"Romeo and Juliet" by The Acting Company at the Guthrie

The Acting Company, a touring company out of NYC that travels around the country presenting classical works of theater, has spent the month of January at the Guthrie Theater.  I saw them a few weeks ago doing Shakespeare's slapstick comedy The Comedy of Errors.  I enjoyed the talented young cast so much that I had to go back to see the other show they were doing in repertory - Romeo and Juliet.  It was fun to see familiar faces in totally new roles, and although this play had a completely different tone, they again did a wonderful job and worked well together.

Our Romeo (Alejandro Rodriguez) and Juliet (Kaliswa Brewster) had pretty minor roles in The Comedy of Errors so I wasn't sure what to expect from them.  I was impressed by both of them.  They look the part of the young lovers and were believable falling in love, which quickly turned to despair.  Alejandro went from the carefree and blissful youth to the man in anguish at losing his love, literally writhing on the ground and sobbing.  The plum part of Juliet's nurse was played by Elizabeth Stahlman with great humor and energy.  Sid Solomon played Romeo's kinsman Mercutio with much of the same mannerisms as he had in Comedy, which I probably would have enjoyed more had I not been reminded of his previous character.  But he also played the Prince, a role in which he was almost recognizable.  Elizabeth Grullon played the boy Peter, a fun change from her vampy role in Comedy.  The delightful Comedy clowns Stephen Pilkington and John Skelley played the smaller but still entertaining roles of Romeo's pals.

Whenever I see Romeo and Juliet I get frustrated by all the near misses and how differently things could have turned out.  Like maybe this time, the Friar's message will get through to Romeo so he'll know Juliet is not really dead.  Or Juliet will wake up just a few minutes sooner, before Romeo has a chance to drink the poison.  Or better yet, the Friar will suggest that Juliet sneak out of her house and run away with Romeo instead of the preposterous plot of faking her death.  But it never happens; everything goes wrong and the love story ends in tragedy.  That's what makes it so deliciously heartbreaking.

After this week the company moves on around the country with their two plays, until they end the season in NYC in April.  Check out their tour itinerary to see if they'll be at a location near you.

My Experience as an Extra in the Coen Brothers' Movie "A Serious Man"

In addition to theater, I’m also a big fan of movies (although I probably go live theater more often than I go to the movie theater). I’ve never had any desire to be an actor on stage or screen. But I’ve had a few opportunities to be an extra in movies, which was great fun for me because it gave me a behind-the-scenes look at how movies are made. It destroys a little of the movie magic, knowing what goes into them, but it’s worth it to watch great artists at work.

I have Garrison Keillor to thank for my career as a movie extra. I’m a big fan of his radio program A Prairie Home Companion, so when I heard they needed bodies to fill the seats at the Fitzgerald Theater in St. Paul where they were filming a movie version of the show, I signed myself up! I got called in for a double shift, twelve hours that mostly consisted of reading The DaVinci Code in the waiting area across the street (it was 2005, everyone was reading it). An unpaid position except for a few bags of pretzels, and wearing my own clothes, it wasn’t very glamorous. But I did get to spend several hours sitting in the Fitz listening to Meryl Streep and Lily Tomlin sing together while Robert Altman called out directions from the back of the theater, John C. Reilly and Woody Harrelson goofed around on their guitars off-stage, and Kevin Kline wandered up and down the aisles. It was a good day’s (unpaid) work and well worth the time, even though I didn’t make it into the movie.

The extras casting company for APHC, and for many local movies, is called “Three Crazy Ladies.” I got on their mailing list, which led to my next job as an extra a few months later. It was a small local movie that pretty much went directly to DVD. Which I bought, only to find out that my brief scene as the hostess of a bar/restaurant was cut.

A few years went by and nothing interesting came up from the casting company. But then news broke that Joel and Ethan Coen were returning to their native Minnesota to film a movie, the first since Fargo in 1996. A Serious Man is period piece set in 1967 and many of the characters are based on people the brothers knew while growing up in Minnesota. I was desperate to be in it, and luckily Three Crazy Ladies again got the job and sent out an email calling for extras. I drove to a non-descript office building in Minneapolis and filled out a one-page application that included the question “are you willing to wear a bullet bra and girdle?” Since that was at the beginning of my obsession with the 1960s-set TV show Mad Men, my answer was an enthusiastic yes! (Trust me, it’s not as cool as it sounds.) Weeks went by and I heard nothing. Then one day I got a call and was asked, “Can you show up for a wardrobe fitting tomorrow?” Sure!

I went back to the office building on a Friday morning and spent about two hours there with the wardrobe and hair departments. They had asked me to straighten my naturally curly hair, and when I got there they asked if they could cut it and do a shoulder length flip-do. I was reluctant, so I went with the other option: “We can give you an up-do and make you look older.” Sure, I’d love to look older. ;) Anything for the Coens. I tried on about four different outfits, all vintage clothes from the 60s. The wardrobe staff settled on a green suit – skirt and jacket – with a patterned blouse with a tie underneath. I was to be a “lady who lunched.” Once the outfit was chosen, they had to pick just the right accessories. It was like my grandmother’s attic – bins of earrings, shoes, and purses, all organized by color. They found the perfect little brown heels (which actually show up in the movie, more about that later), a brown purse, gold and pearl clip-on earrings, and a pin to complete the look. I was so impressed with the level of detail that went into clothing an extra who would appear on screen for just a few seconds. That’s dedication and professionalism, my friends. I was given an updo and a few Polaroids were snapped of the look, and then I was on my way.

My scene was filmed on a Monday morning in October of 2008 in a furniture warehouse off 7th Street in St. Paul near the airport. It was a 6:30 am call time, and again I had to straighten my hair (so of course it was raining on and off and on all day). I showed up on set (which consisted of several trailers parked outside the warehouse) and partook of the free breakfast. There were six extras on the set that morning, and we were lead through the warehouse to the filming area. One room was set up as wardrobe, and our outfits were neatly tagged and ready for us. After wardrobe was make-up. I’ve never had my make-up professionally done, so it was a fun experience. I was given a mod 60s look – black eyeliner with a minty green shadow and pink frosty lip stick. Next stop (and the longest) – hair. While wardrobe and make-up were inside the warehouse, hair was a separate trailer outside. I spent at least an hour, if not two, in the hair trailer. First one set of rollers and then another, much teasing and backcombing, and more hairspray than I’ve used since I was a teenager, and I was transformed into a 1960s woman. The other female extra was there too and was transformed into a perfect 1960s dental receptionist. The men didn’t take nearly as long.

We were all ready to go and led to the waiting room, which also held snacks for the cast and crew. I think that was where I caught my first glimpse of Joel and Ethan. They would occasionally wander in to get a snack or read the paper, but as extras we’re told not to bother the stars or directors. Bad form to ask for an autograph on a movie set. ;) I didn’t know much about the scene we were shooting, just that it took place in a dentist’s office. Finally, we were needed. Only four of the six extras ended up being used in the scene: myself, my 12-year-old “son” (whose uncle had gone to Hebrew School with one of the Coens), the receptionist, and another waiting patient (who, in real life, was a state representative that somehow helped with getting the movie made in Minnesota). The two “real” actors played the dentist and his patient. I recognized the patient as Wayne A. Evanson from several productions at the Guthrie; Dr. Sussman was played by Michael Tezla. The action of the scene consisted of the dentist walking out into the waiting area and greeting the patient, exchanging a few pleasantries. The specific dialogue didn’t seem to be important, just the tone of the exchange. It wasn’t until I saw the movie that I knew why – there was a voiceover during the scene so the dialogue couldn’t be heard.

The scene was shot from four different angles, and I was involved in three of them. A close-up of each actor, and two from farther away with both of them in the shot. Not all the extras were needed for all shots, depending on the angle and who would show up in the shot. From each angle they did probably about ten takes. At times Joel or Ethan or both would come out to give direction, and it was seamless, like they were one person. They obviously have a great working relationship and shorthand between them. I don’t know of any other directors that work in a pair and have been so successful. One direction I remember specifically is that they wanted the patient to laugh with a big open mouth that they seemed to focus on. Their laughter indicated that they finally got what they wanted. We spent probably two hours filming what would be about a 10-second scene. Again, incredible attention to detail.

Lunch break was called at about 1 pm and we went back outside to the food truck which had a great variety of fresh and tasty food. We ate with the crew under a big tent (it was still raining, so I had to be careful to protect my bouffant from the rain). I ate as much as my girdle would allow, which unfortunately was not a whole lot. We went back inside and got touch-ups on our hair and make-up. I felt like such a star as I was getting my hair sprayed and lipstick re-applied at the same time. As soon as we were ready to go, they came in and said, “We don’t need you anymore, you can go now.” Well, thanks for lunch! It was a fun and fascinating day on the movie set, and I got paid! But I had a long 6+ months to wait until I found out if I made it to the big screen.

The movie came out in June of 2009 and was only playing at the Uptown Theater the first weekend, which is a great old theater that seemed to fit the vintage feel of the movie.  I watched with bated breath, waiting for the dentist office to appear.  Larry Gopnik, the main character, went to see the rabbi, who began telling a story about a dentist - this was it!  At about 56 minutes into the movie I saw this:

In the lower right-hand corner of the screen you can see my vintage brown heels, and my "son," who is reading a Look magazine from the 60s.  I believe the article was something about the Kennedys.

In the next scene you see the patient, and there's my head floating in the lower left-hand corner!

During the filming of the scene someone (maybe an assistant director?) told my "son" what to do (pretend to read the magazine), which he took very seriously.  But no one told me what I was supposed to be doing, so I just looked at the magazine over his shoulder and tried not to gawk at the main action of the scene.



And that's it!  My 15 minutes, OK 15 seconds, OK maybe 1/15 of a second, were over.  It was such a fun experience to be even marginally involved in the making of a movie.  And in my completely unbiased opinion, it's one of the Coen Brothers' best films.  Definitely the most personal.  It has that quirky sense of humor that is uniquely Coen, but with a deeper meaning about faith and family and life.  I'm proud to be a part of it.

"Into the Woods" at the Bloomington Civic Theatre

Into the Woods at the Bloomington Civic Theatre was the first show on my list of productions I wanted to see this year.  There are two reasons I wanted to see it: 1) my New Years' resolution to see more Sondheim; and 2) I've been hearing good things about BCT lately, particularly in the bios of some of my favorite new actors, so I was curious to check it out.  I was not disappointed on either count.  As music director Anita Ruth pointed out before the show, Into the Woods is one of Sondheim's happier musicals, and this company of actors, musicians, and designers did a wonderful job with it.  There was a "talk back" after the show (love that!) where Anita and most of the actors came out on stage to discuss this show and the theatre in general.  BCT program director Bonnie Erickson was also available to answer questions.  Most of the actors have "day jobs," which makes their fine work with this challenging piece all the more impressive.  I hope to see some of them again, either on the BCT stage or on professional stages in the area.  Anita and Bonnie talked a little about the challenges of programming a season of musicals, balancing classic, familiar pieces that a portion of the audience wants, with more innovative and original pieces that appeal to another part of the audience (like me!).  It was interesting to hear about the life of this theatre and the work that they do.

Into the Woods, featuring music and lyrics by Stephen Sondheim and book by James Lapine, was first produced in 1986.  The plot is a mash-up of several well-known fairy tales, including Little Red Riding Hood, Cinderella, Jack and the Beanstalk, and Rapunzel, as well as an original story about a baker and his wife who want to have children but are cursed by a witch.  In the first act, the baker and his wife go on a quest to have the spell reversed and intersect with the tales of the other characters, all of whom go "Into the Woods" to begin their journey.  By intermission, everyone seems to have gotten what they wanted, but the second acts delves into what happens after the "happily ever after."  Sometimes the consequences of getting what you wanted are not all good.  As Glinda says in Wicked, "Getting your dreams, as strange as it seems, is a little, well, complicated."  The music is typical Sondheim: unusual and beautiful melodies with clever and fast-paced lyrics.

Highlights in the cast include Karen Weber as the witch, who later has her youth and beauty restored but her power taken away (you can't have everything).  She gets to sing the most well-known song, "No One is Alone," and does so beautifully.  Adam Qualls as the baker duets with the witch on that song, and is quite charismatic and natural on stage.  Colleen Somerville is his equal partner and wife, until she's charmed by the prince in the woods.  Laurel Armstrong is the Cinderella who comes to realize the fairy tale prince may not be the answer to her dreams after all.  Aleks Knezevich and Eric Heimsoth are the charming princes in "Agony" who, once they find their princesses, are not entirely satisfied.  Courtney Miner is a spitfire of a Red Riding Hood, and Joshua Hinck sings beautifully as the addle-brained Jack whose best friend is a cow, and who sets off a chain of events he didn't see coming.  The set was colorful and whimsical with moving pieces that functioned as beds, rocks, or trees depending on the scene.

Now that I've discovered BCT I'll definitely be keeping on eye on their schedule.  Their next show is the Cole Porter musical Kiss Me, Kate this spring, which might also be worth checking out.  I was very impressed with the all-around quality of the show and am glad to add BCT to my rotation of theaters.

"The Comedy of Errors" by The Acting Company at the Guthrie

I didn't know Shakespeare wrote slapstick comedies.  But The Comedy of Errors certainly is that, at least as performed by The Acting Company at the Guthrie Theater.  Complete with pratfalls, silly noises, sight gags, bawdy jokes, and plenty of actual slaps, it's way more fun than Shakespeare should be.  The Acting Company is a touring company out of New York City that tours the country with classic theater, "offering opportunities to young performers to play classical roles in major productions."  Many of the cast members are graduates of the U of M/Guthrie training program.  They're spending the month of January at the Guthrie doing The Comedy of Errors and Romeo and Juliet in repertory.  I wasn't planning to see Romeo and Juliet, thinking one show would be enough, but I really enjoyed the bright, young, charismatic cast.  I'm curious to see them in different roles in a more serious play, so I just ordered my ticket for Romeo and Juliet.  They've got an unusual number of weekday matinees on the schedule, which I imagine means a lot of school groups are coming in - always a great thing.  Next destinations on the tour are Brainerd and Madison, followed by a few more Midwest stops before a return to the East Coast.

The Acting Company cast

The Comedy of Errors features typical Shakespearean mistaken identity confusion, times two.  Two sets of twins are separated at birth, one set the "master" and the other set hired (bought?) by their parents to be the "servants."  One of each ends up with each parent, who are separated, never to meet again.  Until 25 years later.  Somehow the twins ended up with the same name, so when Antipholus and Dromio arrive in Ephesus, they're instantly mistaken for the Antipholus and Dromio who live there, and can't understand why everyone knows them but they don't know anyone.  Even Antipholus' wife is fooled, and is not happy when her husband doesn't want to come home for dinner.  Meanwhile, the "real" Antipholus and Dromio are locked out of their own home (because they're already inside) and are exasperated when people start accusing them of things they haven't done.  At times the wrong servant approaches the wrong master with something entirely other than what he asked for.  Much hijinks and confusion ensue, until after 90 minutes the two pairs meet in a hilarious scene where, after a moment of confusion, all is set right.

The four actors playing the twins are all wonderful.  John Skelley, one of my new faves (The Importance of Being Earnest and The Two Gentleman of Verona at the Guthrie), plays one of the Dromeos along with Stephen Pilkington.  Both are very funny and good at taking a punch.  Our proud and put-upon Antipholuses are Jonathan C. Kaplan and Jason McDowell-Green.  The four have great chemistry with each other, and are obviously having a good time with this show.  An interesting thing is that a few of the actors speak with British accents, while most of them do not.  I assume it was each actors' choice, and somehow it works.  Other highlights in the cast include Sid Solomon as the smarmy jewelry salesman, Whitney Hudson as Atipholus' wife who can't understand why her husband is acting so strangely, and Elizabeth Stahlman as her loyal sister, who can't understand why her brother-in-law is confessing his love for her! 

This is my first time seeing The Acting Company, and I like them.  I like what they're doing.  I look forward to Romeo and Juliet in a few weeks, as well as seeing what they'll do next year.

Shows I’m Looking Forward to in 2011

Happy 2011 friends! A new year brings new plays and musicals to go see. Here are a few I’m excited to see in the first part of this year.  (Click on the title for more info and to purchase tickets, although not all of them are available yet.)

Into the Woods, Bloomington Civic Theater, January 14 – February 13
I’ve been hearing good things about the Bloomington Civic Theater and seen it listed in the bios of some of my favorite new actors, so I’ve been itching to check it out. This show fits nicely into my goal to see more Sondheim, so it’s worth the drive across town.
Update: read my review of the show.

Doubt, Ten Thousand Things, February 11 – March 6
There are five reasons to see this show: 1) Ten Thousand Things’ stripped-to-the-core style of theater; 2) A Tony-award winning play about “A fiery battle between a nun and a priest over suspicions of the sexual abuse of a child. Can you get at the truth, when the truth is so colored by our lenses of experience?” 3) Peter Rothstein, my favorite director and Artistic Director of Theater Latte Da; 4) Sally Wingert, who, like Meryl Streep who played the role in the movie, can play anything from comedy to drama and everything in between, and elevates everything she’s in; and 5) Kris Nelson, another of my favorite actors who never disappoints. Any one of those five reasons would be enough to get me to this show, but with all five of them? I’m counting the days!
Update: read my review of the show.

Song of Extinction, Theater Latte Da, February 25 – March 20
Peter Rothstein is a busy man! He’s also directing this Theater Latte Da “play about the science of life and loss, the relationships between fathers and sons, Cambodian fields, Bolivian rainforests and redemption.” I don’t know anything about this play and don’t recognize any of the names on the cast list, but I’ve never met a Latte Da show I didn’t love. And they do a great job casting their shows, so I might discover a few new favorite actors too.
Update: read my review of the show.

HAIR, Orpheum Theater, March 1–6
You can read more about my obsession with the 1968 musical HAIR near the bottom of my 2010 Top Ten list, but suffice it to say I saw it twice on Broadway last year, including making a special trip to NYC just to see the original cast before they moved to London. So yeah, I’m a fan. There’s not much of a plot, but with great music, incredible heartfelt performances, a message of love and peace and togetherness, and a chance to be harassed by hippies, who needs a plot? Since both the Broadway and London shows have closed, I look forward to seeing some familiar hippies, including original tribe members Paris Remillard and Steel Burkhardt as Claude and Berger.  It's only here for a week so get your tickets now!
Update: read my review of the show.

Little Shop of Horrors, Mu Performing Arts, March 19 – April 3
This musical about the plant that eats people is one of my favorites, and “Suddenly Seymour” is one of the best musical love songs ever. Mu usually does Asian-American themed pieces, but this is their chance to cast Asian-Americans in roles they wouldn’t normally be cast in. Randy Reyes is playing Seymour, and I’m sure he’ll be completely charming and funny and touching, as is required in Seymour.
Update: read my review of the show.

Avenue Q, Mixed Blood Theatre, March 25 – May 29
Avenue Q is a refreshingly original and funny musical featuring puppets, like an R-rated Sesame Street. I’ve seen it once on Broadway and once on tour, and I’m very curious to see how Mixed Blood stages this show in their intimate space.
Update: read my review of the show.

[title of show], Yellow Tree Theatre, April 22 – May 15
My favorite little theater in Osseo is doing a musical, and I can’t wait to see how they do it! Wikipedia says “The musical documents its own creation by two Broadway fans, who want to enter the New York Musical Theatre Festival. It follows the team's struggle to complete the show in three and a half weeks with the help of their two actress friends.” It sounds like it’s right up Yellow Tree’s alley, and I think I’m going to love this "musical about two guys writing a musical about two guys writing a musical."
Update: read my review of the show (hint: I did love it).

Next to Normal, Ordway Center, May 10–22
I saw Next to Normal on Broadway shortly after it premiered in 2009, and saw it again last year. I walked into the theater the first time knowing almost nothing about the show, other than it had gotten good buzz and it was about a family struggling with mental illness. Sometimes that’s the best way to see a show; I was blown away. It won a Tony for the brilliant rock score, but lost the best musical Tony to Billy Elliot. The six-person cast was amazing, and Alice Ripley won the Tony for her role. Lucky for us she’s reprising her role in this tour. If you want to see a Tony-winning actress in a bold, brilliant, truly original musical, go see Next to Normal. Expect to be emotionally drained by the end of the evening (in a good way ;).
Update: read my review of the show.

A Funny Thing Happened on the Way to the Forum, Jungle Theater, June 10 – July 31
Again, more Sondheim. I’ve only seen one musical at the Jungle, the completely fabulous Hedwig and the Angry Inch. So I have high expectations for this show. I don’t think I’ll be disappointed.
Update: read my review of the show.

HMS Pinafore, Guthrie Theater, June 18 – August 28
My favorite show that I’ve ever seen at the Guthrie is the Gilbert and Sullivan musical The Pirates of Penzance. It was the final production of my first season as a subscriber in 2004, and I loved it so much I saw it twice. With pirates climbing down from the balconies and flying in on ropes, costumes that were to die for, a fantastic cast, and Gilbert and Sullivan’s clever use of language and rhythm, not to mention a song about the Pythagorean Theorem, this is one of those shows I wish I could travel back in time to revisit. If this production of Gilbert and Sullivan’s HMS Pinafore is even half as good as The Pirates of Penzance was, I know I’ll love it. I’m also hoping that some of my local musical theater faves will be in it.
Update: read my review of the show.

2011 is shaping up to be another great year for theater in Minneapolis/St. Paul.  I hope you get to one or two of these shows, and let me know if there are others you're looking forward to.  FYI you can always see what shows I've got coming up in my schedule in the "Upcoming Shows" section on the right-hand side of this page.  Click on the show name for more information and to order tickets.

I hope your 2011 is filled with health, happiness, and great theater.

Tonic Sol-Fa at Orchestra Hall and the Paramount Theater

Tonic Sol-Fa is my favorite a capella group.  Actually, they're my only a capella group.  I've been a fan of theirs for almost 15 years, having first heard of them at my and their alma mater, College of St. Benedict/St. John's University.  I first heard them sing at the Minnesota State Fair, where they still appear every year at the bandshell.  I've seen them perform 30+ times over the years, and I never tire of it.  They continually come out with new original songs and new arrangements of old songs, not to mention their silly jokes and other ways to entertain the crowd.  I attended their New Year's Eve concert at the Paramount Theatre in St. Cloud for the 11th straight year; at this point, it wouldn't be New Years without Tonic Sol-Fa!  I also usually attend their holiday show at Orchestra Hall in Minneapolis; even though it's the same show both nights, I just can't resist seeing them in this beautiful venue.

Tonic Sol-Fa consists of four members, each of whom has their distinct role, both vocally and in terms of the chemistry of the group.  Jared, the bass with the super-low voice, provides the steady rythm and dry one-liners, as well as an easy target for the other guys' jokes.  Greg is the goofy one and never fails to make me crack up with whatever silliness he's come up with, especially his annual donning of the Christmas tights.  He's a great beat-boxer and also provides much of the arrangment for the group.  Shaun sings lead most of the time, and along with Greg, is responsbile for most of the entertainment portion of the show.  He has a beautiful voice and is one of those people in whom the music just flows through him in a way he's barely able to contain.  Mark is the straight man in the group that allows the rest of them to be crazy around him.  With his great harmonies and dance skills (he joined Greg in the "Single Ladies" dance this year), he's a consistant and steady presence on the left side of the stage.

Here's a clip of the guys singing "The 12 Days of Christmas" at the Paramount that showcases of each of their skills, as well as their brilliance at coming together and entertaining the crowd.  One of the things I love best about Tonic Sol-Fa is their ability to take a familiar song and turn it on its head to make something new and fresh.  I usually end up liking the TSF version better than the original. 

I'm listening to their new CD "Something Beautiful" as I write this; it's a collection of their best ballads from the past 5-10 years and includes the beautiful new song, "We All Need Saving."  Here's a clip of it from Orchestra Hall.  Take note of my favorite moment, when they drop their mics near the end of the song and their unamplified voices fill the space in Orchestra Hall.

The bottom line and the reason I keep returning to show after show, is that in addition to great music, the members of Tonic Sol-Fa are obviously having so much fun performing and entertaining the audience, that it's impossible for the audience not to have fun too.  Whether you're young, old, or anywhere in between, you're sure to have a good time with these guys.  I know I always do!

One more clip: a cover of Michael Buble's "I Just Haven't Met You Yet," with crowd participation (I dare you not to sing along!).

My Top Ten Shows of 2010

I attended 72 events in 2010, a significant increase from last year’s total of 48. Appropriate that this is the year I started this blog! Although it’s a bit of a chicken/egg situation; I’m trying to attend more theater (especially new-to-me local theaters) to make this blog more diverse. Of the 72 events, 27 were musicals, 20 were plays, 22 were concerts, and 3 were other events (such as awards or galas). Included in the 47 plays/musicals were 10 in New York City (I visited the city three times this year, also a record high!). The 37 local shows were at 18 different theaters in Minneapolis, St. Paul, and the suburbs, ranging in size from the 40-seat Dreamland Arts on Hamline Ave. in St. Paul to the 2500-seat Orpheum Theatre on Hennepin Ave. in downtown Minneapolis. The 37 shows are actually comprised of 36 different productions since there was one I saw twice (see below to find out which one). I picked out ten memorable shows from these 36. They’re listed below in chronological order, NOT in rank order (it’s hard enough for me to limit it to ten, much less rank them).

1.  As you can read in the “About Me” section on the right-hand side of this page, RENT is my favorite musical. Before this year, I had seen it 11 times, once on Broadway and 10 times on tour, including last year’s tour with Anthony Rapp and Adam Pascal, who created the roles of Mark and Roger back in 1996. Every time is new and different because the cast is different and they bring something new to the piece. But it’s also become very familiar; I know what the set and costumes are going to look like, and who’s going to move where across the stage at what point in their song. So I was really excited when I heard there was going to be a local production at the Lab Theater in Minneapolis, featuring a local cast. It’s a great venue for a show like RENT; an old warehouse with exposed brick walls, the seats very close to and level with the stage. Everything about the show felt new, from the set, to the way the characters moved around it, to the costumes, to the interpretations of the familiar and beloved characters by the amazing cast (led by Reid Harmsen as Mark and Harley Wood, of local band Far from Falling, as Roger). A brand new version of a beloved classic, and I loved it.

2. The Guthrie Theater’s production of Macbeth was a bloody, violent, spectacle of a show, and I loved it. I’m not usually a big fan of fight scenes in movies, but when it’s on stage, it’s as intricately choreographed as a dance and often as graceful. Add to that a condensed version of Shakespeare’s classic story of a man who will do whatever it takes to become king, even if he regrets it later; a powerful performance by a magnificently bearded Erik Heger as Macbeth leading the large talented cast; and the Guthrie’s usual incomparable production value, and you have a great two hours of theater.

3. Theater Latte Da’s production of the musical Violet is the show I loved so much I saw it twice. Theater Latte Da can do no wrong in my book; I love the art form of musical theater and so does Latte Da; they make musicals that push beyond the definition of what we think musicals are. They had a very successful run with the large-scale Evita this fall, but I loved their spring show best – the quiet, intimate, moving story of a young woman on a journey to face her past, heal her wounds, and move forward with her life. With a top-notch cast featuring Latte Da favorites (Dieter Bierbrauer as Violet’s father and Randy Schmeling as Monty) and newcomers (Britta Ollmann as Violet, Azudi Onyejekwe as Flick, and teenage wonder Maeve Moynihan as the young Violet), a sparse but rich-sounding three-piece orchestra, and an intimate space in the Guthrie Dowling Studio, I easily could have seen it three or four times.

4. Technically, Brief Encounter is not a local production. It’s a touring show out of the Kneehigh Theatre in Cornwall, England, that’s currently playing on Broadway (where I saw it again in October, basically the same show with just a few cast changes). But I’m including it because it was part of the Guthrie season and only made limited stops in the US. I don't know how to begin to describe this show. It’s a perfectly lovely and unique evening of theater that uses song, film, and movement to tell the story of the 1945 Noel Coward film of the same name about star-crossed lovers who are married to other people. It’s quirky, funny, silly, and absolutely heart-breaking. It’s unlike anything I’ve ever seen, and I expect the Tony voters will agree come next June.

*It’s worth nothing that the above three shows were playing at the Guthrie at the same time in February/March of this year. I remember sitting in the Dowling Studio on the 9th floor, waiting for Violet to start, thinking about how a few floors below me Macbeth and Brief Encounter were occurring on the Wurtele Thrust and McGuire Proscenium Stages. Three such completely different shows, all truly entertaining in their own unique way. That’s why I love the Guthrie.

5. I’ve been hearing about Ten Thousand Things Theatre for a few years and was intrigued by the idea: theater that travels to prisons, homeless shelters, and other locations to reach the less fortunate among us who don’t typically have a chance to experience theater. And they get some of the top talent in the Twin Cities. I don’t know why it took me so long to finally attend a show, but after seeing My Fair Lady in a large empty fully-lit room at the MN Opera Center, I’m hooked and am now a season ticket holder. Ten Thousand Things performs the paid public version of their show the same way they do it on location: small cast, minimal to no sets, simple costumes, and full lights, with the audience sitting in a few rows surrounding the performance area. It’s theater unlike I’ve ever seen it: sparse, sharp, and with nothing to distract you from the work. It’s truly remarkable. In My Fair Lady, the music took a back seat to the story of a woman from the streets trying to make it in “society,” and all the gender and class issues that go along with it. Kate Eifrig gave a gutsy performance as Eliza, and Steve Hendrickson was her elegant but emotionally reserved Henry Higgins. Some of the songs were spoken which gave more focus to the words. The one exception was when Bradley Greenwald, a member of the ensemble who played several parts, sang “On the Street Where You Live.” He has an amazing operatic voice and he absolutely killed the song. With minimal accompaniment, his voice filled the room and gave me chills. Ten Thousand Things is bare bones theater, and it’s breathtaking.

6. This summer’s Circle Mirror Transformation was a Guthrie production but not part of the Guthrie season. It told the story of a Saturday acting class in the fictional small town of Shirley, Vermont. Full of awkward pauses and odd exercises, it felt like I was spying on this class and getting to know and love the five participants and their complicated lives. This small, intimate production in the Dowling Studio also seemed to be a favorite of actors; I spotted three of them in the audience (and even got to ride the elevator down to the first floor stage door with two of them!). There was nothing really remarkable about this show, just a quiet, real, completely satisfying exploration of five intersecting lives.

7. Another part of the Guthrie season that’s not technically a Guthrie production, Scottsboro Boys is the final musical by John Kander and the late Fred Ebb (composers of classics such as Cabaret and Chicago). Following a successful run Off-Broadway earlier this year, Scottsboro Boys moved to the Guthrie this summer in preparation for its opening on Broadway this fall. The excellent cast was intact with one exception: local actor David Anthony Brinkley filled in for John Cullum (aka Holling Vincoeur from my favorite TV show Northern Exposure). Employing a traditional minstrel style, the musical tells the true story of nine young black men who were accused of raping two white women in 1931 in Scottsboro, Alabama, and the miscarriage of justice that ensues. As you can tell from the subject matter, it’s not a light and easy musical. At times difficult to watch, but with the amazing music and choreography you’d expect from a Kander and Ebb show, it deals with some serious issues of racism and justice that we’re still dealing with in this country today. I wish there were more musicals like this, forcing us to look at our world in a new way through the medium of song and dance. Apparently it’s too raw and real for the mainstream theater-going public to deal with, because the show recently closed after a run on Broadway of less than two months. The producers are hoping for a spring revival in time for the Tonys, at which it’s sure to be well-represented.

8. The Glass Menagerie is a tragic tale of a dysfunctional codependent family; a mother who only wants the best for her children, a daughter who is afraid to go out in the world, and a son who doesn’t know what to do to make it better for them all. The Jungle Theater’s production was beautifully sad and moving.  The incomparable Wendy Lehr (winner of the 2010 Lifetime Achievement Ivey Award) played the mother, and her chemistry with Joshua James Campbell's Tom was real and delightful.  Rounding out the strong cast was Michael Booth as the charming and arrogant gentleman caller, and Alayne Hopkins as the fragile Laura.  This family is trying so desperately to be happy, and they fail so miserably, that your heart just breaks for them.  I was reminded of how much I love the space at the Jungle and the work that they do.  They have several exciting shows coming up this year, so I just ordered a season pass.

9. My favorite theater find this year is the Yellow Tree Theatre in Osseo, a northwest suburb with a quaint small town feel. Founders and spouses Jason Peterson and Jessica Lind founded the theater in 2008 upon returning home after trying to find their fortune in New York City. Instead, they decided to make their fortune here. They transformed an ordinary space in a suburban strip mall into a warm, inviting space “where good stories live.” They opened the 2010-2011 with the original play String, a quirky romantic comedy that made me laugh and warmed my heart. Their website says: “We at Yellow Tree Theatre have this dream. We see the people of this community gathering together and getting excited about theatre. We see our theatre as a meeting place where everyone feels welcome, an artistic venue where people of all ages and walks of life can mingle together. Maybe we’re a little romantic, maybe this sounds like a crazy convoluted idea, but we’re okay with that. We like crazy.” I like that kind of crazy too.

10. The Guthrie’s production of The 39 Steps, which just closed last week, was a zany, fun, whirlwind of a show. A cast of just four actors played dozens of different characters on a wild ride across the Scottish countryside. Sarah Agnew, Jim Lichtscheidl, and Luverne Seifert were all hilarious in each of their many roles, and Robert Berdahl played the main character Richard Hannay with a suave elegance and over the top hamminess. They all seemed to be having as much fun as the audience was. I ran into Sarah at a Ten Thousand Things performance of Life’s a Dream during the run of the show, and couldn’t resist telling her I loved the show. I said to her, “I don’t know how you guys don’t crack each other up.” And she responded, “We do!” Like a great Carol Burnett sketch, the audience and the actors get caught up in the hilarity and fun of it all.

Honorable Mention:

I’ll always remember 2010 as the year of Hair. The 1968 Broadway musical was revived in 2009 and I had only started hearing about it when I was in New York City that April. I was hoping to get tickets at the TKTS booth, but no such luck. I became obsessed with the show as the soundtrack was released and the cast made frequent TV appearances, including on the 2009 Tony Awards, where it won for best revival of a musical. I fell in love with the entire cast, or tribe as they’re known, but especially Gavin Creel, both for his infectious performance as Claude and his tireless advocacy in bringing equality to everyone. I was planning another trip to NYC in April 2010, and as soon as Hair tickets were released I bought some. Just a few weeks later, it was announced that the entire cast was moving across the pond to do the show in London’s West End; their last NYC performance would be in March of 2010. Great news for the show and a great opportunity for the tribe, but devastating news for me! After a few hours of depression I thought, why don’t I just go to NYC before March to see the cast that I love doing this show that I love? So that’s exactly what I did, and it turned out to be one of my best trips there. My theater buddy Kendra and I saw the show and loved it – I was afraid it wouldn’t live up to my high expectations, but it absolutely did. We danced onstage and sang “Let the Sun Shine In,” and met most of the cast at the stage door. When Gavin hadn’t appeared and no one else seemed to be coming out, we were about to give up (did I mention it was January and cold?). But our patience was rewarded when Gavin came out to talk to a man who had been at the original show 40 years ago. He very generously braved the cold to talk to the few fans that remained. I found him to be just as sweet and kind and warm and funny as I thought he would be. Gavin traveled to Minnesota in September to perform at a fundraiser for then-candidate and current governor Mark Dayton, and I was able to talk to him for a few minutes then as well, after watching his amazing performance of classics and musical theater selections. But enough about Gavin, back to the show at hand.  I saw Hair again in April with the replacement cast, and it was almost as good as the original! I’m looking forward the tour that’s coming to Minneapolis in March, starring original tribe members Paris Remillard and Steel Burkhardt as Claude and Berger.

Entertainment Weekly called Bloody Bloody Andrew Jackson “a weird, wild masterpiece,” and I find that a fitting description. During my third trip to NYC this year, Kendra and I were standing in the TKTS line trying to decide what to see, when a very nice and helpful young man convinced us to see BBAJ. It wasn’t a hard sell; I had heard rumblings about it, and as soon as our new friend heard that we’re interested in original, inventive musical theater, he directed us to this show. A political satire set to an endlessly singable emo-rock score with brilliant over-the-top performances, most notably by rising star Ben Walker as the sexypants president, BBAJ is part utter silliness and part biting commentary on the world we live in. Sadly, like Scottsboro Boys, this show is ahead of its time. It’s closing this weekend after a mere 120 performances. I’m so grateful I had the chance to see it during its short run, and I hope that it finds life in other forms.

I had the great fortune of seeing two Broadway legends and one legend-in-the-making at Orchestra Hall this year. Bernadette Peters (Sunday in the Park with George, Into the Woods, the movie version of Annie) performed with the Orchestra in May; Patti LuPone (in addition to such Broadway classics as Evita and Sweeney Todd, she also played my alter-ego Becca’s mom in my favorite TV show as a teen, Life Goes On) performed with only piano accompaniment in June; and Idina Menzel (Maureen in RENT and Elphaba in Wicked) performed barefoot with the orchestra in November. All three women told stories about their history and experiences in the world of musical theater, singing songs from shows they were a part of and shows they wished they were a part of. Three amazingly talented women and three amazing evenings celebrating my favorite thing, musical theater.

On the music front (remember those 22 concerts?) the definite highlight of the year was StoryhillFest over Labor Day Weekend. A two-day folk music festival in the beautiful Brainerd lakes area, StoryhillFest featured performances from nine artists in addition to two concerts by the duo Storyhill, about whom Garrison Keillor said something like, “setting the bar for male vocal duets.” The weekend was a wonderful celebration of music and the outdoors, and a collaboration between artists that culminated in a nightly campfire sing. I’ve never experienced anything quite like listening to my favorite musicians sing and play by the magical light of a campfire under a thousand stars. I went to the website to buy my tickets for the 2011 fest last week, only to find that the rooms are sold out! Not a big fan of camping in a crowd of people, I bought a few day passes and put my name on the waiting list in the hopes that something will open up before next September. If you like sitting outside listening to great music, get your tickets now!

That about wraps up my year in live entertainment!  Looking back on it, 2010 was a very good year.

"A Christmas Carol" at the Guthrie

The Guthrie Theater presents A Christmas Carol every year, and this is the sixth year in a row that I've seen it.  They've been using the same adaptation for years, although last year was a condensed 90 minute version of it.  This year they're using a brand new adaptation by Crispin Whittell, directed by Guthrie Artistic Director Joe Dowling.  The old version was great, but after so many years you know what's going to happen when, so it was a lot of fun to see a new twist on the classic story.  This version seems a little crisper, a little more modern.  There's no narrator like in years past, and it's a little funnier too.  The set is entirely new and features Scrooge's office with a safe full of money and a loft upstairs, from which he watches some of the action.  The ghosts fly in on wires, Christmas Past was right over my head!

One thing that hasn't changed about A Christmas Carol is that it features a great cast.  Guthrie favorites include Isabell Monk O'Connor, Nathaniel Fuller, Suzanne Warmanen, Hugh Kennedy, and the brothers Nelson.  Kris plays Scrooge's clerk Bob Cratchit and Mark plays Marley's ghost in chains and gray face paint.  Mark's daughter Ella is one of the children in the cast, who were all wonderful.  I've seen quite a few productions with great child actors lately (Joseph, Billy Elliot), and I realized today that I shouldn't be surprised that kids are great actors.  All kids love to play make-believe, and kids are much more open and imaginative than adults, so it's no surprise that some of them thrive on stage.

This year's younger and heartier Ebenezer Scrooge is Daniel Gerroll (another theater actor with dozens of TV credits) in his second role at the Guthrie.  His dark wit and singular focus on making money believably transform into an openness and joy at life after witnessing his past and what's waiting for him in the future.  Angela Timberman is very entertaining as his drunken housekeeper Merriweather who's startled at his change in demeanor.  Nic Few plays the Ghost of Christmas Present with joyous energy and laughter that's contagious.  The streets of London and Fezziwig's party are populated with dozens of men, women, and children who laugh, dance, and sing.  I was sitting in the front row and felt like I was at a great party!

I enjoy A Christmas Carol every year and was delighted at this fresh new take on it.  Sets, costumes, and staging are always incomparable at the Guthrie, but it's the heart of the story embodied through the excellent cast, from Scrooge down to Tiny Tim, that make this a memorable show.

"Billy Elliot" at the Orpheum

Some shows you go to for the music, some for the story, and some for the dancing.  Billy Elliot is definitely a show you go to for the dancing.  And also the great story about being who you are and expressing yourself in the way that you want, no matter what anyone else thinks.  The music, written by Elton John with lyrics by Lee Hall (who wrote the screenplay for the movie) is good, but is mostly there to facilitate the dancing.  The musical won several 2009 Tonys, including best musical (which should have gone to Next to Normal in my opinion), best direction, best choreography, and best actor for the three young men who shared the role of Billy.  I've wanted to see it for a while, but resisted because it was one of those ubiquitous movie adaptations, which I often find to be unimaginative and mostly about making money.  But Billy Elliot is the exception that proves the rule.  For one thing, it's not a huge blockbuster with a built-in audience (like Spiderman, for example); it's a sweet and funny little English movie.  Secondly, it's about dance and music, so it seems naturally suited to the stage (unlike, for example, Spiderman).  I loved the movie, and I think it has been successfully translated to the stage.

Billy Elliot takes place in Northern England during the coal miners' strike of 1984.  The whole town is on strike, and in the midst of this, an 11-year-old boy discovers dance.  After accidentally wandering into a ballet class populated by adorably awkward little girls (in some of the best performances of the show), he finds himself continuing to come back to dance class.  His teacher, played by the divine Faith Prince (she's guest-starred in numerous TV shows in addition to her successful Broadway career), discovers a talent in him he didn't know he had.  Billy's growing passion for dance is not initially accepted by his miner father and brother, but they eventually come to support him in his dream that will get him out of the dying mining business.

My favorite scene in the movie is when Billy, angry that he was forced to miss his dance school audition, is so overcome by emotion that he can't do anything but dance.  He doesn't know what to do with what he's feeling, so he throws it all into a dance through the streets of the town.  That scene also turns up in the musical, and is equally well done.  Billy screams and dances to a song called "Angry Dance" as the miners strike and the cops patrol.  In another scene, Billy dances a beautiful balletic dance shadowed by his older self, played by the incredible ballet dancer Maximilien Baud.  They dance together in joy, and Billy flies through the air, finding freedom in dance.

Another sweet subplot in the movie that's well replicated is about Billy's friend Michael, played in this performance by the charismatic and talented Jacob Zelonky, who likes to dress up in women's clothing.  He convinces Billy to try on a skirt, and they sing and dance about how there's nothing wrong with "Expressing Yourself," even if that means wearing a dress.  Several dresses come to life and dance with the boys, who are wearing glittering tap shoes and are surrounded by a shining backdrop.

As I mentioned before, the ballet girls are some of the best performers in the show.  Ranging in age from about 8 to 14, they play girls who are learning ballet in a small town with varying degrees of success.  They're rowdy little girls who love to push each other and make faces, and even occasionally swear!  They look so comfortable and natural up on stage; each and every one is a star in the making.  In one brilliantly choreographed scene (the show was choreographed by Peter Darling), the ballet girls dance in and out amongst the striking miners and the cops, as they continue to discuss what's going on, seemingly oblivious to the fact that they're twirling and lifting a little girl in a tutu.  It's a fascinating juxtaposition.

Another one of my favorite scenes (there's just so much to talk about in this show!) is when Billy asks his somewhat senile grandmother about his grandfather.  You might expect a touching story, but not in this show.  Instead, Granny tells Billy how her husband was a bastard who hit her.  But in the evening, "We'd Go Dancing," and everything was magical.  If she had it to do over again, says Granny, she'd enjoy her life and not be someone's wife!  As she's telling the story, the versatile men in the ensemble quietly come on stage from the right, and slowly move towards Granny and Billy until she dances and fights with them, and then continue gracefully past and out the windows on the left.

But the star of the show is, of course, Billy.  There are five Billys touring with this production, taking turns playing the role.  The Billy I saw is 14 year old Daniel Russell from Australia.  An amazing dancer, a great actor (I had tears in my eyes when Billy read a letter from his deceased Mother), and not a bad singer.  I'm so impressed by him and all the kids for the performances they give and the focus and discipline they must have to tour with this show at such a young age.  I'm inspired to look into the possibility of taking dance classes (better late than never), but in the meantime, I ordered a ticket to the James Sewell Ballet at the Southern Theater next year.  I'm not sure that I've ever been to a ballet, and judging from the little I've seen, I'm sure I'd love it!

"All is Calm" by Theater Latte Da at the Pantages Theatre

All is Calm is the annual Christmas show by Theater Latte Da, my favorite local theater, and, inexplicably, this is the first time I've seen it.  In it's third year, the show was written by Latte Da Artistic Director Peter Rothstein (with musical arrangements by Erick Lichte and Timothy C. Takach) about the World War I Christmas Truce of 1914.  Soldiers on both sides (German and Allied troops) spontaneously decided to stop shooting at each other for one day, and walked out into "no man's land" to sing songs, play games, and share photos of loved ones.  All is Calm tells the story of these men through music and their own words.

I'm not sure whether to call this show a concert, a play, or a musical.  It's really a lovely combination of all three.  In a message from Peter Rothstein in the playbill, he says, "I'm interested in creating performance where the content dictates the form" (something I believe I've also heard Stephen Sondheim say).  The show is constructed from quotes from soldiers' letters and journals, as well as articles written about the truce.  Three actors recite these quotes in a colorful variety of British accents.  Interspersed among the quotes are songs by the male vocal ensemble Cantus, who sing traditional Christmas carols and army songs.  Peter was inspired to collaborate with Cantus when he saw one of their concerts and realized that "their work was pushing the boundaries of chamber music in the ways Theater Latte Da was pushing the boundaries of musical theater."  It's a beautiful collaboration; at times it's hard to distinguish the actors from the musicians.  They're all dressed alike in black coats and sweaters.  As the story moves into winter of 1914, they all gather their scarves a little tighter, pull hats and gloves out of their pockets, and button their coats.  The singers act the part of the soldiers leaving their homes and families with excitement, expecting to return soon, only to be caught in a brutal, cold, long war.  The truce is a short break in their weariness, and gives them hope, at least for a moment.

I think this show is less about Christmas or any specific holiday, than it is about the realization that we're more alike than we are different.  The people we are fighting against in any war are really not that different from ourselves.  They want to be home with their families and live a peaceful, happy life, just like we do.  It really is a lovely thought - what if the armies of both sides went on strike, would we find another way to settle our differences?  Idealistic maybe, but something to think about.

"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.

"Miracle on Christmas Lake" at Yellow Tree Theatre

A small regional theater is preparing for their Christmas play when the rights are unexpectedly pulled.  They have to scramble to pull together a new production in a short period of time.  This is both the plot of Miracle on Christmas Lake and the true story of how Yellow Tree Theatre developed the play two years ago in their inaugural season.  They were all set to do Jacob Marley's Christmas Carol when they were told they were granted the rights by mistake and could no longer do it.  Since one of the founders of the theater, Jessica Lind, is a playwright, she wrote a new play and chose to base it on what they were going through, although with many fictional and wacky additions.

Miracle on Christmas Lake is set in the fictional town of Christmas Lake, Minnesota.  Colin (Stuart Gates) inherited the town theater from his father and moved home from New York City with his wife Tess (Carolyn Jensen) to run it.  Colin left a semi-successful acting career in NYC, including a role on the fictional soap opera As Time Ticks On.  (Coincidentally, Jessica and her husband Jason Peterson, director of this production and Artistic Director of the theater, had also spent time in NYC before moving home to Minnesota to open the theater, and Jason appeared on the dear departed soap As the World Turns.)  Colin calls all of the actors in the cancelled production, It's a Wonderful Life, for an emergency all-night brainstorming/rehearsal session, but only the oddball Martha Knutson (Jessie Rae Rayle) can attend.  She brings along tator tot hotdish and her pet bearded lizard, named Katherine after her grandmother.  Martha is a caricature of Minnesota and seems to be stuck in the 80s judging by her high-waisted acid washed jeans and moon boots.  Jessie, who also appeared in String this fall, gives a fearless performance, contorting her face and invoking a crazy laugh and funny posture.  Piano tuner Neil (Ryan Nelson), who has an understandable obsession with Little House on the Prairie and Michael Landon, is roped into joining the new production.  After a failed attempt at trying to extract something interesting from Martha and Neil, Colin decides to act out an episode of As Time Ticks On to appeal to their chief benefactor, Mrs. Burlington (Diana Wilde, who also plays Colin's mom), who's a big fan of Colin and the show.  They also give her a part in the play.

The main character in As Time Ticks On is Victor Icon of Icon Enterprises, an obvious nod to Victor Newman from the number one soap, The Young and the Restless, who is most certainly a soap icon (even though he's a manipulative greedy bastard ;).  There's also a character named Marlena (Days of Our Lives).  Plot points include sperm switching, affairs, evil twins, and being buried alive, all soap staples.  The play begins, and chaos ensues.  The lizard Katherine has gone missing and Martha is beside herself.  Neil is only comfortable when using someone else's voice, from Bill Clinton to Marlon Brando to my favorite, Jimmy Stewart.  Mrs. Burlington has a hideous hairy mole on her chest, and Tess is forced to do an awkward Colombian accent.  The show falls apart, and Tess tries to save it by singing perhaps the most melancholy of Christmas songs, "Have Yourself a Merry Little Christmas."

The show is a disaster, and Colin is sure he's going to have to sell the theater and move back to NYC, something Tess thought she wanted until she sees how much the theater means to Colin.  But it turns out people loved the show; Mrs. Burlington comes through with her donation and they sell out the performance for the next night.  Like in The Producers, the show is so bad it's good!  Tess and Colin decide to stay in the little Minnesota town and make a life and a theater there.  I, for one, am glad that Jessica and Jason made the same choice.  While this fall's String was more my style, Miracle on Christmas Lake is a funny, silly, campy show with great performances that makes for an entertaining evening.  It pokes loving fun at everything from tator tot hotdish to lutefisk to soap operas to Little House on the Prairie.  I continue to be impressed with Yellow Tree and am looking forward to their upcoming productions, Our Town and the musical [title of show].