Michelle Carter gives a beautiful performance as Mary, especially the haunting "I Don't Know How to Love Him."  Both understudies gave a fine performance, as is usually the case.  Jake Klinkhammer as Jesus did an amazing job.  He has a beautiful strong voice and his performance of the song "Gethsemane," in which Jesus questions his fate, was powerful.  Even though Jesus is the title role, I think Judas has the larger role, driving much of the plot.  Broadway veteran Michael Gruber (who performed a charming tap dance with cast-member Tony Vierling at the Twin Cities Theatre Artists Support Japan benefit concert a few weeks ago) was Judas, and did a great job with the complex role.

The show was directed by Michael Brindisi and choreographed by Tamara Kangas Erickson, and they had a big job because there's a huge ensemble cast.  As usual at the Chanhassen, they're all great.  A lot of faces I recognize from countless shows, and I saw a few new ones too.  One of the highlights is the brief but entertaining performance by the always hilarious Jay Albright as King Herod.

The Chanhassen always puts on a quality performance with talented performers and this show is no exception.  It's a little darker and more intense than their usual shows, but really well done.