"The Mousetrap" at the Guthrie Theater

The world's longest running play has arrived at the Guthrie! Agatha Christie's murder mystery The Mousetrap opened in London's West End in 1952 and has run continuously ever since (give or take a global pandemic). I first saw the play three years ago at Lyric Arts, so it wasn't too far into the Guthrie's delicious new production that I remembered whodunit, but that did not diminish my enjoyment of watching the mystery play out. If you've never seen the play before you are in for a treat, as Christie's well-plotted mystery has a plethora of quirky characters who all have a secret and could be the murderer. But even if you know whodunit, it's a pleasure to watch this dreamy and mostly local cast perform a beloved classic on this gorgeous set. See The Mousetrap on the Guthrie's proscenium stage now through May 13.

"Dial M for Murder" at Guthrie Theater

The Guthrie Theater is bringing a new adaptation of a classic thriller to their stage. Local prolific playwright and screenwriter Jeffrey Hatcher has applied his sharp wit and clever plotting to Frederick Knott's 1952 play Dial M for Murder (later adapted into a movie directed by Alfred Hitchcock). In an interview in the program, Jeffrey noted that the first task of adaptation is not to screw it up. He didn't. I've seen the play a couple of times before, but I'm not familiar enough to know what was changed or tweaked, other than the obvious ones noted in that interview - the murderous husband is a failed novelist rather than former tennis celebrity, and the American writer named Max that his wife has an affair with is a woman. Without taking anything away from the original, these slight changes add a whole new layer to the story and make it feel more modern. Homosexual relationships very much existed in the '50s, they just weren't talked about. Much like the new adaptation of the classic Western Shane last summer, this new adaptation adds back into the narrative the people that were erased. But rest assured, this Dial M is still a thrilling twisty delight! See it on the thrust stage through February 25.

"Peter Pan" at the Children's Theatre Company

Being a grown-up is hard. You have to be concerned about things like bills, a job, a house, traffic, the deterioration of the environment, and violence and injustice in our backyards and around the world. It's really a drag - no wonder Peter Pan doesn't want to be one! And while we boring and worried grown-ups don't have the option of returning to a blissful childhood, we can go to the Children's Theatre Company and forget about all of our grown-up worries, remembering and reveling in the joy and freedom of youth. What better choice for CTC, then, than the musical adaptation of J.M. Barrie's iconic tale about the boy who won't grow up? Kids love it because they see themselves in Peter, and we grown-ups see an even deeper meaning in the story as we watch the children around us grow up in an increasingly dangerous world, and long for our own days of innocence. It's a perfect choice perfectly executed by the entire cast and creative and technical teams. This Peter Pan is something quite magical, and quite simply the best thing I've seen at CTC.

In the classic story, Peter Pan lives among the fairies in a place called Neverland. He visits the nursery of Wendy, John, and Michael, and flies them to Neverland where Wendy and Peter play at being Mother and Father to a group of boys. The dream doesn't last, as Wendy misses home and Peter realizes that it has become a little too close to the grown-up real life. Wendy and the boys return home, but not before they're kidnapped by Peter's nemesis Captain Hook and his band of pirates. Never fear, Peter is there to save the day with his new friend Tiger Lily.* Back at home with their parents and beloved dog Nana, Wendy and the boys grow up, but never forget their adventure with Peter Pan, who continues to be a beacon to children everywhere.

Peter Pan takes flight (photo by Dan Norman)

The role of Peter Pan is often played by a woman, which you will forget all about after you see Tyler Michaels' genius performance (which has become expected from him). Tyler's aerial skills, youthful charm, strong voice, and undeniable chemistry with his costars make him the perfect choice for Peter. He flies around the stage as if by magic, doing flips and tricks mid-air, landing lightly on any surface (I've previously noted that he doesn't seem to be bound by the laws of gravity that inhibit us mere mortals). But tricks aside, he also imbues Peter with a natural joy and boundless energy, and a tender damaged heart when he thinks about the life he's given up.

Smee and Captain Hook with the pirates
(photo by Dan Norman)

But Tyler's not the only star in this cast. Alanna Saunders gives a rich and lovely performance as Wendy, Meghan Kreidler is bright and fearless as Tiger Lily, and Reed Sigmund as Hook and Dean Holt as Smee are the perfect comedy duo, a dance honed to perfection after years of working together as CTC company members.

Another reason that Peter Pan is a perfect choice for CTC is that there are many roles for children in the cast. CTC doesn't just provide the highest quality entertainment for children, they includs children in the creative process, giving children an opportunity to learn and play alongside the best professionals in our community, growing the next generation of theater artists (e.g., Maeve Moynihan and Brandon Brooks). The child actors at CTC are always so engaged and enthusastic, never more so than in this production, from the darling Darling boys, to the sweet and funny Lost Boys, to the fierce snarling Pounce-girls. It's an absolute delight to watch each and every one of them in their natural and present imaginative play.

Wendy, Peter, and Tiger Lily lead the gang
(photo by Dan Norman)

I hadn't read the playbill before the show, but as soon as I saw Peter and Tiger Lily's percussive dance to the "Ugg-a-Wugg" song (with the offensive lyrics replaced by a vow of friendship*), I knew the choreographer must be Joe Chvala. His dance company is called the Flying Foot Forum, so it's a natural fit. The greatest moments of the show are the group scenes - Tyler and his mini-mes as one jolly band of boys (including an inventive routine using large exercise balls), and Tiger Lily's cat-like Pouncers. And when all of them are on stage together, it's gloriously organized chaos.

The CTC stage is as bright and colorful as always. Walt Spangler's scenic design creates four distinct worlds - the Darling home, the boys' Neverland lair with oversized flowers, a magical tree with a fire pole inside, and the dastardly pirate ship. Linda Cho's costumes also help create the magical world, from the Darling children's darling period pajamas, to the boys' nature green garb and the Pounce girls' feline inspired tawny gear, culminating in Captain Hooks frilly pirate look.

Whether or not you have children, CTC's production of Peter Pan, directed by that other magical Peter - Peter Rothstein, is a completely wonderful and joyous journey into the imagination, freedom, and poignancy of childhood. But yet we're still reminded that it must only be a dream, although a pleasant one, to remain a child forever. We must grow up, but thanks to CTC, Neverland is never very far away. Peter Pan continues through June 21.


*Read about the changes that CTC made to the script around the character of Tiger Lily here.


This article also appears on Broadway World Minneapolis.

"My Fair Lady" at the Guthrie Theater

There's a reason My Fair Lady is one of the most beloved musicals of all time. Not only does it feature a bunch of wonderful songs by Lerner and Loewe that have become classics (including "Wouldn't it be Loverly," "Get Me to the Church on Time," and "I Could've Danced All Night"), but it's based on the George Bernard Shaw play Pygmalion that deals with issues of class, gender, societal expectations, and the intersection of wealth and power. It's a musical that has style and substance. The Guthrie's gorgeous new production does well by this classic. The show is perfectly cast, the familiar music sounds great, the choreography is fantastic, and the sets and costumes are luscious. This hugely entertaining show is definitely a must-see summer blockbuster musical.

I'm not sure the obligatory plot summary is necessary here; even if you think you aren't familiar with the story, you probably know it. It's been retold many times, from the original Shaw play (which was in turn based on a Greek myth) to the Julia Roberts movie Pretty Woman. A gentleman takes a lower class woman and transforms her into a "lady." In this case, the gentleman is Professor Henry Higgins, who studies phonetics and is intrigued by flower girl Eliza's poor accent, and makes a bet with his colleague Colonel Pickering that he can transform her into a lady in six months time. Eliza does indeed learn to be a "lady," but retains her spirit and even teaches 'Enry 'Iggins a bit about being a human being in the process.

Higgins, Eliza, and Pickering celebrating their success
(Jeff McCarthy, Helen Anker, and Tony Sheldon,
photo by Joan Marcus)

Most of the lead roles are played by non-local actors from around the country and the world, and even though I'm biased towards our wonderful local community of theater artists, they're all fabulous. Helen Anker, from England, is so charming and spirited as Eliza, and believable in the transformation from Cockney flower girl to sophisticated lady. Jeff McCarthy is the perfect Henry Higgins - even though he's thoughtless, selfish, prideful, and kind of a jerk, there's something so appealing and charming about him that you love him even as he annoys you with the stupid things he says. I just wish that this was more of a singing role, because unlike the original Higgins, it sounds like this guy can really sing. Rounding out the trio is Aussie Tony Sheldon as a delightfully amusing Pickering. And of course, we can't forget about Eliza's pop, a charming rogue as played by Donald Corren.

The large ensemble is full of too many familiar faces to mention, all of whom are great fun to watch. And they create some full and gorgeous harmonies (e.g., the "Loverly Quartet") under Andrew Cooke's musical direction, accompanied by his six-piece just barely off-stage band. Featured roles played by some of our local favorites include Robert O. Berdahl as the hair-flipping Hungarian, Angela Timberman (who can still crack me up with a single look) as Higgins' loyal yet exasperated housekeeper, and Melissa Hart as Higgins' mother, the only one who truly has his number. And then there's Tyler Michaels. His rendition of on "On the Street Where You Live" is a definite highlight of the show; I wanted to reach for the remote and rewind so I could watch it again! (Luckily he comes back for a brief reprise in the second act.) Not only does Tyler have a great voice, but he brings a unique physicality to every role he plays, including this one. Freddy has an awkward grace, he's a bit of a clutz around Eliza, but the love he feels for her flows out of every pore. I've never seen this song performed so comically and physically before - leaping across the stage, standing on top of props, dancing with bicycles and flowers and whomever wanders into the scene. It's truly joyous.

Joe Chvala's flying foot choreography, well performed by the ensemble, shines in the elaborate and busy group numbers. He incorporates percussive slapping and clapping, as well as the use of props from brooms to parasols. The prim and proper ladies and gentleman at the races create some beautiful images as they move delicately and gracefully across the stage. In contrast, the entire street comes boisterously alive in the audience's favorite scene (judging by the applause that continued for several minutes), "Get Me to the Church on Time." Fabio Tobloni's costumes are gorgeous as expected (the extravagant hats! the spats!), and the set by Walt Spangler is truly impressive, with three massive moving pieces that turn to reveal different facades, including Higgins' two-story library with spiral staircase. All of these pieces come together beautifully under Joe Dowling's direction to create a feast for the eyes and ears.

My Fair Lady continues through the end of August. It's sure to be a big hit, and deservedly so. The show is so full of life and energy and dance and music, it's almost impossible to take it all in in one sitting. Lucky for me I get to see it again with my season ticket, so I'll have a chance to relive the many wonderful moments.


This article also appears on Broadway World Minneapolis.

"A Christmas Carol" at the Guthrie Theater

The Christmas season has officially begun - we had our first snowfall here in the Twin Cities over the weekend, and I saw the Guthrie's annual production of A Christmas Carol last night.*  And even though the snow might melt shortly, A Christmas Carol continues through the end of the year.  So if you're looking for a way to get into the holiday spirit, this show will do it.  The themes of Charles Dickens' classic tale go beyond any religion or holiday; being kind to everyone, spending time with the people you love, appreciating what you have in life, and sharing with those less fortunate are ideas we can all stand to remember at all times of the year.

This year's show is fairly similar to last year's version, again using the new adaptation by Crispin Whittell and direction by Joe Dowling, with just enough tweaks to make it interesting for return customers.  The fabulous set (by Walt Spangler) is the same as last year, depicting a street scene with shop windows and a revolving centerpiece to reveal the inside of the office of Scrooge and Marley.  For the Fezziwig scenes a huge set of shelves with all kinds of goods rolls out for a backdrop.  There's some pretty amazing engineering going on.  Much of last year's cast returns, with some reshuffling and new blood added.

Highlights include: 

• J.C. Cutler is a very convincing Scrooge, especially in his transformation to the joyful, generous man dancing through the streets sharing his wealth and his love (read this StarTribune article to find out more about our Scrooge).
• Zach Fineblum was equally convincing in the reverse transformation.  From the young open-hearted Scrooge to the miserly old Scrooge, he almost physically transforms before the audience's eyes.
• The fabulous Angela Timberman, aka Miss Hannigan,  reprises her role as Scrooge's boozy maid.
• Kris L. Nelson also reprises his role as the loveable and hard-working family man Cratchit.  It's a family affair again; his brother Lee Mark Nelson plays several characters including Mr. Fezziwig, and his wife Tracey Maloney plays the Ghost of Christmas Past, floating in on feathers and light to remind Scrooge of what he lost.
• Sam Bardwell was a bit of a scene stealer as the dim-witted party guest Topper and young Scrooge's friend (roles he also played last year).
• Other faves include Robert O. Berdahl as the jolly Ghost of Christmas Present, Suzanne Warmanen as the charming Mrs. Fezziwig, and Viriginia S. Burke as Cratchit's hard-working wife.
• Some of the dialogue about the rich vs. the poor sounds oddly current, including the rich man who insists on being called a "job creator."
• This production again features a flock of talented kids, some of whom I recognized and some of whom are new.  What fun to be able to play make-believe in such a realistic way!
• As usual, the dancing at the party is wonderful (movement by Joe Chvala of the Flying Foot Forum).  It's quite a feat just to manage the large cast of people moving in and out, and make it look smooth and natural.

The Guthrie's all around top-notch production of A Christmas Carol is a Christmas card come to life.  A Dickensian Victorian scene complete with dingy children begging on the streets, snow softly falling, a turkey and figgy pudding feast, carolers in bonnets and full skirts, merry dancing, mistletoe, and of course the famous phrase delivered by an adorable sweet-voiced child, "God bless us, everyone!"



*I received two complimentary tickets to this play as part of "Blogger Night at the Guthrie."  Very nice seats in the front row of the balcony, center stage, which provided a very nice overhead view of all the action on stage.