"A Christmas Carol" at the Guthrie Theater

You can always count on the Guthrie's annual production of A Christmas Carol* for perfectly satisfactory holiday entertainment. Charles Dickens' 1843 novella is such a classic story of gratitude, forgiveness, and appreciation for one's life and the people in it, that no matter how many times I see it, it never gets old. This is my ninth year in a row attending A Christmas Carol at the Guthrie, and while the core story is always the same, there are enough changes from year to year to keep me interested. Whether it's a new adaptation (by Crispin Whittel, which the Guthrie began using in 2010), new direction (this year by Joe Chvala of Flying Foot Forum, bringing his signature style of motion to the dance numbers and the way characters move around the stage), or new actors playing familiar roles (more on that later), every year brings a slight twist to a familiar and beloved story.

I spent some time this morning looking through my nine (and counting) scrapbooks full of ticket stubs and playbills, remembering past versions of A Christmas Carol. It was fun to see the revolving cast, with many constants returning year after year along with a few newbies every year. About two-thirds of last year's cast returns, with notable newcomers including Chanhassen fave Jay Albright (applying his entertainingly expressive face to the diverse roles of the jolly Mr. Fezziwig and the somber priest at the graveyard), the newly crowned Ivey Award-winner Hugh Kennedy (charming and natural as usual in the role of nephew Fred), and yet another graduate of the U of M/Guthrie program Paris Hunter Paul as young Scrooge. J.C. Cutler returns as Scrooge after his magnificent performance as artist Mark Rothko in Red at Park Square, his performance even more poignant and delightful than last year. Kris L. Nelson returns for the third year as Scrooge's hard-working clerk Cratchit, a likeable fellow who is eventually rewarded for his loyalty to the old Mr. Scrooge. Also returning for the third year is Angela Timbermann as Scrooge's housekeeper Merriweather, once again stealing scenes with her singing, drinking, and general disdain for everything. Returning ghosts include Tracey Maloney as the lovely but sad past, and Robert Berdahl as the merry present that turns much darker (also appearing as the boy Scrooge's literary friend Ali Baba and old Scrooge's fellow stingy businessman). But the award for longest tenure with the show has to go to Suzanne Warmanen as Mrs. Fezziwig. She has played the role in all but one of the nine productions I've see (I guess she was busy in 2009?), and who knows how many years before that. She's got the role down pat, but continues to make it fresh and funny. Rounding out the cast are countless children and adults playing "rich men, poor men, carolers, Fezziwig guests, villagers, Londoners, and Morris dancers." The children are especially impressive as always, including the little darling playing the all important role of Tiny Tim, singing a beautifully clear and high carol so slowly and patiently while standing all alone on stage. Judging by these kids, the future of Twin Cities theater continues to look bright.

My favorite scene in A Christmas Carol is always the Fezziwig party, or rather parties, as we see young Scrooge change over several years at the annual event held by his generous employer. Filled with music, dancing, food, and lots and lots of people, it always looks like the most wonderful party you've never been to. The dancing (choreographed by director Joe Chvala) is delightful, and everyone joins in. But this show is not all fun and games; the special effects involving the forlorn future shown to Scrooge are pretty creepy. Which makes the final transformation all the more satisfying. And it goes without saying that the sets and costumes are a feast for the eyes.

If you've never seen the Guthrie's production of A Christmas Carol, it really is something you must experience at least once. And if the last time you saw it was prior to 2010 when they started using the darker, sharper, funnier adaptation with completely new sets, you'll probably want to see it again to see how much it's changed. Finally, if you're like me and you see it every year, rest assured that this year's production does not disappoint. Playing now through December 29.

*I received two complementary tickets to A Christmas Carol as part of Blogger Night at the Guthrie.

"Romeo and Juliet" by Theatre Coup d'Etat at the Southern Theater

In Theatre Coup d'Etat's production of Shakespeare's classic tragic love story Romeo and Juliet, there's a big twist: Romeo is a woman. But the surprising thing is that it doesn't change the story one bit. It's the same beautifully tragic, frustratingly doomed love story we all know and love. The only language that's been changed are the pronouns referring to the lady Romeo. The problem everyone has with Romeo and Juliet being together is not because of their gender, but because they belong to warring families in Verona. It's a very quick and easy transition to get used to a female Romeo, and from there, the power and drama of the classic story take over.

But before we get to the play, there was a strange but fascinating pre-show show. First, the cast gathered onstage for a yoga and vocal warm-up, which was kind of fun to watch. Then all of the actors transformed into animals, crawling around the stage sniffing and growling at each other. I had a brief moment of fear - they're not going to do Romeo and Juliet as animals, are they? Fortunately that was not the case, and the exercise ended as quickly as it began. The actors/animals left the stage, and after a moment, the Prince entered, and the story began. I still have no idea what that was about; it was a strange preamble that seemed to have nothing to do with the play, but it certainly was interesting!

the Friar (Paul Schoenack)
with the (momentarily) happy couple
(Christina Castro and Briana Patnode)

On to the main event. Strong performances by the entire cast are led by our Romeo and Juliet. Christina Castro is a strong and likeable presence as Romeo, believably falling in the love with the girl across the room at a party, who just happens to be the daughter of her family's enemy. Briana Patnode's Juliet is all sweet wide-eyed innocence, until her new love kills her cousin and is banished from Verona, and her innocence turns to despair. Meri Golden provides some comic relief as Juliet's story-telling nurse. Also notable are Alec Barniskis as the Prince, with appropriately imposing height and commanding voice; James Napolean Stone as Mercutio, especially his entertaining fight and death scene ("a curse on both your houses!"); and Paul Schoenack as the friar who tries to do right by the young lovers.

The Southern Theater contains the most beautiful stage in the Twin Cities. With the cavernous space in front of the original arch, the possibilities are endless, and it's perfectly suited to a classic story like Shakespeare's. Theatre Coup d'Etat makes good use of the space with just a few necessary and basic set pieces. The costumes (by Tyler Stamm) are simple but beautiful, classic with a modern twist. I appreciate that the Capulets wear a bit of red, while the Montagues wear a shade of blue, because sometimes I have a hard time remember who's on which side. Romeo's look - boots, leggings, and jacket - is not overly feminine, but not that different from what women wear today. Juliet's wardrobe is as lovely and sweet as she is.

This is a great production of a classic piece of theater. Romeo and Juliet is a show that's done so often, you almost need a new take on it to justify doing it again. Or rather, I need something different and interesting to make me want to see it again. Re-imagining Romeo as a woman is just that twist that makes you see and appreciate the story in a new way, without significantly changing it.

the gorgeous wide open stage at the Southern Theater

"In the Next Room" at the Jungle Theater

In the Next Room, or the Vibrator Play. It's an unexpected title. And while, yes, the play features the vibrator (more specifically the time in history when "electric massage" was a serious medical treatment for a particular ailment of women diagnosed as "hysteria"), the play is really about relationships, medical practice, the dawn of electricity, connections, and life "when the power dynamic between man and woman began to stir, but most men's hearts belonged first to invention" (from a note in the playbill). This Tony-nominated new play by Sarah Ruhl is making its regional debut, and as usual, it's perfectly executed by The Jungle Theater. Funny, smart, and sweet, with impeccable set and costume design, it's a highly entertaining night at the theater, even if it might make you squirm in your seat a little (which is not a bad thing in theater).

The titular "next room" refers to Dr. Givings' medical office, which, awkwardly, is just off the parlor of his beautiful Victorian home in "a prosperous spa town outside of New York City." Women visit Dr. Givings when they're feeling a little off, and he very calmly and clinically administers the therapy, as their husbands chat with Mrs. Givings or take a brisk walk around the grounds. Catherine is very curious about her husband's practice, despite his attempts to keep her away from it. The ironic thing is that the doctor who is helping many women, strangers, to feel better, is completely oblivious to his own wife's needs. She has recently given birth to a beautiful baby girl but is unable to produce enough milk to feed her, so a wet nurse is hired to feed the baby. This leaves Catherine feeling inadequate as a mother and as a woman, something her husband has little sympathy for. He just pats her on the head and says "there there." Her restlessness and dissatisfaction manifest themselves as falling in love with a male patient (it is rare, but men apparently can also suffer from "hysteria"). Eventually the Givings are able to talk to each other about how they feel and what they want and need, in their own sort of way, and begin the road to healing and connection (without the aid of electricity).

the patient and the doctor's wife "in the next room"
(Emily Gunyou Halaas and Christina Baldwin)

This is a dream cast. The capable John Middleton brings the doctor to life and hints that perhaps there is something behind his cold exterior. As I've said before, there's nothing Christina Baldwin can't do - comedy or drama, musical or straight play, or all of it combined. She's completely delightful as doctor's wife, her bubbly exterior masking the pain underneath (and she even sings a little!). Also great are Emily Gunyou Halaas as the reluctant patient who comes to depend on the therapy, and the always entertaining Bradley Greenwald as her insensitive (to say the least) husband. My new fave Austene Van (I'm super excited about her upcoming role) brings much compassion and humanity to the role of the wet nurse, who has recently lost her own baby and is now giving milk and love to a stranger's baby. Ryan Underbakke is quite charming as the artist suffering from hysteria, and Annie Enneking brings a softness to the outwardly brusque and efficient midwife assisting the doctor.

I feel I must devote an entire paragraph to the sets at the Jungle, and to this set in particular. I've come to believe that the Jungle has the best sets of any theater in town, not because they're the most fancy and elaborate (that would be the Guthrie and whatever touring Broadway production is currently in town), but because they serve the story best, and create the most distinct and specific world in which that story exists, from the sparse and barren world of Waiting for Godot, to the shabby rooming house of The Birthday Party, to the gorgeous home of the Givens juxtaposed with the cold and efficient operating theater "in the next room." Often the director also serves as set designer at the Jungle, giving a cohesive focus to the story and its environment. Although that's not the case here, the result is the same. Sarah Rasmussen beautifully directs this piece, and Bain Boehlke has created a beautiful world in which it comes to life. And the effect at the end, when the Givens go out into their winter garden, is something quite magical. In the Next Room, or the Vibrator Play, really is a beautiful and touching holiday show!

And then there are the costumes, gorgeously designed by Moria Sine Clinton. Not only do they look luscious, but they're also functional, as most characters strip down to their underthings. It's quite fascinating to watch the layers come off and go back on again in a complicated but orderly manner. And yes, the underthings are just as beautiful (and yes, they use the word underthings).

In the Next Room is the final show in The Jungle Theater's 2012 season, which also included the Ivey Award-winning (for lighting) and deliciously thrilling Dial M for Murder, the bizarre Pinter play The Birthday Party, the hilarious and fast moving farce Noises Off, and the delightfully absurd Waiting for Godot. It's truly been a remarkable season. Is it possible the 2013 season could be better? With recent Broadway hit Venus in Fur (starring Anna Sundberg and Peter Christian Hansen), Deathtrap, Urinetown (a musical I love and have been dying to see again), Fool for Love, and Driving Miss Daisy starring the incomparable Wendy Lehr, the answer could be yes. Stay tuned. In the meantime, go see the perfectly delightful In the Next Room, or the Vibrator Play, playing now through December 16.

"Trail of Two Cities with Dan Chouinard and Friends" at the Minnesota History Center

I love history (especially Minnesota history), and I love music. So the recent event at the Minnesota History Center*, Trail of Two Cities with Dan Chouinard and Friends, was just my kind of thing. I became familiar with talented pianist/accordionist/storyteller Dan Chouinard years ago through the dear, departed, MPR Morning Show, and have seen him in many concerts since, including his Cafe Europa show (about his adventures bicycling around Europe with an accordion) and Steerage Song (last summer's collaboration with Theater Latte Da). In Trail of Two Cities, Dan brings his music/storytelling format to these two beautiful cities we call home, and more specifically, to how we travel between them. Dan travels by bicycle as much as possible, which I hugely admire and envy. He encouraged the audience to bring the mindfulness necessary when traveling through the city by bike to however we travel. There's a reason the roads we travel on are where they are. The show reminded me a little of The History Channel's series How the States Got their Shapes, only with local landmarks like the crosstown (a way for livestock trucks to bypass the city) and University Avenue (an old Native American trail from the falls of St. Anthony to the bend in the river).

In addition to learning lots of fascinating tidbits about local history, complete with period photos and paintings, Dan and Friends also provided music to accompany the stories. Dan's talented Friends include several members of the Guy's All-Star Shoe Band, "old-time musicians" husband and wife duo Kim and Quillan Roe, and talented vocalist Prudence Johnson. Train songs, truck songs, river songs, the music covered every mode of transportation used in the history of these Twin Cities. Modes of transportation and related songs include:

• Horse and buggy - a sing-along to "Surry with the Fringe On Top"
• Trains (a 30-45 minute trip in the late 19th century) - "The Wabash Cannonball"
• Steamboat - a song about the Lake Pepin Steamboat by the adorable Chouinard Family Barbershop Quartet (Quintet?), consisting of Dan, his dad, and three brothers
• Streetcars (which took over the train business in the early 20th century until their demise in 1956) - "Clang Clang Clang went the Trolley"
• Highways (first built in the '50s and '60s, 94 was built straight through the African American neighborhood of Rhondo) - "Drive the USA in Your Chevrolet"

It was a fascinating trip through local history that made me want to learn more. It also made me want to move from the suburbs into the city so I could make use of the growing public transportation (the streetcars return!). The show reminded me of my desire to take the train to Chicago for a theater weekend, and float down the Mississippi to New Orleans on a riverboat. I'm not sure if the latter even exists, but the former definitely does, and especially now that the Amtrak is moving back to the newly renovated historic Union Depot in St. Paul, I'll be sure to do that soon. Thanks to Dan and Friends for exploring the ideas of local travel in such an entertaining and musical way!

The Falls of St. Anthony by Albert Bierstadt

*The Minnesota History Center's auditorium is a nice venue (I'd previously seen a History Theatre production 1968 there), and it's a great museum. I've been wanting to see their current exhibit on the US-Dakota War of 1862 and was hoping to go that afternoon and make a day of it, but unfortunately they closed the center between museum time and event time. I'll have to go back another time, perhaps in conjunction with another event.

"Summer and Smoke" at Theatre in the Round

Tennessee Williams is one of my favorite playwrights. He has created several memorable women (or perhaps versions of the same woman), among them Amanda Wingfield, Blanche DuBois, and Maggie the Cat. I have recently become acquainted with Alma Winemiller in Theatre in the Round's sublime production of Summer and Smoke, and I am utterly charmed by her complexities and heart-broken by her plight. Like all of Tennessee Williams' women, Alma is a genteel Southern woman with clear ideas of the way life should be, whose story turns tragic when reality doesn't live up to her expectations. 

I love a good unrequited love story, and this is one of the best I've seen. The kind that makes you think maybe things can work out for these two crazy kids, and then dashes your hopes to the ground as reality sets back in and it all falls apart. The prim and proper minister's daughter Alma is in love with the boy next door, the playboy doctor's son John, who grew up to be a doctor himself. Alma is not the type of woman John usually keeps company with, but he's drawn to her. Alas, theirs is a love that can never be. She wants him physically, but she can't admit that even to herself because it doesn't fit into the world she's created for herself. He wants her soul, but he doesn't even know what that means because in his clinical, earthly world the soul doesn't even exist. This creates an attraction and tension between them that can never be relieved, and it's unbearably tragic to watch it all unfold. There are some light and funny moments in the play as well, especially in the first act. But Tennessee Williams did not write comedies (one misguided Broadway production of Streetcar notwithstanding), so we know there's no chance for a happy ending for our couple.

John and Alma
(Casey Hoekstra and Joanna Harmon)

The show is all about Alma and John. Yes there are other people onstage and several of them have nice moments (including Karen Bix as Alma's childlike mother, Ty Hudson as Alma's sweet but boring suitor, and Tara Lucchino who almost succeeds in making me like Alma's rival for John's affection), but the success of the play hinges on the performances of Joanna Harmon and Casey Hoekstra as Alma and John. And boy do they deliver. Joanna, a member of the inventive physical theater company Live Action Set, plays Alma with a nervous fluttery energy that never subsides. She puts her training to good use in this very physical performance; you can see the tension in Alma's body as she interacts with various characters. Casey, a graduate of the U of M/Guthrie program making his Twin Cities stage debut (to which I say welcome and please come back soon!), plays John with a relaxed intensity, all slow knowing smiles as he lounges and watches Alma. Whenever either was off stage I waited for their return, and the best scenes are the ones with the two of them together. Their relationship is so intense and complex, perplexing and familiar. One particularly intense love scene took place literally a few feet in front of me on the intimate Theatre in the Round stage, which made me wish I had one of those fans from the Winemiller's sitting room!

The busy and multi-talented Randy Reyes directed the play and did a beautiful job with the intricate dialogue and intense scenes. With a set design by Rob Jensen, the small stage is packed with set pieces that manage to create three distinct settings, two of which interact with each other as John and Alma stare out their windows across the yard at each other. The details are impeccable as the audience gets a close-up view due to the unique in-the-round stage (the usher led me right through the Winemiller's living room to my seat on the opposite side, and I was close enough to peek over an actor's shoulder at an authentic-looking photo album). The costumes (by Carolann Winther) are evocative of the time, place, and character, from John's white suit to Alma's conservative clothes to Rosa's vibrant red dress.

I've been to Theatre in the Round several times in the past few years for Fringe shows, but it's been a while since I've seen a Theatre in the Round production. Currently celebrating their 61st season, they are the longest running theater in Twin Cities. Even the Guthrie has only been around a mere 50 years! They were recently featured on one of my favorite shows MN Original (a weekly series on tpt that showcases local artists of all types of media). You can watch that feature online to learn about the interesting challenges presented by the in-the-round design. I will definitely be back to Theatre in the Round before next year's Fringe; they have several interesting shows coming up this season, including the Pulitzer Prize winning play Rabbit Hole in January. Unfortunately Summer and Smoke has already closed, so if you missed it, I apologize, because you missed a good one.

"Sunday in the Park with George" at Bloomington Civic Theatre

It was my second Sondheim musical in a row - that's what I call a good weekend! The day after attending the opening night of Theater Latte Da's beautiful production of Company, I headed out to Bloomington to spend my Sunday in the Park with George. Unlike Company, I'd never seen or heard Sunday in the Park before; all I knew about it was Sondheim, art, and original cast members Mandy Patinkin and Bernadette Peters. But that was enough to make me want to see it, and it was actually one of the reasons why I chose to buy a season pass to Bloomington Civic Theatre this year (the first show was the big dance musical 42nd Street, and the season continues next year with one of my faves, Cabaret, and On the Town). The inspiration for this musical was the 19th century painting "A Sunday Afternoon on the Island of La Grande Jatte" by Georges Seurat, one of the leaders of the Impressionist movement. Sondheim and frequent collaborate James Lapine imagined the story behind the painting, both the painter and his subjects. In doing so they explore the ideas of art and creativity and being obsessed with one's work to the point of ignoring everything else.

"A Sunday Afternoon on the Island of La Grande Jatte" by Georges Seurat
Art Institute of Chicago

The first act recreates the above painting by introducing the figures as people George meets in the park where he goes to paint. The woman on the right with the parasol is his model/lover Dot (named after the dots or blobs of color George uses to create his pictures). She sings about how hot and uncomfortable it is to stand without moving in the sun, but she does it because she loves George, and he teaches her how to concentrate. Other figures we meet are the man standing next to Dot (Jules, a painter friend of George), the woman in the center with the orange parasol with the little girl in white (his wife and daughter), the man lounging on the left (a boatman), and several others. Unfortunately, the world is not as ordered as George wants it to be. Jules and his wife have an unhappy marriage, and Dot leaves George when he seems to care more about his painting than her. At the end of the first act, things descend into noisy chaos, until George moves everyone into place to match his vision, and the painting is alive before our eyes.

The second act takes place in a museum 100 years later, where the figures jump out of the painting, and we meet George's great-grandson, also named George, also an artist. The story delves into the nature of art, artists, and commercialism vs. staying true to one's art (similar themes as in the play Red about painter Mark Rothko). Act II has a very different tone than the Act I, and I found myself wanting to return to the world of the painting. In my research (i.e., Wikipedia), I ran across this quote the New York Times review (by Ben Brantley) of the 2008 Broadway revival, "Sunday remains a lopsided piece - pairing a near-perfect, self-contained first act with a lumpier, less assured second half." But fortunately, things take a satisfying turn at the end when young George returns to the island in the painting and is able to achieve some resolution for his great-grandfather, who died young.

Joey Clark as George and Jennifer Eckes as Dot

The show may be called Sunday in the Park with George, but for me the star of the show is Jennifer Eckes as Dot (and as young George's grandmother Marie in the second act). In addition to her beautiful voice on these challenging Sondheim songs, she gives Dot such heart and spirit, with such a longing for a better life, that I couldn't help rooting for her and thinking George was a bit of a jerk for letting her go! Joey Clark also gives a fine performance as George (completely unrecognizable under the wig and beard), and manages to make George likeable despite the fact that he makes some bad choices and pushes everything and everyone away for the sake of his art. It's nice to see the modern George learn some of the lessons his great-grandfather was not able to. Other standouts in the cast include Kelly Krebs and Beth King as the obnoxious and spoiled American couple, and Alan Sorenson and Megan Volkman-Wilson as Jules and his wife. They also play characters in the second act, but as I mentioned above, I found the first act much more memorable and moving. Finally, Anna Evans (one of the Cocos in Coco's Diary at the History Theatre earlier this year) is a little scene stealer as the mischievous girl in white.

The costumes and set are so important to this piece, because the audience has to believe that these characters came out of the painting, and BCT does a beautiful job creating the effect (set by Robin McIntyre and costumes by Ed Gleeman). The white set pieces we see at the beginning are removed to reveal a large-scale replica of the background of the painting, with trees dropping in from overheard. The costumes are exquisite and look very similar to the painting (including impressive bustles!). At the end of the first act a scrim is lowered at the front of the stage with the image of the painting on it, in front of the live action painting arranged on the set, and it's a spectacular effect. Last but not least, a highlight for me of any BCT show is the traditional pit orchestra led by Anita Ruth. The music sounds like George's painting, and he often paints to the music - short and staccato, in unexpected blobs.

It's a great time for Sondheim, and this show is a nice pair to Theater Latte Da's Company. With every additional Sondheim show I see, I feel like I'm "Putting It Together" a bit more and understanding his work a little bit more. I've seen several shows since I heard him speak two and half years ago, and it's been fun. Next on my Sondheim wishlist is Assassins, which I've never seen. But until then, go see these two wonderfully different but quintessentially Sondheim shows! Check out the BCT website for more info on Sunday in the Park with George, or take advantage of the half-price tickets available on Goldstar.com.

"Company" by Theater Latte Da at the Ordway McKnight Theatre

I've been writing this blog for over two years, and I've found that some shows are easier to write about than others (which is not necessarily correlated to how much I like the show). But every once in a while, I'm so affected by a piece of theater that I go directly to the computer as soon as I get home, no matter the hour, because I immediately need to get my thoughts out of my head. Theater Latte Da's new production of the 1970 Sondheim musical Company* is one of those shows. I was so immersed and engaged in the world and characters created, that when the show was over, the lights came up, and the applause (reluctantly) died down, it was a jarring dose of reality. I feel like a broken record, but this is another brilliant production by Theater Latte Da. Friends, we are very very lucky to have Peter Rothstein and Denise Prosek and this company that they created 15 years ago in our community. They just keep getting better and better.

I really only heard of Company last year when a filmed concert version starring Neil Patrick Harris was released to movie theaters. I immediately fell in love with it, so this production is coming at a great time for me. Company began as a series of short plays about married couples written by George Furth. When Stephen Sondheim came on board, it was turned into a musical and the character of Bobby was added as a central character tying all of the couples together. There's not much of a plot to it; it's more of a character study and an exploration of the ideas of marriage, friendship, and connection. Bobby is single and turning 35 amidst a bunch of married couples (something I can relate to, although this fall is not my first 35th birthday ;), and he spends time with each of them in turn, trying to figure out what it's all about. In typical Sondheim fashion, the songs are clever and witty and fast, with unexpected and beautiful melodies.

As usual with Latte Da shows, this one is perfectly cast. When I first heard that Latte Da was doing this show, I immediately thought of Dieter Bierbrauer as Bobby, and I was thrilled when I heard he had indeed been cast. Dieter's voice is perfection; there's nothing he can't do vocally. He has such control and emotion in his voice; his singing sounds effortless on these challenging Sondheim songs. As Bobby, everyone's best friend, Dieter rarely leaves the stage. But he's not always the center of attention. In fact that's a crucial part of this role and one Dieter does well - being the observer, the listener, the sounding board, as his friends unload their feelings and crazy ideas to him. Always attentive and engaged as he sits there silently, you can see the wheels turning as he takes it all in and adds it to his growing knowledge base of what this marriage thing might mean. The final song after he puts it all together ("add 'em up, Bobby") is "Being Alive," one of the greatest songs ever written for musical theater. Dieter's performance is a thing of beauty. Angry and defensive, then soft and vulnerable, finally a demand for a richer and fuller life.

Jody Briskey as Joanne with
Dieter Bierbrauer as Bobby

The five couples surrounding Bobby are also well-cast. Each couple is different, and are given a scene or two with Bobby to let the audience in to their particular brand of marriage. It's difficult to pick just a few standouts to mention, but I must start with Jody Briskey as Joanne, the three-times married slightly more mature and cynical friend who gets the best song, "Ladies who Lunch." Jody performed the song at this summer's Latte Da in the Park concert, and it was obvious then that she would be the one playing this role. Jody recently won an Ivey Award for her performance as Judy Garland in Beyond the Rainbow at the History Theatre last fall, and you can still hear Judy in her voice. I like to think of Jody as the Patti LuPone of the local theater scene (I'm not sure Patti ever played this role, but I heard her sing the song at Orchestra Hall a few years ago and it's that kind of song). Jody's performance of this Sondheim masterpiece is boozy and brilliant. In short, it's a showstopper.

Bobby (Dieter Bierbrauer, center) with his
good and crazy married friends

Also worth mentioning are the adorable Kim Kivens (she may be the smallest of stature in the cast, but not the smallest of voice) as the reluctant pot-smoking mom; Heidi Bakke as one of Bobby's girlfriends, a flight attendant who describes herself as "dumb and boring" in the most charming way (her duet with Bobby, "Barcelona," may be the cutest "morning after" song ever); David Darrow as the groom Paul, despite the fact that we only get a brief taste of his beautiful voice as he sings "Today is for Amy" to his frantic bride (I'm still waiting for the soundtrack of Rip, the Fringe show for which he wrote a bunch of really great songs that could stand on their own); Suzy Kohane as said frantic bride, who wins the prize for singing the most and fastest words in any song in the show, all while pushing her fiance away and still remaining likeable; and Julie Madden, who's a hoot as the dieting ka-ra-TE expert wife who has to remind her husband when and why he gave up alcohol.

Another important character in the play is New York City, my favorite city in the world (outside of Minnesota). In addition to the song "Another Hundred People (Just Got Off of the Train)" which perfectly describes the "city of strangers," there are numerous references to New York and New Yorkers. The city is also incorporated into the clever lighting and set design. Images are projected onto a couple of basic white boxes, as well as the backdrop, to represent the inside of a crowded home, a high rise apartment building with terraces, a park in different seasons, and the streets of New York as Bobby walks and ponders. One of the white boxes opens up to a bed (for the "Barcelona" scene), and a set of stairs leads to a second level providing a place for characters to observe the action as they come and go. There's not much choreography in the piece (Company is not a big song-and-dance kind of musical), but there are a few nice moments. In the opening number of Act II, "Side by Side by Side," Bobby sings and dances around his friend with an umbrella, and a kickline is formed. When all the men are telling Bobby "Have I Got a Girl for You," they're sitting on office chairs with a keyboard on their laps, emailing him, with choreographed keystrokes (choreography by Michael Matthew Ferrel). Touches like that and cell phones bring this show from the 70s into the 21st century, and with the relevant and timeless themes of relationships, it doesn't feel dated at all.

Company is playing at the Ordway McKnight Theater now through November 18. If you've never seen a Theater Latte Da show, well, you've been wasting your local theater-going life. Go see this show. The rest of their season looks to be just as amazing as this show, so you'll probably want to check that out too.

Theater Latte Da chose to do this show this season "as Minnesota grapples with the definition of marriage," but the production does not speak directly to the idea of marriage equality. What it does do is showcase five couples who have five different definitions of marriage. It seems to me, looking from the outside, that there are as many different definitions of marriage as there are marriages. So why would we want to constitutionally limit it to one definition, when it's never been that way? That was my take-away from the show; go see it and decide for yourself.

"Being Alive!"

*I received one complementary ticket to Opening Night of Company. However, I had already bought tickets for myself and 14 friends to go next week. Most of them are good and crazy married people, so I look forward to seeing the show again with them and hearing what they think of it.

"King Lear" at Park Square Theatre

Park Square Theatre's new production of Shakespeare's King Lear* sets the classic story of an aging king going mad in Prohibition era America, complete with guns, gowns, and lots of drinking. The strong cast brings the characters to life, most of whom end up dead by the end of the play in typical Shakespearean style. Along the way, stories of betrayal, loyalty, disguised identities, power, manipulations, and eye gouging (gross) are told in intensely dramatic fashion. I have to admit, Shakespeare is not my favorite (I much prefer Park Square's last show, the new two-person play Red, more about ideas than action), but this play is worth seeing for the masterful performances of the cast in these meaty roles, directed by Peter Moore (a much different tone than his other show I saw this week, the sketch comedy 2 Sugars, Room for Cream).

I've seen King Lear once before, a Royal Shakespeare Company production at the Guthrie, starring Sir Ian McKellan. But since that was pre-blog and my memory is not as good as it used to be, I really didn't remember much about it (other than I saw way more of Gandalf than I ever wanted to!). So it was with a fresh eye that I saw this production, and was able to appreciate Raye Birk's performance without any baggage of past performances of this classic theater role. As King Lear, he convincingly transforms from powerful and genial, to irrationally angry, to pitifully lost, to compassionately loving, often in one scene. With such a range of emotions, it's no wonder this is such a coveted role, and Raye plays every one of those emotions to the hilt.

Another performance I particularly enjoyed is Jim Lichtsheidl as the bastard son of a lord who manipulates his father into believing that his brother is plotting against him, while playing with the affections of two of Lear's (married) daughters. Jim is so deliciously evil that you almost want to root for him in his schemes (and what is it about a mustache that instantly makes a man look more devilish?). Dan Hopman also impresses as the wronged brother, who hides out as a bum, and is thereby able to protect his father (the regal Stephen D'Ambrose) after the aforementioned eye gouging.

Other standouts in the cast include Jennifer Blagen and Stacia Rice as Lear's greedy daughters who flatter him until they get their inheritance, and then push him aside; Adelin Phelps (who played a version of Cinderella in my favorite Fringe show this summer) as the daughter who refuses to play his game and is disowned because of it, while still remaining loyal to the father that she loves; and Ansa Akyea as another loyal supporter of the king despite being banished and forced to assume a new identy (wouldn't it be awesome if banishment were still an available punishment today, and one could change one's hairstyle and accent and be completely unrecognizable to the people who know them best?).

Last but not least, Gary Briggle plays the fool as a former Vaudeville performer, who cheers his lord with songs and brings some much-needed levity to the show. One of my favorite parts of the play happens before the action of play actually begins. When I got to my seat about ten minutes prior to showtime, the cast was already on stage mingling at the King's party, as the fool (Gary) entertained them by singing songs ranging from opera to pop songs of the day ("You're the Top"). It's fun to observe the informal meetings and partings, not to mention the gorgeous dresses with full-length trains worn by Lear's daughters (costumes by Amy B. Kaufman).

Park Square Theatre's re-imagining of King Lear is playing now through November 11. It's worth checking out if you're a fan of Shakespeare or of great performances.

*I received one complementary ticket to the opening night of King Lear.

"Love & Marriage" at Illusion Theater

Love and marriage
Love and marriage
Go together like a horse and carriage!

Love and marriage are so much a part of our culture; "you can't have one without the other," says the song. But the reality is that marriage is an exclusive club in our country, one that not everyone can join, despite how valued it is in our society. The issue of marriage equality is in the forefront right now, and Illusion Theater's new musical review, appropriately titled Love & Marriage, brings the issue to light with warmth, humor, music, and stories of over a dozen diverse real life couples. It's a fun and heartwarming celebration of love.

Eight fabulous local actor/singers bring this music to life, accompanied by Roberta Carlson on piano, who created the show with Illusion's Artistic Director Michael Robins. The song list includes classic American love songs, musical theater standards, and current pop songs (or as I call them, Glee songs). Also included are a few original songs by Roberta that fit right into the lexicon of American love songs. Interspersed with the musical numbers are clips of interviews with real-life couples of all sorts - straight, gay, and lesbian. They tell their "meet cute" stories, and continue on as the show progresses to their stories of committing to each other, going through hard times, and making their relationship last. Featured couples include local celebrities such as Minneapolis mayor R.T. Rybak and his wife Megan, talented actor and singer Bradley Greenwald and his partner John, and recent Ivey Award winner Isabel Nelson and her husband (and Transatlantic Love Affair co-founder) Diogo (and now I finally understand where they got the name of their theater company). Their stories are touching, funny, and inspiring.

Highlights from the talented cast include:

• Rising local talent Cat Brindisi sings a lovely rendition of the wistful "When I Fall in Love" and the bubbly ode to fairy tales "Happily Ever After" (Cat was last seen as Wendla in Spring Awakening, and will next be seen as Princess Amneris in Aida).
• Adara Bryan was in the ensemble of one of my favorite shows of the year, Park Square's Ragtime, and it's nice to see her gorgeous voice featured here, including on the Beatles' classic "In My Life" and a duet of "Truly, Madly, Deeply" with Cat.
• Reid Harmsen duets with Cat on one of the most charming numbers of the show, (I think I wanna) "Marry You," and with Dennis on "Wouldn't it Be Nice," as well as taking part in several other numbers (see below).
• Unlike most of the other performers, I've ever seen Rachel Hurst before, but she impressed on a powerful duet of "Don't Know Much," among others.
• Broadway vet Melissa Hart, who has made Minnesota her home, appropriately covers most of the musical theater selections, including Rodgers and Hammerstein's hopeful "It Might as Well be Spring," and the decidedly darker "Could I Leave You?" from Sondheim's Follies (which I was fortunate to see on Broadway last year).
• The other cast member I'd never seen before is Charles Johnson, and I was instantly mesmerized by his effortlessly smooth voice on such songs as "All in Love is Fair" and the aforementioned duet of "Don't Know Much."
• It's always fun to see one of my longtime faves, Randy Schmeling, here singing a couple of duets and taking the lead on "I Won't Give Up" (one of those Glee songs I mentioned).
• The dynamic Dennis Spears played Nat King Cole last year in Penumbra Theater's I Wish You Love. But I don't think Nat had moves like Dennis' in "We'll Be Together," or played the tambourine so energetically and seriously as Dennis did in the final number!

My favorite group numbers include a Sondheim song I'd never heard, "Loving You," a typically amazing Sondheim song brought to life in the beautiful harmonies of Adara, Randy, Cat, and Reid, and another Sondheim song that is quite literally about marriage, "The Little Things You Do Together" (from Company, which I will see tonight!). The cast sings and performs beautifully as a group, in pairs, and individually.

Love & Marriage is a fun and entertaining evening of music that personalizes the topic of marriage equality by sharing the true stories of real people in our community. On November 6, my beloved home state of Minnesota will vote on a constitutional amendment that limits the definition of marriage to one man and one woman. I don't know how anyone can see this show and witness the love of all of these couples, and still vote yes on this amedment. Through music and real stories, we see the equality and validity of all kinds of love. I plan to VOTE NO on the marriage amendment (and the voter ID amendment, see my thoughts on Appomattox for more about that). Will you join me?

the live cast of Love & Marriage in front of the screen
showing taped interview pieces

"2 Sugars, Room for Cream" at the New Century Theatre

Coffee. Ahhh, coffee. People who love coffee really love coffee. I count myself among them. There's just something about the aroma, the feel of the warm cup in your hand, the deep and dark taste of it, that's so satisfying. In many ways our culture is built around coffee shops. "Want to get coffee?" is a common way of getting together, whether it's getting to know a new friend or catching up with an old one. The two-woman show 2 Sugars, Room for Cream explores this idea in a series of short skits. It began as a Fringe Fest show a few years ago and has been expanded into a full-length show, currently running at the New Century Theatre (set up with cabaret tables for an informal coffee shop feel). It's funny, silly, poignant, and with such a wide range of stories that everyone is sure to find something to relate too.

The two women in question are Carolyn Pool and Shanan Custer, who co-wrote and co-star in the show (with direction by Peter Moore). Shanan was the hilarious host of this year's Ivey Awards, but the last time I saw Carolyn it was in a much darker show - the twisted family drama August: Osage County. Nevertheless, the two are quite charismatic and funny together, with a great chemistry whether they're playing sisters, friends who haven't seen each other in twenty years, or people who have just met. The show opens and closes with one of the two scenarios that are visited multiple times - two sisters at their Uncle Jimmy's funeral drinking bad church basement coffee. They discuss their family and their lives, as the celebration moves to one of the sisters' homes and the coffee makes way for 2 Gingers whiskey, and the next morning, more coffee is needed. The other scenario with multiple scenes is a high school reunion, where two women meet, with one of them clearly remembering their relationship while the other does not. Again, coffee turns into drinking in the car and flirting with former classmates, which turns into hanging out at an all-night Denny's. Other skits include two new friends discussing how Twilight is damaging to young women (thank you!), a frazzled new mom crying about her baby's tiny head, a period piece set in the '40s, a college professor introducing her class, bosses and their assistants (separately) on a coffee break at work, and a woman recording a touching video for her unborn daughter about how she's going to raise her to be confident and proud of herself. Carolyn and Shanan also sing a few songs for us in 1940s girl group style (original lyrics written by Shanan and Peter Moore, with music by Drew Jansen).

Shanan Custer and Carolyn Pool attend a reunion

2 Sugars, Room for Cream is a thoroughly entertaining evening featuring two talented writers and performers. Together they create dozens of different characters, just by changing their sweater and shoes (some of them quite fabulous) over basic black dresses. Grab a cup of coffee and a friend or two, and head downtown to the New Century Theatre between now and November 11 (tip: half-price ticket deal on Goldstar.com). It's quite delightful (and it was the perfect antidote do the deliciously creepy Turn of the Screw I saw previously that day).

"The Turn of the Screw" by Torch Theater Company at the Minneapolis Theatre Garage

I'm sitting outside on a lovely fall day after just having seen Jeffrey Hatcher's stage adaptation of the 19th century novella The Turn of the Screw, and I'm still creeped out despite the sunlight and fresh air. Torch Theater Company's production is a deliciously dark and spooky ghost story that will stay with you after it ends. When the lights went down on the final scene, you could hear the audience squirming and trying to shake off the spell before breaking out into applause. I can't think of a better way to celebrate this Halloween season than seeing this excellent production of a classic ghost story!

In the original novella, a man tells a story told to him by his governess when he was a boy. The events in question unfold over seven days during the governess' first assignment. Playwright Jeffrey Hatcher, whose work has been seen on many local stages this year, has adapted the story into a two-person play. Lindsay Marcy plays the governess, and Craig Johnson plays all the other roles, including the master of the house, the housekeeper, the little boy, and various spooky sound effects. I don't want to say too much about the plot, because it unfolds in such perfect suspense and anticipation, that I don't want to ruin it for anyone. Suffice it to say it involves a governess with the best of hopes and intentions about her new position (which means things are sure to go wrong), a little girl who does not speak, a little boy who was kicked out of school because of "unspeakable" acts, a cowering yet dependable housekeeper, a Gothic tower, a stormy lake, ghostly apparitions in a stately home in the English countryside, rumors of lust and suicide, and an ambiguous ending. What more does a spooky story need?

Lindsay Marcy as the governess and
Craig Johnson as her charge

Everything about this production is top notch. The two actors give brilliant performances. Lindsay transforms before our eyes from an optimistic young woman with romantic ideas about her first appointment (the estate is perfectly picturesque, the adorable children will be her fast friends, the master will fall in love with her) into a desperate and haunted woman who doesn't know quite what is going on but is determined to prevail. Even her physical appearance goes from neat and proper (in a gorgeous period dress) to frantic and bedraggled. As I mentioned, Craig plays several different roles, and each is a specific and spectacular creation. The master is powerful and confident, the housekeeper is fluttery and frightened (I especially love the way he brings his trembling hands up to his mouth), the little boy is charming and naughty. And when he's not playing a character, he silently walks across the stage and adds sound effects in the creepiest performance of all!

The Theatre Garage stage is bare and open, with a spiral staircase hinting at the majesty of the manor, a barren tree representing the garden, and a miniature house hanging from the ceiling (set by frequent Jungle Theater contributor Joel Sass). The lighting (by Paul Epton) and sound (by Katharine Horowitz) do much to create the sense of foreboding that's so much a part of the piece. Whether it's music or a sound like a heartbeat, or anything in between, the sound keeps you on the edge of your seat. Similarly, the lights go up or down depending on what's going on in the moment, and the darker it gets, the bigger the delightful chill you feel. Directed by David Mann, the pace is pitch-perfect and all of the elements come together very satisfactorally.

There are only three performances left of this show. Get your tickets now if you want to experience a classic spooky thrill this Halloween. As a bonus, you can stay for more late night ghost stories after the Friday and Saturday night performances (see Torch Theater's website for more information and to reserve your tickets, and check out the half-price ticket deal on Goldstar.com).

"Bye Bye Birdie" at Chanhassen Dinner Theatres

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

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

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

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

The Telephone Hour

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

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

the town of Sweet Apple Ohio swoons over Conrad Birdie

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