"The Lion King" Broadway tour at the Orpheum Theatre

In the summer of 1997, the stage musical adaptation of the 1994 Disney animated film The Lion King premiered in Minneapolis at the Orpheum Theatre. That fall it moved to Broadway, winning six Tony Awards (including best musical), where it is still playing - currently at number three in the list of longest running Broadway shows. The tour has come back home again, and will play at the Orpheum Theatre for about a month - through April 28. Last night was my 5th time seeing it, and still, nearly 27 years after I first saw it, it's an absolute thrill. It's without a doubt the most successful Disney movie-to-stage musical adaptation on many levels - financially, creatively, musically. The creators of the stage musical took a two-dimensional children's cartoon movie and turned it into a wholly satisfying three-dimensional spectacle of music, dance, puppetry, and story. It's a big-budget spectacle that's also uniquely beautiful and moving storytelling. As Dana said in that one episode of Sports Night - look what we can do!*

"The Lion King" on tour at the Orpheum Theatre

Nineteen years after its pre-Broadway premiere, the national tour of The Lion King returns to the Orpheum Theater in Minneapolis where it all began. Since leaving the Orpheum after it's first run in 1997, The Lion King has gone on to win eight Tony Awards and become the third longest running musical on Broadway and the "top earning title in box office history for both stage productions and films." I saw it in the original run, and twice since, but seeing it again is every bit as thrilling as it was the first time. It's without a doubt the most successful Disney movie-to-stage musical adaptation on many levels - financially, creatively, musically. The creators of the stage musical took a two-dimensional children's cartoon movie and turned it into a wholly satisfying three-dimensional spectacle of music, dance, puppetry, and story. It's a big-budget spectacle that's also uniquely beautiful and moving storytelling. As Dana said in that one episode of Sports Night - look what we can do!

"Evita" at the Orpheum Theatre

My third opening night on Hennepin Avenue (aka the Broadway of Minneapolis) in just over a week was for the touring production of the recent Broadway revival of Evita. Written by Andrew Lloyd Webber and Tim Rice, this musical about the first lady of Argentina Eva Perón won seven Tony Awards in 1980. It's a compelling story about a woman from a poor family who rose to become one of the most powerful and beloved women in Argentina, with a beautiful and recognizable score ("Don't Cry for Me Argentina," "You Must Love Me"), and this is a lavish production with a great cast. I saw a nearly perfect production by Theater Latte Da a few years ago so I wasn't sure I wanted or needed to see it again. But I love the score (I have the soundtrack from the 1996 movie starring Madonna), so I enjoyed seeing it brought to life by a large and talented cast and orchestra.

In the entirely sung-through musical, Eva's story is told by a narrator known as Che. We follow Eva as she escapes a life of poverty in a small village to run away to Buenos Aires with a musician. There she makes a career as a singer and actress, and eventually meets the politician Juan Perón. She hitches her wagon to his star, and after he becomes president, together they become a powerful force and the celebrity couple of the day. Her legacy is somewhat complicated, as politics mixed with charity and wealth. After Eva went on a PR tour through Europe, dubbed "The Rainbow Tour," she fell ill and died at the age of 33, with a lavish and well-attended funeral. The musical brings us full circle, beginning with a scene from her funeral, and then flashing back to tell her life story, ending at the funeral again. Throughout the highs and lows, Che is there to offer commentary on the issues that her story brings up - fame, politics, celebrity worship, class.

Caroline Bowman, Josh Young, Sean MacLaughlin,
and the cast of Evita

The show may be called Evita, but the star of this show is Josh Young as Che. He gives a completely engaging performance and displays incredible vocal range, from a lovely falsetto to a rich warm tone in the lower register, plus a rocker wail when called for. Che is onstage for almost the entire show, observing and commenting on Eva's life, and confronting her in one captivating waltz. I found myself constantly seeking him out to watch his reactions, and when he wasn't on stage, his absence could be felt. Caroline Bowman is a strong Eva, making a convincing transformation from an ambitious young girl to a well-respected woman with failing health. As Juan, Sean MacLaughlin is smooth and polished. The large ensemble is fantastic; Krystina Alabado is a standout with a beautiful performance of the poignant "Another Suitcase in Another Hall."

The sets and costumes in this Broadway tour are of course impressive, with lovely period costumes and a relatively simple set with one impressive piece - the balcony. The show also features nice use of what I'm assuming is actual video of the time.

If you can only see one of the three musicals currently playing on Hennepin stages, it should be Theater Latte Da's Cabaret at the Pantages Theatre - a stunning display of local talent. After Cabaret, the choice between Minneapolis Musical Theatre's Five Course Love at New Century and the touring production of Evita at the Orpheum depends on what you're looking for - a light and fun show in an intimate space with a small local cast (Five Course Love) or a lavish Broadway production (Evita, playing through this weekend only).

"Joseph and the Amazing Technicolor Dreamcoat" at the Ordway

I walked into the Ordway Center in St. Paul last night and saw a sight I've never seen there before - children playing on stage.  Dressed in colorful clothing, they were skipping rope, tossing balls, doing cartwheels, dancing, and goofing around.  It turns out they weren't a school group run amuck, they were part of the production.  41 local school children, chosen out of over 300, were on stage most of the night - singing, dancing, or just sitting on the side of the stage, watching the action.  I had a hard time taking my eyes off of them (I saw a few little Rachels and Kurts in their midst), it was so fun to watch their reactions to the main action.  But the main action was well worth watching too.

Written by Tim Rice and Andrew Lloyd Webber 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, and because of his talent for reading dreams, he rose to power as the Pharaoh's 2nd in command.  He led the country through bounty and famine, and forgave his brothers when they unknowingly came to him for help.  The most famous of Josephs is Donny Osmond, who played the role in Canada and the US in the 1990s.  There was a Q&A with some of the cast and crew after the show last night, and several people brought up the Donny Osmond version of the show.  I don't think anyone who does Joseph will be able to escape comparison, at least for the next decade or two!

Instead of Donny Osmond, our Joseph is Anthony Fedorov (who has come a long way since his Idol days).  I saw a preview of him singing "Close Every Door to Me" at Sample Night Live a few weeks ago; I was impressed then, and it's even better in context.  He has a strong voice, and looks and acts the part of the young innocent Joseph who grows to become the powerful assistant to the Pharaoh.  The part of the narrator may be the most difficult and largest role, and Jennifer Paz does a great job leading the audience through the story as well as corralling the children at times. 

Most of the remainder of the cast is local.  The talented T. Mychael Rambo plays Joseph's father Jacob and several other roles, and the hilarious troupe of brothers is filled with local talent.  Their numbers include the country-style "One More Angel in Heaven," "Benjamin Calypso," and my favorite, "Those Canaan Days."  Jered Tanner really hams it up as Napthali.  The dancing is wonderful (the show was choreographed by director James Rocco, who is also Artistic Director of the Ordway), and the cast includes Chanhassen regulars and fine dancers John R. Sloan, Tony Vierling, and Julianne Mundale.  For the closing number of the first act, the rousing "Go, Go, Go Joseph," the cast is dressed in psychedelic 60s outfits and wigs that make the show look like an episode of Laugh-In.  There's even a disco ball hanging from the ceiling of the theater.  The curtain call includes a "Megamix" of songs from the show with everyone dressed in white, and colorful streamers spray out at the end of the show (see the blue and gold streamers on the playbill above).

With a run time of less than two hours including intermission, the Ordway's production of Joseph and the Amazing Technicolor Dreamcoat is a fast, fun, colorful, energetic show full of great performances from the large cast of professionals and children.  It's playing through January 2; check it out if you're looking for a light-hearted, entertaining night at the theater.