"Whoa, Nellie!" at the History Theatre

Just over a year after its "Raw Stages" workshop, when I declared it "my favorite of the three readings I saw," the new original historical musical Whoa, Nellie! makes its debut on the History Theatre stage, and it's even better than expected! The musical is about the life, loves, and crimes of the little-known historical figure known by many names including Nellie King, a "cowboy detective" and notorious outlaw who was the subject of many explosive headlines in the newspapers of the Midwest in the late 19th Century. Playwright/composer/lyricist Josef Evans (who created Open Eye Theatre's delightful trilogy of outdoor summer musicals at the Bakken Museum in the early post-pan years) has set Nellie's story as a Vaudeville show and incorporated other, more well-known, historical figures of the era. The result is a wild ride of a show that gallops through history and multiple states as it explores very 21st Century themes of gender identity, sexism, racism corrupt journalism, drug addiction, and celebrity culture. So put on your cowboy boots and head to the History Theatre in downtown, where you'll need to saddle up and hold on tight to the reigns of this fun and fantastical musical (continuing through June 8).

"Rodgers + Hammerstein's Cinderella" by Theater Latte Da at the Ritz Theater

This year, Theater Latte Da is forgoing their usual holiday fare (the long-running and always moving All is Calm, now streaming on PBS.org, and the more recent balm to the soul Christmas at the Local) for a show that is a series of firsts. The regional premiere of the 2013 update of Rodgers and Hammerstein's Cinderella, which was the first (and only) musical they wrote exclusively for television, Theater Latte Da's first ever production of a Rodgers and Hammerstein musical, and new Artistic Director Justin Lucero's directing debut with the company. The result is a fun, magical, and heart-warming show that feels both classic and modern, with a fantastic local cast and simply gorgeous design. See it at the Ritz Theater in Northeast Minneapolis now through January 5.

"The 25th Annual Putnam County Spelling Bee" at Artistry

Artistry produced the 2005 two-time Tony winning musical The 25th Annual Putnam County Spelling Bee back in 2014, when they were still known as Bloomington Civic Theatre. But this hilarious, irreverent, and surprisingly sweet musical is worth revisiting. Directed by #TCTheater favorite Tyler Michaels King and featuring a fantastic cast, it's so playful and fun, and also gives you the warm fuzzies about this group of loveably oddball kids just trying their best to spell and be happy. There's only one weekend left to attend the Bee - don't miss it!

"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.

"A Christmas Carole Petersen" by Theater Latte Da at Crooners Supper Club

In addition to their new holiday* favorite Christmas at the Local (playing at the Ritz Theater through December 31), and the beautiful tradition All is Calm that is on a national tour and streaming on PBS, Theater Latte Da is bringing back their original holiday show that was an annual tradition for many of their early years. A Christmas Carole Petersen is #TCTheater artist Tod Petersen's love letter to his family, his childhood Christmases, and his upbringing in Mankato (with a good amount of skepticism and "bah humbug" thrown in). Since its first production over 20 years ago, A Christmas Carole Petersen has gone through several iterations and was last seen at the Ritz in 2017. This production, at Crooners Supper Club, is a more streamlined version of the show, with no bells and whistles of fancy sets or costumes, more of a cabaret storytelling show and running just about 70 minutes. But it works, because at its heart this show is a collection of stories and songs, with no need for embellishment  (beautifully directed by Peter Rothstein, as always). The remaining four shows of this one-weekend run are sold out; contact the box office for cancellations, or check out some of the other great holiday offerings at Crooners this year.

"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. 

"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!

Ghostlight Series: "Re-Cast" streaming from Theater Latte Da

The second of Theater Latte Da's five-part virtual cabaret series called "The Ghostlight Series" is now available! Following January's powerful and moving Twelve Blocks From Where I Live, Regina Marie Williams's response to the murder of George Floyd in photos and song, Re-Cast gives some of our favorites the chance to sing a song from a role they would never be cast in. Or at least haven't been yet. Both shows are available to watch now and as many times as you want through August with the purchase of a season pass. These gorgeously filmed and edited 30-minute shows with fantastic performances from some of #TCTheater's best are worth every penny, helping to bridge the gap until we can gather in person again to share stories and music.

"A Christmas Carole Petersen" by Theater Latte Da at the Ritz Theater

It's December in the Twin Cities, and that means there are a ton of holiday shows to choose from (Christmas sells well in Minnesota). I've seen six already, with six more on the schedule for the next few weeks (read about all of them here). And right smack dab in the middle of this holiday marathon comes one of my favorites of the past, Theater Latte Da's A Christmas Carole Petersen. After a successful nine-year run in the aughts, everyone's favorite Minnesota family the Petersens took an eight-year break, and are now making a welcome return this holiday season. I saw the show once near the end of its original run and was completely charmed by it, and am thrilled to see it again. Master storyteller Tod Petersen shares his unique family story and holiday traditions that may feel familiar to many Minnesotans. But even if your family traditions are different from the Petersens', even if you celebrate different holidays or no holidays, this show will make you nostalgic for the days of yore and grateful for the gifts of the present.

"Teen Idol: The Bobby Vee Story" at the History Theatre

Friends, I think the History Theatre has another hit on their hands. After the huge success of last fall's new original musical Glensheen, which received a second run and an Ivey award this year, they follow in the footsteps of the proven success of Buddy: The Buddy Holly Story with Teen Idol: The Bobby Vee Story. In a way, this story picks up where that story left off. Bobby Vee's career was born on the day the music died. But this new musical (or rather play with music if you want to get technical about it, and I do*) doesn't just rest on the nostalgia of baby boomers, who, let's face it, would come see the show no matter how good it was just to hear these great old hits of the '60s. Teen Idol is more than just a string of familiar hits, it's a well written and extremely satisfying play with music that tells the story of Bobby Vee's life, music, family, and rise to and fall from fame. Kind of like a cleaner version of Jersey Boys (Fargo ND is far from New Jersey and not just in geography). Featuring a star performance by Tyler Michaels, who continues to impress with his range of talents and characters, and an incredibly strong ensemble chock full of local talent, who all get their moment to shine, Teen Idol is a fantastic show no matter your generation.

"The Drowsy Chaperone" at Artistry

I hate theatre. Well, it's so disappointing, isn't it? You know what I do when I'm sitting in a darkened theatre waiting for the curtain to rise? I pray. Dear God, please let it be a good show. And let it be short, oh Lord in heaven, please. Two hours is fine, three is too much. And keep the actors out of the audience. God. I didn't pay a hundred dollars to have the fourth wall come crashing down around my ears. I just want a story, and a few good songs that will take me away. I just want to be entertained. I mean, isn't that what it's all about? Amen.

"Diary of a Wimpy Kid: The Musical" at Children's Theatre Company

Diary of a Wimpy Kid: The Musical - I've got an animal heart for you. Even though I have no familiarity with the successful book series or movies, I felt obliged to see Children's Theatre Company's world premiere musical adaptation because of the talk about a possibly Broadway run, and producer Kevin McCollum also produced my favorite musical RENT (which celebrates its 20th anniversary this week). But all sense of obligation quickly went out the window as the show won me over with it's clever and musically diverse score, universally relatable story of a kid trying to find himself in middle school, and most of all this incredible cast of mostly Twin Cities youth. Whether you're a kid stuck in the middle (school), or a jaded grown-up, Diary of a Wimpy Kid: The Musical is simply irresistible, and I think it's going to go far.

"Gypsy" by Theater Latte Da at the Pantages Theatre

2016 is the fourth year of Broadway Reimagined, the partnership that combines the resources of Hennepin Theatre Trust with the innovation of Theater Latte Da to create a new interpretation of a familiar Broadway musical. This year's selection is a beloved classic of the American musical theater canon, the 1959 Jule Styne/Stephen Sondheim/Arthur Laurents creation Gypsy, based on the memoir of burlesque entertainer Gypsy Rose Lee. Theater Latte Da did this musical almost ten years ago in their old home The Loring Playhouse (only my second Latte Da show, I've seen nearly everything they've done since). Even though two actors reprise their roles, as do the director, music director, and choreographer, this is a different show in a bigger venue. And I'm convinced there is no better venue for this show in the Twin Cities than the beautifully restored Vaudeville theater that is the Pantages, where the historical characters in the play very likely performed nearly 100 years ago. There's a sense of history in this show which, along with Theater Latte Da's usual attention to detail in every aspect of the production, creates a beautiful, realistic, moving look into the world of show business and the quintessential stage mother/daughter relationship. As the song says, let Theater Latte Da entertain you, you will have a real good time, yes sir!

"The Sound of Music" at the Ordway Center

Confession: The Sound of Music is a sentimental favorite of mine for many reasons, and I cannot possibly be impartial when watching any version of it. I just love it, plain and simple. Firstly, when I was growing up in the olden days before the internet, cable, or even VCRs, we were at the mercy of TV programming what movies we watched over and over. Fortunately The Sound of Music was one that was played every year, so I grew up loving it as a child loves it. Then I had the pleasure of playing in the pit orchestra for my high school production (the most fun this nerd ever had in high school), which gave me a whole new level of appreciation for Rodgers and Hammerstein's beautiful score. Finally, I had the great opportunity to study abroad in Salzburg, so that now watching the movie is like a nostalgic trip to my European home-away-from-home. So you see, The Sound of Music is beloved to me, and the Ordway bringing it to life on stage with a mostly local cast chock full of favorites is a dream come true. While there is nothing really new or revolutionary about this very faithful production (directed by Gary Briggle and choreographed by Bob Richard) of a well-known classic, or maybe because of that very fact, the show cast a spell over me from which I didn't want to ever awake!

Nautilus Music-Theater's Rough Cuts: Excerpts from "Sweet Land"

Every month, Nautilus Music-Theater presents an evening of new works of music-theater in their "Rough Cuts" series. It could be just a selection of songs, or an entire new piece. To kick off 2015, "Rough Cuts" is featuring an excerpt from the new musical Sweet Land, based on the Minnesota-made film of ten years ago. This musical by the mostly local team of Perrin Post (book), Laurie Flanigan Hegge (book and lyrics), and Dina Maccabee (music) has been in development for a number of years. I was lucky enough to attend a reading of the piece last spring, and was happy to see that it does the lovely little movie justice, retaining the beautiful story and sweet, funny, nostalgic tone, while adding new original folk/Americana music to create something new. It reminds me a little of the musical Once, also based on a lovely little movie, in that it's an intimate musical with overlapping cast and musicians, with the kind of music not typically heard on Broadway. Sweet Land is a gem that I look forward to seeing shine onstage someday after just a bit more polishing.

Last night in Nautilus' Lowertown studio (and tonight at the Walker Community Church in Minneapolis), two of the creators were on hand with five talented singer/actors and musical director Matt Riehle to present eight songs from the show, including two new ones, and get audience feedback. As brought to life by the one and only Ann Michels as Inge, Dieter Bierbrauer as Olaf (if you're going to replace Robert Berdahl, Dieter is a great choice, just don't make me choose between them!), Bradley Greenwald as Frandsen, Tod Peterson as the pastor, and Keri Rodau in the ensemble, the music sounds gorgeous and only makes me long to see the full piece again! Fortunately another full reading is coming this spring, with a larger cast and band, and the addition of movement by Brian Sostek and Megan McClellan*. Check out the Sweet Land the Musical website or become a fan on Facebook to find out more about when and where you can see what I called the most promising new work of 2014. You can also read more of my thoughts on the movie and musical here.

Ann Michels, Keri Rodau, Tod Peterson, Dieter Bierbrauer, and Bradley Greenwald

*You can see more Brian and Megan's inventive and delightful dance storytelling in their show Trick Boxing later this month at Park Square Theatre.

"Sweet Land" Presented by Buffalo Gal Productions and Cardinal Theatricals at Art House North

I've seen several readings of new work this year, including The History Theatre's Raw Stages festival and Theater Latte Da's NEXT: New Musicals in the Making. They've all been so creative and interesting and diverse, but I think my favorite is Sweet Land, a new musical based on the lovely little Minnesota-made movie. It's a simple but beautiful story about early 20th Century immigrants making a life on Minnesota farmland, full of humor, heart, and nostalgia for a time gone by. Creators of the musical Perrin Post (book), Laurie Flanigan Hegge (book and lyrics), and Dina Maccabee (music) have done a wonderful job retaining what was so special about the film while adding music that feels organic to the story. It was presented last Sunday by a cast of talented local actor/singer/musicians as it continues in the development process. More than any other new work I've seen this year, I hope to see Sweet Land in a full production sometime soon.

If you've never seen the 2005 movie Sweet Land, you should go directly to Netflix or Blockbuster or however you get your movies and watch it! Filmed near Montevideo, MN and including cameos by local actors (including the Stephens D'Ambrose, Pelinski, and Yoakam), it's the quintessential Minnesota story of Norwegian and German immigrants forging a life on the farm, with all the difficulties and rewards that entails. In this particular story, Norwegian immigrant Olaf Torvik needs a wife, so his family in Norway send him one. When Inge arrives, Olaf is surprised to find out that she is actually German, which is not well accepted by the community so soon after WWI - Germans are the enemy and she could could be a spy. The pastor refuses to marry the couple, and Inge is forced to stay at the neighbors farm with Frandsen, his wife Brownie, and their many children. It doesn't take long for Inge to get fed up with this crowded living arrangement and long for a space of her own, so she makes her way across the field to Olaf's farm and take up residence there, helping him with the farm. Despite the fact that Olaf sleeps in the barn, this arrangement is frowned upon and the couple is shunned by the community, until their hard work, perseverance, and generosity slowly win everyone over. They are accepted and allowed to live their life together as man and wife and an important part of the community.

The creators of the musical have stayed true to the plot of the movie, with many of my favorite moments and lines represented or even turned into song. The good-natured Frandsen calls Inge "ducky" and she doesn't quite understand, which has been turned into a fun light-hearted song. At the end of the movie, after living and working together for so long, Inge declares that she and Olaf are already married without any ceremony or legal documents necessary, which has become a beautifully moving ballad. The moment when Olaf first really looks at Inge through the camera lens, the auction, Olaf's declaration that "farming and banking don't mix," the threshing scenes, Inge's rebellious bath, all of these are songs. They really did take all of the best and most memorable moments in the movie and turn them into songs, which is really the best way to make a musical. The music is all wonderfully Americana, with a couple of guitars, a fiddle, an upright bass, and an accordion in the band (directed by Matt Riehle). The intention for the full production is for the band members to double as ensemble members, playing some of the smaller roles and joining in on the singing. This is similar to the new musical Once, also an adaptation of a sweet and simple but lovely movie, in which the musicians are also the ensemble; perhaps this multiple Tony winner has defined and allowed for a new type of musical. A musical like this one in which there is no differentiation between actor, singer, and musician, with a style of music that strays far from "Broadway" into territories of folk, country, and Americana.

With only about twenty hours of rehearsal, this amazing cast, directed by Andrew Rasmussen, has managed to bring this piece and these characters and songs to life in such a way that it's not difficult to imagine a full production. Ann Michels is the perfect Inge, with the spark and strength and humor of the character, while also showing her vulnerable longing side. Robert Berdahl is also wonderful as Olaf, a typical Norwegian farmer hiding his feelings deep down inside but allowing them to come to the surface at pivotal moments. As Frandsen and his wife Brownie, Bradley Greenwald and Tinia Moulder bring heart and humor. Rounding out the ensemble are Tod Peterson as the pastor and Cat Brindisi and Brian Sostek as all other characters. This is truly a top-notch cast and I hope they all continue in future productions of this piece.

Sweet Land is such a special little movie, a small story but one that's so moving and timeless and beautiful. It's a piece of our history as Minnesotans, one that I, as a descendant of German immigrant farmers, feel a special connection to. The musical is everything I hoped it would be, retaining what was so special about the movie and its wistful, funny, romantic tone, and only adding to it with the wonderful new original music of the Americana style that I love so well. I am confident we will see this again. Visit the Sweet Land musical website or become a fan of their Facebook page for more information about the piece, future productions, and how you can help with the next phase of development.

"Our Town" by Theater Latte Da at the Lab Theater

Thornton Wilder's Our Town is an American classic, first produced over 70 years ago, and continuing through the years with frequent productions in theaters and schools around the country. It's a simple story really; its three acts explore the ideas of "Daily Life," "Love and Marriage," and "Death and Dying" through the interconnected residents of Grover's Corners. But it's really quite profound in its simplicity, the final act being especially poignant as it forces us to look at the beauty of every day life and communion with our fellow human beings, something that is often overlooked in the busyness of life. Theater Latte Da adds their usual musical style to the piece, with direction by Peter Rothstein and Music Direction/ Arrangement by Denise Prosek, in a way that enhances but never detracts from the story. The result is truly a beautiful experience that transcends mere theater.

The play is written in an unusual style, in which a character known as "Stage Manager" (played by the incomparable Wendy Lehr, recently named the McKnight Foundation's Distinguished Artist of 2013) serves as narrator, and fully acknowledges that this is a play, introducing scenes and cutting them off when time is short. He, or in this case she, speaks directly to the audience as she tells us the story of this extraordinarily ordinary town. We meet many people in the town, from the milkman to the constable to the town drunk, but the focus is on the Gibbs and Webb families. George Gibbs and Emily Webb (David Darrow and Andrea San Miguel, both utterly charming and charismatic) are teenagers and best friends in the first act, and the second act features their wedding at a young age. The third act takes place in the cemetery, with the deceased observing and commenting on the living. Emily has died in childbirth, and wants to relive one mundane day in her life, against the advice of the other residents of the cemetery. She chooses her 12th birthday, but finds that it's too painful to watch the careless way her family goes about the day, not realizing how precious each moment is, and begs to be returned to her grave.

the cast of Our Town (photo by Heidi Bohnenkamp)

Theater Latte Da "does theater musically," so they've added music to their production of Our Town in a really effective and organic way.* It's not a musical where characters break out into song, in fact songs never interrupt the flow of dialogue. Occasionally there is a soft musical undertone in some of the scenes, adding ambiance and color to the story, but most of the music comes before the show and during the two intermissions, when the cast (most of whom play instruments) sings and plays songs of the American Songbook, from traditional folk songs to Stephen Foster and Irving Berlin. It's as if we're watching a community celebrate and share music in between telling us their story (although it belies the line about there not being much interest in art and culture in Grover's Corners).

Our Town is meant to have minimal sets, but this production takes it to the extreme. Walking into the gorgeous open space at the Lab Theater, the stage area contains only musical instruments and a few stools. Not much more is added during the play, other than a few chairs, benches, and ladders. It's extremely minimal, allowing the focus to be on the story and the music. The audience sits on both sides of the stage area, adding to the community feeling. The simple light bulbs hanging from the ceiling, occasionally lowered or darkened as the scene calls for, completes the mood of the piece.

Nineteen actor/singer/musicians portray the residents of Grover's Corners, diverse in age, ability, and race. They often sit in the audience while not onstage, or come through various aisles, as if the audience makes up some of the rest of the 2642 residents of the town. It's such an incredible ensemble, each one of whom breathes life and color into their character and the story. A few favorites include:

• Warm and wonderful performances by all four actors playing the parents - Brian Grandison and Sara Ochs as Dr. and Mrs. Gibbs, and Isabell Monk O'Connor and Dan Hopman as the Webbs.
• Blake Thomas' authentic country voice and great musicianship on the slide guitar, banjo, fiddle, etc. (he's one of my favorite local musicians - check out his albums on iTunes).
• Tod Peterson's trademark humor as the alcoholic choir director. A sad story with a sad ending, but it's hard not to laugh at Tod's carefully practiced walk barely disguising the drunken stagger.
• Mary Fox's animal sounds coming from the audience and hilarious wedding outbursts.
• The surprisingly sweet Irish tenor of David Carey.
• The adorable and talented children, especially 9-year-old Natalie Tran and her sweet brother/sister relationship with David Darrow's George.
• A heartbreakingly beautiful solo by David towards the end of the second intermission, setting the tone for the somber final act.

Our Town continues at the Lab Theater through April 6. Don't miss this chance to see an American classic in a fresh new music-enhanced production. It's simply beautiful.

*For me, Our Town naturally comes with musical accompaniment, since the only other production of the play I've seen, at Yellow Tree Theatre three years ago, also had music. Blake Thomas and Mary Fox also appeared in that production, and are currently creating a live radio show from Duluth called Take It With You, to premiere next month. Check out their website and Stay Tuned to Cherry and Spoon for more info.

Fringe Festival: "Once Upon a Chalkboard"

Day: 8

Show: 24

Title: Once Upon a Chalkboard

By: The Last Magic

Created by: Tyler Michaels and Tod Peterson

Location: Minneapolis Theatre Garage

Summary: Two men improvise fairy tales based on key words from the audience, integrating sets, props, and costumes drawn on chalkboards by volunteers.

Highlights: Tod Peterson and Tyler Michaels (who play father and son in Joseph at the Chan, now playing) are the perfect pair. Both are highly entertaining actor/singers with a gift for thinking on their feet. They appear to be having great fun together and play off of each other very well. Asking for a suggestion from the audience (a prop or costume piece commonly seen in fairy tales), they create a story on the spot like some odd mishmash of every fairy tale you've ever heard. They each play a wide variety of characters, from a dinosaur to a guardian angel to a king, usually with some form of a British accent. The ask their assistants to draw various things they mention, and much of the humor comes in how bad (or sometimes good) the drawings might be and how they incorporate that into the story. When they can go no further, they end with a "and they all lived happily ever after" and being anew.  Of the seven stories they told at the show I attended, my favorites were the "river song" by an old poet and the young musician who happens upon him, and the passing on of the job of queen's herald. It's a jolly good time watching these two talented artists play.

Read more of my fringe fest reflections…

… including my top 5 shows

"To Life! A Benefit to End Gun Violence" at the Varsity Theater

A common reaction to the ever increasing violence in this world is helplessness. A feeling of, "What can I do, what can anyone do to stop this?" A group of theater artists responded to this feeling of helplessness by doing what they do best - putting on a show. A show to educate, inform, raise money, and entertain. Josh Campbell, Brendan Bujold, and Tre Searles joined their artistic forces with Protect Minnesota, an organization working to end gun violence. The result was a fun evening of music and theater that raised almost $12,000 to aid in Protect Minnesota's goal of ending gun violence in Minnesota. Proving once again my belief that theater has the power to change the world, in small ways or big.

This past Monday night at the charming Varsity Theater in Dinkytown, eight fabulously talented theater artists, under the direction of Josh Campbell, shared songs from musical theater interspersed with seven short scenes by different playwrights, showing their differing reactions to gun violence, some amusing, some sobering, some righteously angry. Most of these are from a series of plays gathered by playwright Caridad Svich, whose bilingual play In the Time of Butterflies was recently seen at Mixed Blood (read an interview with her here). My favorite scenes were Right After Virginia Tech, written by Laura Zam and performed by Tod Peterson, and Bridge to Baraka: The Pen Instead of the Gun, written by Yvette Heyliger and performed by Regina Marie Williams. The former is smart, funny, and real, as the playwright tries to wrap her brain around the issue and calls for listening, respect, and empathy from seemingly opposing sides. Tod is such a fantastic performer that he brought the words and emotions of the playwright to life. The latter contains some of that righteous anger I mentioned, beautifully conveyed by Regina, and I learned something I didn't know about the beginning of the modern gun rights movement.

Musical highlights of the evening include:

• Ben Bakken applied his dangerously great voice to a couple of diverse songs - the fun and rousing "Run, Freedom, Run" from Urinetown (one of the must-see shows of this summer) and the poignant and emotional "Endless Night" from The Lion King (one of the additional songs written for the stage version).
• The rosy-cheeked Suzie Juul sang "Easy to Be Hard" from Hair (another must-see show of this summer), and dueted with Regina on a very funny song about the differences between 17 and 43.
• Reprising his role as Seaweed in Hairspray at the Chanhassen from a few years ago, Kasano Mwanza sang "Run and Tell That," with help from Julius Collins III, who later gave a great solo performance of "I'm Flying Home" from Songs For a New World.
• Ann Michels sang the sad and pretty "Where Do You Start" by Alan and Marilyn Bergman, Thomasina Petrus brought the house down with her rendition of "Feelin' Good," and the two joined forces for "Class" from Chicago.
• The cast closed the show with, of course, "To Life" from Fiddler on the Roof (which I've heard we may be seeing on a local stage later this year).

For more information about Protect Minnesota, visit their website. Thanks to all of the above theater artists for putting their many talents towards a great cause, raising money and awareness along the way.  To Life!

"Bye Bye Birdie" at Chanhassen Dinner Theatres

"We love you Conrad, oh yes we do,
We love you Conrad, and we'll be true,
When you're not with us, we're blue,
Oh Conrad we love you!"

That little ditty has been stuck in my head since seeing Bye Bye Birdie at the Chanhassen* last night. This is the first time this classical musical from the 1960s has played on the Chanhassen stage, and the first time I've seen it. In fact, I really only knew of it from that episode of Mad Men where Peggy imitates Ann-Margaret singing the title song of the movie, trying to live up to the early 60s ideal of womanhood (in that brilliant way Mad Men has of breaking down the social mores of the time, that aren't as different as we think from today). So the show was all new to me, and I really enjoyed it. It's a big, old-fashioned, fun musical with a huge cast and fantastic dance numbers. There's nothing deep about it, but it's highly entertaining.

the happy couple, Rose and Albert
(Ann Michels and Michael Gruber)

For those of you who, like me, are unfamiliar with the story, Bye Bye Birdie is about an Elvis-like singer named Conrad Birdie (Frank Moran with a brilliantly high pompadour and a suitable charismatic nonchalance) who is drafted into the Army. His agent, Albert (a charming Michael Gruber), and secretary/ girlfriend, Rose (Ann Michels in a feisty performance that includes a pretty spectacular dance number), come up with a publicity stunt in which Conrad kisses one lucky fan chosen at random to promote the release of the song "One Last Kiss," before shipping out overseas. That lucky fan is Kim (the sweet-voiced Jessica Fredrickson) of Sweet Apple Ohio, who was recently "pinned" by her boyfriend Hugo (my new fave Tyler Michaels, who gets to show off his unique physical style of acting in a drunken scene). Conrad and company arrive in the small town and cause a hubbub. Turns out Conrad's not the innocent all-American boy he seems to be, preferring to drink, dance, and party. Hugo is jealous of Conrad, and Rose is jealous of Albert's new secretary (Xanadu's Jodi Carmeli in a small but memorable role), so they both scheme to prevent the kiss. Which, by the way, was to take place live on The Ed Sullivan Show! Both of our couples are on the outs as the second act begins, and there's a wild night of partying at the Ice House ("what's there?"  "I don't know, ice?"). But of course, since this is a traditional musical, both couples find their way back to each other by the final curtain.

The Telephone Hour

This is a huge cast full of many Chanhassen faves and a few newcomers, all of whom are entertaining and fun to watch. Standouts, in addition to the ones mentioned above, are Seri Johnson as Albert's long-suffering martyr of a mother (or at least that's how she sees herself), Keith Rice and Michelle Barber as Kim's strict but loving parents, and Tod Petersen as the fawning mayor. The teen girl chorus is particularly fabulous (Hairspray's Therese Walth, Emily Madigan, Caroline Innerbichler, Ruthanne Heyward, and Larissa Gritti) as they swoon over Conrad, dance, and sing the aforementioned little ditty. The group dance numbers are energetic and bouncy in that 50s style, especially "The Telephone Hour," "Honestly Sincere" (in which the entire town, including the mayor's wife, ends up at Conrad's feet), and "A Lot of Livin' to Do." The score also includes a couple of familiar songs "Put on a Happy Face" and "Kids" (I don't know what's wrong with these kids today).

It's no secret that I loved the Chanhassen's summer musical Xanadu, which was a bit of a departure for them in that it's a new musical with a smaller cast and a little bit of a wicked, sarcastic tone (which is probably why I loved it). But with Bye Bye Birdie they return to their standard (which is not a bad thing) - a classic musical with a huge cast and fun musical numbers. Playing now through March 30, it'll make your winter a little warmer and brighter.

the town of Sweet Apple Ohio swoons over Conrad Birdie

*I received two complementary tickets to the Opening Night of Bye Bye Birdie.