Fringe Festival 2012: Joe Dowling's William Shakespeare's Romeo and Juliet on the Moon, Featuring Kate Mulgrew as Lady Capulet

Day: 1

Show: 3

Title: Joe Dowling's William Shakespeare's Romeo and Juliet on the Moon, Featuring Kate Mulgrew as Lady Capulet

By: The Peanut Butter Factory

Written by: Christopher Kehoe

Location: Theatre in the Round

Summary: In this play-within-a-play, a renowned local theater is doing a completely ridiculous version of Shakespeare's Romeo and Juliet, set on the moon with the Capulets as aliens, the Montagues as humans, and the Friar as a robot, complete with stunt casting (for those non-Trekkie's like myself, Kate Mulgrew played Captain Janeway on Star Trek: Voyager). Five audience members give us their varying opinions and experiences with the play - a critic, a Star Trek fangirl, an understudy, a professor, and man who's attending the play with a woman who is not his wife.

Highlights: This is by far the best of the four shows I saw on my first day at the Fringe. First, the brilliant writing by Christopher Kehoe (who's also hilarious as the pretentious theater critic), in which he very successfully weaves together certain pivotal scenes from Romeo and Juliet with the commentators critiques. He also uses the actors' real names and backgrounds as fodder for the satire (e.g., Alex Brightwell really did recently graduate from the U of M/Guthrie BFA program, Max Wojtanowicz really did appear in the Children's Theater's "Ivey-Award-winning" production of Romeo and Juliet). This play pokes fun at just about everything about this sort of big budget spectacle theater, but in a good-hearted way (see the lovely note below about the real Joe Dowling, Artistic Director of the Guthrie Theater). It also illustrates that everyone's experience with theater, or any art form, is different, depending on what we bring to the theater that day. Whether it's "I have to pee," or our education and past experiences, or the person we're sitting next to, it all affects what we get out of the show. What is seen as crap and a waste of time to most of the audience turns out to be, for one man, what "saved my life." And that's the beauty of art. I have to mention the cast that is all-around fantastic (even the robot!), from the play-within-a-play actors who manage to give such convincing, if slightly over-the-top, performances of this classic play seemingly oblivious to the craziness going on around them that I almost wish I could see the entire fictional production, to the five outsiders who lets us see the play through their eyes, especially Dawn Brodey as the professor who lectures her students about the obvious (to her) misogyny of the piece. This is the second play produced by The Peanut Butter Factory (a producing company, not a theater company) and directed by Natalie Novaceck that I've loved (see also Gruesome Playground Injuries), and it makes me excited to see what they'll do next.

Tip: If you go to see this show (and you should), you might want to consider buying tickets in advance. I went to the first performance and it was almost sold out. This show clearly had a lot of pre-show buzz, which is only going to increase as people see it.

Read more of my fringe fest reflections...

a note from the playwright about the play's namesake
(click on image for a larger view)

Fringe Festival 2012: Lily

Day: 1

Show: 2

Title: Lily

By: The Algebra Theater

Written by: Becka Linder

Location: Theatre in the Round

Summary: A high school math teacher who once dreamed of becoming an actor, and maybe still does, returns home to Minnesota after living in California. She's struggling in her life, and keeps thinking back to her class in California, and one particular girl she can't stop seeing.

Highlights: Becka Linder is compelling and appropriately frenetic as the coffee-drinking teacher ("call me Ruthie"), and she also wrote and directed the piece, based on her real life experiences as a math teacher and an actor. She's also cast some of her real students as the students, and they're all wonderful, particularly Abby Maas as the title character. No sign of "acting," just kids being kids. The ending was a little lacking in resolution, especially in Ruthie's relationship with her husband, but worth seeing for the performances by adults and kids alike. And how can I not love a play with references to both local theater ("look, it's Mo Perry*!") and math (the Fibonacci sequence and the Golden Ratio).

Read more of my fringe fest reflections...


*Ironically, I found myself standing in line for my next show in front of Mo Perry. No I did not say "look, it's Mo Perry!" because someone beat me to it. A gentleman was talking to her about how much he loves her work, even though he couldn't quite remember what he'd seen her in recently. "Were you in An Ideal Husband?"  "No." Finally he asked what she was last in - "Crashing the Party at Mixed Blood."  "No, that's not it." An example of life imitates art imitates life. (I think he was thinking of Dangerous Liaisons.)

Fringe Festival 2012: All's Fair

Day: 1

Show: 1

Title: All's Fair

By: Synapse Theater

Written by: Gregory Giles

Location: Rarig Xperimental

Summary: A woman is dealing with the grief of losing her husband, and returns to the carnival where they met as teenagers 35 years ago, and to which they have been returning every year since. Now that her love is gone, she doesn't even know what love is, or what it was that she felt. She tries to recover that feeling through remembering the past (we see the young lovers in a series of flashbacks) and conversing with the spirit of her husband.

Highlights: All's Fair is a sweet love story (it reminds me a little of the Ann Reed song "Love at the Fair") that also explores the idea of memory and how it might play tricks on us. The current and past versions of the characters often appear onstage together (see Sondheim's Follies), which is interesting and effective in seeing how they've grown and changed. Anya Fetcher and Richard Weber are charming and awkward and sweet as the young lovers, and Karen Jensen is an appealing guide through the story.

Read more of my fringe fest reflections...

"Into the Woods" by Mu Performing Arts at Park Square Theatre

"Witches can be right, giants can be good. You decide what's right, you decide what's good."

After seeing the Stephen Sondheim musical Into the Woods for the second time (the first being last year's production at BCT), I have an even greater appreciation of the cleverness of the piece. I love how it turns fairy tales on their heads and explores what happens on the other side of the "happily ever after." Does Cinderella get bored living the pampered life in the palace? Can you really get away with killing a giant without repercussions? Things are not always as straight-forward as they seem. In addition to the clever intertwining and re-imagining of fairy tales, the music is of course brilliant. Smart, fast, funny lyrics combined with unexpected and interesting melodies that sometimes don't fall easily on the ear, but that's what makes it so uniquely, brilliantly, Sondheim*. But something unique about Mu Performing Arts' production of Into the Woods is that director (and soon to be retiring Artistic Director) Rick Shiomi has "set the piece in the woods of Asia rather than those of fairy-tale Europe. Several of the classic western tales featured in this musical have equivalent stories in Asian cultures." And the shift works beautifully, shedding a slightly different light on these archetypal stories that are common among many diverse cultures, attempting to make sense of our shared human experience. And it's also a whole lot of fun.

Here are a few highlights in the all-around fantastic production:

• This is an intricate score and, I imagine, not an easy one to pull off successfully. But under the direction of Denise Prosek it sounds amazing, beautifully performed by the singers and the five-piece band that sounds bigger than it is.
• Randy Reyes and Sheena Jansen as the Baker and his Wife are the heart of the piece, and have a wonderful easy chemistry together. They both do a wonderful job filling in the little in between moments, such as when they frequently have to pause their dialogue to wait for the laughter to die down.
• Maxwell Chonk Thao and Suzie Juul are both adorable as the sweet but stupid Jack (and the Beanstalk) and the bubbly and willful Little Red Riding Hood.
• Alex Galick and Eric Sharp are appropriately melodramatic as the princes who enjoy being in "Agony" over the women they love, and for whom the thrill is in the chase (and kudos to Eric for also playing the dastardly wolf).
• Sarah Ochs plays Cinderella with a little more depth and spirit than in the traditional story, and beautifully sings the touching ballad "No One Is Alone."
• Last but not least, Katie Bradley is entertaining as the evil ugly old witch who transforms into a young and beautiful (but powerless) witch, and also has a poignant moment in "Children Will Listen."
• A really effective addition to the piece is the use of two Kurogos (played by Kim Egan and Bri Heu), traditional Japanese stagehands dressed in black who move set pieces and provide sound effects (such as a crying baby or a mooing cow).

The bad news is that the show closes this weekend, so only two performances remain, but it's well worth the effort if you can make it. I've really come to love Mu's slightly non-traditional take on traditional musicals (see also Little Shop of Horrors), which allows me to see them in a whole new light. I'm looking forward to the announcement of next summer's show! (In the meantime, you can catch Mu's awesome taiko drumming ensemble, Mu Daiko, at the Fringe Festival.)

the cast of Into the Woods

*For more Sondheim, see Theater Latte Da's Company at the Ordway McKnight Theatre and Sunday in the Park with George at Bloomington Civic Theatre, both opening in October.

"Latte Da in the Park" by Theater Latte Da at Plymouth Park

Harry Houdini, Cinderella, Moritz Stiefel, Little Inez, and Judy Garland gather in a park to sing showtunes. No, that's not the beginning of a bad joke, it's Theater Latte Da's annual summer park concert. This show is always my favorite summer outdoor event, and since I missed the show at Lake Harriet this year, I attended the show in Plymouth earlier this week. It's a much smaller venue than Lake Harriet, but just as lovely, especially since the oppressive heat of this summer abated enough to make it quite comfortable to sit outside and listen to some music: a selection of showtunes, pop songs, standards, and a sneak peek of Theater Latte Da's upcoming 2012-2013 season, which looks to be as outstanding as last season was (the year of youth: Spelling Bee, Beautiful Thing, and my favorite show of 2012 so far, Spring Awakening). I've seen all of these talented singer/actors before, in the above-mentioned roles and more, and I loved seeing them in this casual environment.

The show began and ended with the entire cast joining in for the pop classic "I Can See Clearly Now" (and it was indeed a "bright sunshiney day"). The five performers then took turns singing individually, accompanied by Latte Da's constant and eminently capable Music Director Denise Prosek, who kept things moving smoothly along.

• Harry Houdini, who also goes by the name Sasha Andreev, sang a few songs including the title track from the musical Memphis, and a particularly moving rendition of Five for Fighting's "100 Years to Live."  (and yes I had to google that to find the name of the band.)
• Our Cinderella, Jessica Fredrickson, sang the Dolly Parton hit "Here You Come Again" and Nat King Cole's "Orange Colored Sky," which later morphed into a nifty duet with the next character...
• Moritz Stiefel is one of my favorite musical theater characters, and Tyler Michaels is quickly becoming one of my favorite musical theater actors to watch perform. He sang a couple of standards - "Hey There (you with the stars in your eyes)" (originally from the musical The Pajama Game), and "Fly Me to the Moon," the aforementioned nifty duet with Jessica. The two also dueted on a silly and sweet love song called "Cubicle of Love." Tyler and Jessica's voices blend together beautifully (I saw them just the night before in A Night in Olympus at Illusion Theater), and I hear we'll be treated to more of it in Bye Bye Birdie at the Chanhassen Dinner Theatres, opening this fall.
• Little Inez, aka Ivory Doublette, sang Whitney Houston's "I Wanna Dance with Somebody" and a very funny little ditty about never getting to sing the melody.
• Judy Garland's spirit was present when Jody Briskey sang "The Trolley Song." Jody also sang the beautiful "Fields of Gold" and a super-fast and hilarious song setting words to Chopin's "Minute Waltz."

The evening continued with Latte Da's Artistic Director Peter Rothstein announcing their upcoming season, which includes three shows I've been dying to see live and local. They open with Stephen Sondheim's Company (which I've never seen live on stage but fell in love with thanks to the Neil Patrick Harris filmed concert version released to movie theaters last year), followed by the Tim Rice/Elton John Aida (I saw it 11 years ago on tour and Broadway), and closing with Adam Guettel's beautiful creation, A Light in the Piazza (another one I saw once many years ago on tour). The only casting that's been announced is Dieter Bierbrauer as Bobby in Company (a choice with which I heartily agree). One hallmark of a Peter Rothstein production is pitch perfect casting, so I can't wait to find out who will be taking on the roles of Aida, Radames*, Amneres*, Clara, Fabrizio, and the rest.

To whet our appetite for the upcoming season, the cast sang a few songs from the above three shows. First, Company. Tyler led the cast in "Side by Side by Side," Ivory sang "Another Hundred People," Jody sang "Ladies who Lunch" (which I hope she'll do in the production this fall, she has the perfect voice for the song), and Sasha sang the stirring closing number "Being Alive." Jessica and Tyler unfurled several pages of sheet music to sing the beautiful and heart-breaking duet from Aida, "Written in the Stars." Finally, Jessica treated us to a medley of a few songs from The Light in the Piazza.

My very first post on Cherry and Spoon was about Latte Da in the Park in the summer of 2010, so I sort of regard this as my anniversary. I've been doing this for two years now, and it's only getting better and giving me more and more opportunities to see amazing theater and meet talented people and have wonderful experiences. Judging by Theater Latte Da's upcoming season, next year is going to be even better!


*Update: additional casting for Aida announced. Jared Oxborough (aka Che in Evita) will play Radames and Cat Brindisi (Wendla in Spring Awakening) will play Amneres, two more excellent casting choices!

"A Night in Olympus" at Illusion Theater

It was a last minute decision to see A Night in Olympus, the final show of Illusion Theater's Fresh Ink series ("showcasing the developing work of new and established artists in Minnesota"). The deciding factor? The cast. Norah Long, Tyler Michaels, Jessica Fredrickson, Randy Schmeling, and Aleks Knezevich - I couldn't possibly miss that! And I was not disappointed. A Night in Olympus is a new original musical (my three favorite words) with an unoriginal story (unpopular and insecure high school girl dreams of being beautiful and winning the favor of the popular boy, only to realize that the guy she really wants is her best friend who's been there all along - see any Molly Ringwald movie from the '80s) told in an original way (gods and goddesses disguised as high school teachers work their magic to make the change come about). The music is great, the jokes are clever, and the cast is indeed fantastic. With a lesser cast the piece might not have worked as well, but each member of the cast reveled in their role(s) and really sold it. An impressive feat considering the limited time they had to prepare and the fact that the script was constantly changing throughout the four-show run. In fact they had scripts in their hands for most of the show, which was no distraction at all, and the show ran smoothly (at least from the audience perspective). The creators Chan Poling (music and lyrics) and Jeffrey Hatcher and Bill Corbett (book) will continue to work on the piece and hope to find another home for it. I'd love to see a full production of the show with the original cast intact!

Maggie (Jessica Fredrickson) and Harry (Tyler Michaels)

The setting of our story is a high school in Olympus, Indiana, a nowhere town that the kids can't wait to escape from. The lovely-voiced Jessica Fredrickson  plays Maggie, the Cinderella-like main character (after playing Cinderella herself at the Ordway last year) who gets her wish of becoming beautiful and popular, only to learn that it's not exactly what she hoped. Her best friend Harry (the incredibly talented Tyler Michaels) can never get up the nerve to tell Maggie that his feelings for her go beyond friendship. When she's transformed into the beautiful girl and no one recognizes her as Maggie, everyone flocks to her except for Harry, who's not impressed by her physical beauty but keeps looking for the real Maggie. He leaves a series of messages on her voice mail, and finally pours his heart out to her in the sweetest zombie-themed awkward love song I've ever heard. Tyler is definitely the one to watch on the local music/theater/dance scene. He's got charisma and stage presence to spare, a great voice, and a really unique physicality about his acting that informs whatever character he's playing and that is captivating to watch (and was on display here in a zombie walk).

The remaining six cast members play multiple roles of students, teachers, and gods, with minor costume changes (hoody = student, no hoody = teacher). Norah Long  has a lot of fun with her three distinct characters - the shallow popular girl, the stereotypical gym teacher (slash goddess Diana), and our heroine's sympathetic mother - and manages to bring depth and interest to all of them. Mark Rosenwinkel comes alive when his coach character is revealed to be the god Mars ("Thank God I'm a God Again"). Austene Van is truly divine as the beautiful teacher all the boys have a crush on, who is actually Venus, the goddess of love. Matt Rein is the outrageous bully as well as the nice guy teacher who wants to live a normal mortal life. Randy Schmeling is the poor picked on kid who finally gets revenge on his nemesis (ironically named Randy) as well as the nerdy A/V teacher who is actually (spoiler alert) Zeus! Finally, Aleks Knezevich truly hams it up as the stupid jock, the creepy janitor with changing accents, and especially as the evil Hades, god of the underworld. I've only seen Aleks in more serious singing roles so it was fun to see him let loose with something a little lighter. In addition to being great individually, the ensemble works and plays wonderfully together. There are some fun group numbers, including "The Most Beautiful Parking Lot." I know, it sounds strange, but it's so fun and infectious you can't help but smile.

I'm a little bummed that I only caught the tail end of Illusion Theater's Fresh Ink series. I'll pay more attention next year; I love seeing and supporting new original works of theater. I imagine in a program like this, the cast is there to showcase the work. But in this case, the cast was the star of the show. And the show was a great vehicle to showcase some incredible talent.

"Angels in America: Millennium Approaches" by Theatre Coup D'Etat at the Lowry Lab

I had never seen Tony Kushner's masterpiece two-part play Angels in America live on stage before last week (in fact the only time I've seen Kushner plays is at "KushnerFest" at the Guthrie three years ago). But I fell in love with Angels in America through the 2003 HBO mini-series and have since been eager to see it on stage. So when I heard that local theater company Theatre Coup D'Etat (which I'd never heard of before) was performing the first part, Millenium Approaches, I jumped at the chance to see it. It was as I remember the TV adaptation to be - powerful, compelling, perplexing, and moving. After it ended, I found myself wondering when Theatre Coup D'Etat will present the second part, subtitled Perestroika, so that I can spend more time with these sympathetic and/or infuriating characters.

The play centers around two couples. Joe and Harper are a married Mormon couple that is struggling: Joe because he's gay but, like a good Mormon, has learned to "Turn it Off," and Hannah because of her addiction to pills in attempt to cope with that unspoken fact. As a result, she's clingy, terrified, and suffers from hallucinations. Joe has been offered a job in DC but doesn't want to take it because of how it will affect Harper. Joe's co-worker, Louis, is the first to confront Joe with the fact that he's gay. Louis himself is having a hard time because his partner, Prior, has AIDS and is in declining health (Louis is the infuriating character I referred to earlier). He turns his partner's illness into his problem; Prior is lying on the floor in pain, and Louis cries, why is this happening to me! He ends up leaving Prior, unable to handle his illness. It's easy to label Louis as a jerk because of this, but who really knows how they'd react to that situation unless they're in it? We'd all like to think we'd stand by someone we loved going through a terminal illness, but Louis is the embodiment of that tiny part of us that questions if we'd have what it takes. But Prior isn't left totally alone, he has his fiercely supportive friend, the drag queen/nurse Belize. And he has his hallucinations - of his ancestors who also died young, and an angel who comes to visit him in his sickbed. This is where the play ends, with much more to be explored.

Prior (James N. Stone) and Harper (Megan Dowd),
who only meet in a dream

The staging of the play is very simple, with black boxes serving as chairs, beds, bars, coffins. That and the intimate space at the Lowry Lab puts the focus on the actors and the emotions of the piece. At the heart of the piece is James N. Stone as the ailing Prior. He takes the character from healthy and making light of his illness, to writhing on the floor in pain, to dressing in drag as a comfort, and he carries the audience on the journey with him. Veteran actor Steven Flamm (he's been acting in the Twin Cities for over 40 years) is the gay lawyer who also has AIDS, but denies both facts to maintain his reputation as a high-powered attorney. Despite this, Steven manages to make him a likeable and compelling character. Michael Brown (that promising young actor from American Family at Park Square) shows more of his talents as Prior's friend Belize (think True Blood's Lafayette). Megan Down manages to make Harper crazy and sympathetic (in a much different role that her recent appearance in the farce Absolute Turkey at the Gremlin). Also good are Peter Beard as the closeted Joe who slowly comes unhinged, Brandon Caviness as Louis, and Katherine Preble as the wise rabbi who later transforms into a nurse and an angel.

Angels in America: Millennium Approaches continues through August 4 at the Lowry Lab in downtown St. Paul, and will then move across town to In the Heart of the Beast for a few weeks in late August. Definitely worth checking out to see this American classic. But it's not a short play - with three acts, two intermissions, and a total running time of 3+ hours, you'll want to go in fully rested and/or get some caffeine (advice that I unfortunately did not take). And with any luck, we'll have a chance to see Part 2 sometime in the not too distant future. (Goldstar half price tickets available for the Lowry and In the Heart of the Beast).

"Autumn Song" by George Maurer at St. Joan of Arc Church

As I've said before, I'm not really into poetry. I have a hard time getting anything out it when I try to read it. But when it's set to music, it's a whole different story. Accomplished local composer and pianist George Maurer has set several poems of German poet Rainer Maria Rilke to music, interspersed with a few poems by Tennessee Williams. This initially seemed like an odd couple to me, until I learned that Williams was a poet in addition to being a playwright (one of my favorites), and he was inspired in his writing by the writing of Rilke. George and director Jef Hall-Flavin have imagined a dream-like conversation between the two, consisting entirely of music and poetry. A cross between a concert and a theater piece, Autumn Song doesn't have much in the way of plot or story, but instead it brings the poetry of Rilke to life. It's a beautiful creation.

The evening begins with Jared Oxborough as Tennessee Williams entering like a character from one of his plays, like Brick or Stanley (and it was hot enough in the gym of St. Joan of Arc church to believe we were in Williams' Southern home). He begins reading a book of Rilke poetry, when the poet himself (played by Dieter Bierbrauer) appears as if in a dream. The two men interact and sing alternately or together, mostly Rilke poems and a few Williams poems as well. A few visions wander through, representing the objects of the two men's affection – Rilke's played by Dieter's real-life wife Anna, and Williams' played by Caleb Carlson, a promising young actor I've seen recently in Julius Caesar and Our Class. Despite the lack of dialogue or exposition, it's obvious that Williams takes inspiration from Rilke, so that by the time that Rilke leaves at the end of the piece, Williams is able to write again.

Tennessee Williams (Jared Oxborough) and
Rainer Maria Rilke (Dieter Bierbrauer) converse

There is much talent and collaboration present in Autumn Song. This is George's passion project, his Sistine Chapel (read a nice interview with George about the project here). He has done a beautiful job of setting these poems to music of varying styles in a way that makes them most clear and alive. George (on piano) and his band (cello, bass, drums, sax) sound fantastic, and he could not have chosen two better singers than Jared and Dieter, who both appeared on their day of from their current regular gig (Jared is in the lush old-fashioned musical Roman Holiday at the Guthrie, while Dieter is starring in the super-fun spoof Xanadu at the Chan – my two must-see musicals of the summer!). Individually, each of their voices are gorgeous, and matched by their acting skills. Blend these two voices together and you have some incredible harmonies (there's not much I like better in music than a good harmony). And their combined acting skill makes you feel the emotions of the characters, which is more important than the literal interpretation of what's happening. They don't just sing the songs, they portray the emotions behind the words and music. George's bass player Jeff Engholm takes the lead for the final song, "Autumn Days," (in what I like to call a "Purple Summer" moment), as Dieter and Jared add their harmonies. It's the first Rilke poem George set to music, and it's a glorious celebration:

Lord, it's time. The summer has gone by.

Darken the sundials with your shadows,

On the meadows let the wind go free.

Command the fruit to swell on tree and vine;

Grant them a few more transparent days,

Urge them on to fulfillment, and press

The final sweetness to the heavy wine.

As I've also said before, I'm a geek for the German language (see Werther und Lotte and Ich bin meine eigene Frau), having studied German at St. Ben's/St. John's like George did, where he was introduced to Rilke in his German classes. While Rilke's poems are translated into English for this piece, there's still that inherent German-ness in it that makes me want to attempt to read a few poems in the original language. I'm only marginally familiar with Rilke, and with Williams only as a playwright not a poet. So I appreciate getting to know both of these artists and their work a little better.

George and company will next take Autumn Song to the Tennessee Williams Theater Festival in Massachusetts. They have a Kickstarter campaign to help to fund this effort (click here to view video and back the project). I wish them much luck in this endeavor and am grateful to have gotten a sneak peek.

I'll leave you with a few poems my Rainer Maria Rilke, as sung in Autumn Song (you can read the entire libretto here).

I Love the Dark Hours

I love the dark hours of my being

My mind deepens into them.

There I can find, as in old letters,

The days of my life, already lived,

And held like a legend and understood.

  

I Live my Life in Widening Circles

I live my life in widening circles

that reach out across both earth and sky

I may not ever complete the last one,

but I give myself to

circling 'round God, that primordial tower

I've been circling ten thousand years long;

yet still I don't know:

am I a falcon,

am I a storm, or an unfinished song?

To the Beloved

Extinguish my eyes,

I'll go on hearing you.

And without a mouth, I can swear your name.

And without feet, I can make my way back to you.

Break off my arms,

I will take hold of you

with my heart as with a hand.

Stop my heart

and my brain will start to beat.

And if you consume my brain with fire,

I’ll feel you burn in every drop of my blood.

Sonnet 29
What is the deepest loss that you have suffered?
If your drink is bitter, turn yourself to wine.
Be in this night of a thousand excesses,
The magic at the crossroads of your senses.
In this night of a thousand excesses
Be what their strange encounter means
And when the world no longer knows your name?
Say to the earth: I'm flowing
Speak to the rushing water, and say:
I am.

"Cabaret" at the Lyric Arts Main Street Stage

One of my favorite shows last year was Frank Theatre's Cabaret, starring Bradley Greenwald and Melissa Hart (from the original Broadway production of the show). So when I attended a production at Lyric Arts Main Street Stage* in Anoka, I tried to put that out of mind, knowing that it was unfair to compare the two. But I was really impressed by the production. All of the leads are great in their roles, the Kit Kat girls are fantastic, the set is interesting and effective, and Cabaret is in my opinion one of the best musicals ever written. I love that it's wildly entertaining and fun and sexy, but also has an undercurrent of desperation just below the frivolity on the surface. Lyric Arts does a great job with both parts in their production running now through August 5.

Cabaret takes place in pre-WWII Berlin, just before the rise of the Nazis. It's the end of the relatively calm period in Germany between the World Wars, just before everything falls apart. And that's the desperation you can feel throughout the piece, that sense that something awful is coming, which the characters in Cabaret choose to deal with by living life as fully and as presently as they can, epitomized by Sally Bowles. She's the star of the Kit Kat Klub, living from day-to-day, man-to-man, painting her fingernails green because "I think it's pretty." She meets Cliff, an American writer, and they live happily together for a short time before the darkness that's brewing in Berlin starts to become apparent. He wants them to return to America, but Sally isn't a housewife in the suburbs kind of girl. She chooses to remain in her beloved Berlin, for better or worse.

Highlights of this production include:

• A fearless and animated performance by Max Malanaphy as the Emcee.
• Eric Brandhorst as the earnest Cliff, who sounds beautiful (and sings a lovely song I've never heard before "Don't Go").
• Katie Hahn as Sally Bowles is fierce and funny, and her final number "Cabaret" is the sad, desperate, determined cry of life that it should be.
• Debbie Swanson and Kristo Sween are just charming as the late in life couple who bond over "a pineapple."
• The set (by Brian Proball) features two levels (with the band upstairs), a fireman's pole put to good use by the actors, and cabaret tables both upstairs and down.
• The choreography (by Jon Michael Stiff) is inventive and interesting and fun, ably performed by the Kit Kat girls.
• The costumes (by Lisa Mangone) are really cool and make everyone look fabulous.

As a resident of the Northeast suburbs, I've been wanting to check out this Anoka theater for a while now. It's a nice little theater (and they sell popcorn in the lobby!), and this was a great first show for me. A few of the shows on their 2012-2013 season appeal to me so I'm sure I'll be making the trip again. Cabaret is definitely worth it, especially if you live on the Northern side of the Cities. I love the idea of a true community theater in the suburbs, so you don't always have to drive into the city to see great theater, and Lyric Arts definitely fits the bill.

the Emcee surrounded by the Kit Kat girls

*I received one complementary ticket to see Cabaret.

My 2012 Fringe Must-See List

2011 was my first year attending the Minnesota Fringe Festival, and I'm hooked. I was a little unprepared about how to pick shows and how everything works, but I found out that it's really well-run and organized. They make it quite easy to see a lot of great theater in a short time. I also learned that there's no secret to picking shows, just choose a few that look interesting and go for it, and try not to worry to much about the many that you'll miss. Here are a few shows I know I have to see in this year's Festival, beginning August 2 and running through August 12. (For a full list of performances see the Fringe website, where you can search by cast, company, or performance type.)

Answered Prayers 
A sequel to last year's Twisted Apples, one of my favorites of the festival, this piece by Nautilus Music-Theater is a musical adaptation of Sherwood Anderson's 1919 short-story cycle Winesburg, Ohio (which I've just begun reading).

Fruit Fly: The Musical
Sheena Janson (aka Audrey II, a spelling bee contestant, etc.), Max Wojtanowicz (aka Cliff, the Tin Man, etc.), and this: "Can a gay guy and a straight girl - a fruit fly - 'quit each other' to find true love? Find out in this brand-new musical filled with laughter, Sondheim references, and enough boxed wine to kill us all!" Need I say more?

The Hungry Games: Mocking the Mockingjay
I haven't seen or read The Hunger Games (yet), but I adore Tom Reed's solo-comedy-musical-spoof show (see last year's Disney Dethroned: Snowcahontas and the Tangled FrogBeast).

Joe Dowling's William Shakespeare's Romeo & Juliet on the Moon, Featuring Kate Mulgrew as Juliet 
Come on, how can you resist that title? Plus, I really loved The Peanut Butter Factory's production of Gruesome Playground Injuries earlier this year, so I'm excited to see what else they can do.

Rip
I want to see this musical adaption of the story of Rip Van Winkle for one reason: to find out what else talented young actor David Darrow (see Theater Latte Da's Beautiful Thing and Spring Awakening) has up his sleeve.

What else should I see? Please tell me, either in comments below or email, I hate the thought of missing something good! Now I just need to figure out the most efficient way to see all of the above, and any additional that catch my eye between now and August 2. I'll try to see several in the same location (the Cedar-Riverside area is great for that with seven theaters within easy walking distance), and fill in the holes in the schedule with whatever looks interesting in the area. Or maybe just plant myself at one location and see several shows in a row. 

If you've never attended the Fringe Festival before, here are a few tips. And if you have attended and you have some tips of your own - please share!

• Buy a button and make sure you have it with you, it's required for entry to all shows.
• If you're going to multiple shows, buy a punch pass, available in quantities of 5 or 10, or unlimited if you plan on seeing more than 20 shows (I wish!). It saves you $2 per show. Once you buy a pass, you can reserve a seat at any show for $1, or just show up and present your pass (see below).
• If a show is particularly popular, or you really really want to see it, consider buying (or reserving a seat) in advance. You can also take your chances and just show up.
• All shows are general admission, so get there early for best choice of seating.
• Shows typically run just under an hour, with a half hour between shows.
• Bring snacks, water, reading material, and sunscreen (you will be waiting in line, probably outside).
• Keep an open mind - some of what you'll see is really weird. But that can be a good thing!

Happy Fringe-ing!

Read what I thought about these and 11 other Fringe Festival shows here.

"Confessions of a Prairie Bitch" by Alison Arngrim (aka Nellie Oleson) at Camp Bar

As a little girl growing up in Minnesota, I wanted to be Laura Ingalls Wilder. I loved the Little House on the Prairie books and especially the TV show; it was my favorite show as a kid and I've seen every episode multiple times. Laura was my hero - I wanted her life, I wished my parents were more like Ma and Pa, and I thought Almanzo was dreamy. And of course, I hated Laura's nemesis, that mean old Nellie Oleson. But it was very much a "love to hate" feeling. What would Little House be without Nellie? Boring. Alison Arngrim, Nellie's portrayer, has made a career out of being the mean girl (aka "prairie bitch"), and what choice did she have? She will forever be known as Nellie, so why not embrace it and have fun with it? It's quite obvious from her show at the Camp Bar in St. Paul this week that she does, and so does the audience.

Alison has long been a stand-up comedian, and decided a few years ago to include her Little House experiences in her act, to much success. She published the book version of Confessions of a Prairie Bitch in 2010 (which I haven't read yet but will soon), and has been touring with her stand-up act for a few years. She told many great stories about her years working on the show and dealing with the fame that came with it, as well as her crazy life growing up in Hollywood. As the daughter of Liberace's manager and the voice of Casper the Friendly Ghost, she grew up among lots of famous and interesting people. Alison also answered questions from the audience, and did a hilarious bit listing the 10 most commonly asked questions (Was the hair real? Are you and Melissa Gilbert friends? What was Michael Landon really like? Is Albert gay?) and later answered them in rapid-fire succession (It was a wig, Yes, Awesome, How should I know what Albert's into?). Along with the stories were video clips, including a hilarious montage of baby Carrie's incoherent rambling, and Alison's favorite scene - rolling down the hill in the wheelchair.

A few interesting tidbits:

• Michael Landon was always in control of the Little House set (he was a producer, director, and star of the show).  He worked everybody hard and demanded professionalism from everyone, even the child actors, and they all loved him for it. Alison noted that anytime Charles was injured, it was always his ribs that were broken so he would have to take his shirt off. Michael knew who was watching the show and what they wanted to see. It sounds like he was an interesting mix between a man who liked fast cars and drinking and was married three times, and a talented and driven man who created one of the best loved family shows in the history of TV. Alison said he was always very good to the fans, and often reminded her that she was working for them. Not him, not the network, the fans. I think that's a key to his success and I wish more TV executives today had that attitude! It was obvious that Alison has a great deal of admiration for him. As do I. I had the opportunity to meet his youngest daughter, three-time Emmy-winner Jen Landon, a few years ago, and I'm afraid I gushed a bit about how much I love her father. I felt like I was in the presence of TV royalty. (You can currently see Jen on the best soap on TV - The Young and the Restless.)
• Someone asked Alison about Little House the Musical (which premiered at the Guthrie in 2008 before embarking on a nationwide tour, and which I loved so much I saw it three times), and she said she would have loved to have played Mrs. Oleson opposite Melissa Gilbert's Mrs. Ingalls, except that there was no Mrs. Oleson in the play. She also noted that the Laura/Nellie song was just like Elphaba/Glinda in Wicked, which I also observed at the time. It's the one that that bugged me about the musical, that Nellie was a copy of Glinda. But come to think of it, maybe Glinda was a copy of Nellie. Isn't Nellie Oleson the prototype for every "bitch" role in TV/movies/theater?
• Alison and Melissa Gilbert (Laura) are good friends to this day, and didn't get along with Melissa Sue Anderson (Mary) at the time. She complained about her character going blind, and Alison thought - have you read the books? Alison visited Melissa at Dancing with the Stars to support her, and when asked if she'd consider doing the show, responded that at the age of 50, she wasn't so sure she wanted to stand on her head and let everyone see her panties. Alison said most of the cast is still in contact and supports one another in their various endeavors.
• Alison recently appeared at "Laurapalooza" in Mankato, which was fun and a little scary. Some people she met romanticize the time period depicted in the show and books, and asked her "wouldn't you love to live in the 1800s?" Alison's response is a hearty NO - they didn't have antibiotics in the 1800s, or appletinis or botox! But she was very excited about the "What would Nellie do?" shirts and other memorabilia available at Laurapalooza.

I'm so glad I went to see Confessions of a Prairie Bitch. To see an actor from a show that I've loved virtually all my life is a rare treat. That she's so funny and real about it is even better. And it was even a bit inspirational. Alison shared that by being labeled a "bitch" at an early age, she was freed from the expectations of being "likable," and she could just be herself. It's not always a bad thing to be a bitch, it's often a label that society gives to strong and independent women. As they say in the movie Doloris Claibourne, sometimes being a bitch is the only thing a woman has to hold on to. Alison Arngrim is doing a great job of holding on to being a bitch, and entertaining and inspiring audiences along the way.

"The Sunshine Boys" at the Guthrie Theater

I've been looking forward to seeing The Sunshine Boys at the Guthrie since I heard it would star Peter Michael Goetz and Raye Birk, two of my (and I think everyone's) favorite Guthrie actors. Both of them have been in countless Guthrie productions since the 1960s, as well as many movies and TV shows. These two experienced actors are excellent at both comedy and drama (Peter recently starred in Long Day's Journey Into Night in DC and will reprise his role at the Guthrie early next year, Raye will tackle King Lear at Park Square Theatre this fall). This play gives them a chance to show off their comedy chops, and they do. Written by Neil Simon, The Sunshine Boys is about a pair of old Vaudeville performers who have had a falling out, but come back together in 1972 to perform on a TV show about the history of comedy. As you can imagine, it does not go smoothly, much to the delight of everyone watching.

Peter Michael Goetz as Willie Clark
and Robert Berdahl as his nephew Ben

Peter Michael Goetz is Willie Clark, who lives in a once glamorous but now run-down hotel in New York City. He's still working as an actor, doing the occasional commercial, but jobs are becoming fewer and farther between. He refuses to retire, and chides his agent nephew Ben (played by the wonderful Robert Berdahl, who serves as the straight man grounding these two crazies, dressed in a series of fabulous 70s era suits) about finding him a gig. It turns out Ben has found a gig for Willie, but it involves reuniting with his old partner Al Lewis (Lewis and Clark, get it?). Lewis unexpectedly retired 11 years ago, and the pair hasn't seen or talked to each other since. Willie reluctantly agrees to a rehearsal with Al to see how things go, chaperoned initially by Ben. It falls apart, but somehow they advance to an in-studio dress rehearsal. Act Two begins with the busy TV studio and we get to see the infamous "doctor sketch," in which Dudley Riggs (himself a real-life veteran of the Vaudeville stage and founder of the Brave New Workshop improv comedy troupe) appears. Until that, too, falls apart. The play ends with these two lifelong friends reminiscing about old times and facing the rest of their lives together. It's a true love-hate relationship, beautifully portrayed by Peter and Raye. The banter, the awkward silences, the way they play off of each other, the distinct way they walk around the stage, the broad New York accents, Willie's schlubby style in contrast to Al's fastidiousness, all of it is so precise and so much fun to watch.

Peter Michael Goetz's Willie Clark and Raye Birk's Al Lewis

As you can see from the sticker on the playbill above, I happened to attend on a night when they were holding a post-show discussion, an opportunity I never pass up (and you shouldn't either, if you're at all interested in listening to artists talk about their work). It was really fascinating to hear about all the work that goes into this seemingly effortless performance, and it made me want to watch it again. Peter said that rehearsing a comedy is torture, because there's no audience there to laugh so they don't know if they're funny or not. It's not until the previews that they figure out what works and what doesn't, and they have to adjust a little to allow for laughter. The opening was just last Friday, so he said they're still settling into it. Jennifer Maren (who plays the requisite blond bombshell in the sketch) talked about how a comedy like this is similar to a musical in that it has a certain rhythm and cadence. It's intricately choreographed, such as the scene in which Lewis and Clark spend several minutes moving furniture around to set up for their rehearsal and don't say a word. 

I'm pretty sure I could listen to Peter Michael Goetz tell stories about his life in the theater for hours and hours. His experience in the early days of the Guthrie, on Broadway, and in Hollywood I'm sure provide many amusing anecdotes, like the time he walked onstage during a performance of a classical Shakespeare play dressed as Lennie in Of Mice and Men, back in the days when the Guthrie was a repertory theater (which he says he misses). This is why I love the Guthrie, for bringing actors of this caliber to my town and keeping them here, even after they venture to the East and West coasts.

The Guthrie may no longer be a repertory theater, but you can still see three excellent and very different shows at the Guthrie right now, each wonderful in its own way. Starting at the top, the lovely dance piece Swimming with My Mother is playing in the Guthrie Studio through this weekend. If you're looking for a good old-fashioned musical, go see Roman Holiday. And for a hilarious and intricate comedy, there's The Sunshine Boys. Or go see all three - sounds like a perfect weekend to me!