"Matt & Ben" by Nocturnal Giraffe Theater at Bryant Lake Bowl

As a superfan of The Office, I've long heard about Mindy Kaling's play Matt & Ben, which she wrote and starred in with her friend Brenda Withers prior to being hired as a writer/actor on the show. So when I heard that Nocturnal Giraffe Theatre, who brought us the delightful comedy Piñata at last year's Fringe, was doing it at BLB, there's no way I was going to miss this chance to see an early work from one of my favorite funny people. I was not disappointed; it's the perfect 80-minute comedy about celebrity, show business, and friendship, expertly brought to life by Nocturnal Giraffe. Whether or not you're a fan of Mindy Kaling, or Matt Damon, or Ben Affleck, this is a fun dinner and a show opportunity at BLB, through May 19 only (click here for tickets).

"Matt & Ben" at The Hive Collaborative

When friends and #TCTheater artists Serena Brook and Shinah Hey were working at Chanhassen Dinner Theatres on Beautiful last year (Shinah playing songwriter Cynthia Weil, Serena in the ensemble and understudying Carole King), they had the idea to do the play Matt & Ben. Before The Office, Mindy Kaling wrote and starred in Matt & Ben (with Brenda Withers), which became something of a phenomenon and helped her land the job on The Office. It's a perfect 70-minute vehicle for two female actors/friends to play this famous Hollywood friendship. One year later, Serena and Shinah's idea has come to fruition; they recruited friend Derek Prestly to direct, and are collaborating with The Hive on the production (which is all about collaborating with and supporting artists in doing something new). The result is a hilarious buddy comedy about the creative process, celebrity, show business, and friendship. The short two-week run concludes on June 8 - click here for details and to purchase tickets on a sliding scale basis.

"Hells Canyon" by Theater Mu at Jungle Theater

The world premiere new play Hells Canyon is a revenge fantasy, in which the revenge comes almost 140 years after the crime - the murder of 34 Chinese goldminers in Oregon. The spirits of the murder victims are restless, and use a group of friends having a fun getaway at a cabin to enact their revenge. It's modern dramedy-horror with social commentary, in the vein of Get Out. Horror isn't really my thing, but this play is thrilling. It'll make you laugh, and think, and feel, and maybe jump out of your seat a little. Theater Mu's production is brilliantly cast with an incredible design that pulls off some real scares, and it's a must-see, especially if you're a fan of the horror genre (and even if you're not). It plays at the Jungle Theater* Wednesdays through Sundays until March 17. 

2023 #TCTheater Favorites - Almost Back to Normal

Here we are friends, at the close of another year of theater, and the beginning of a new one. It's hard to believe that it's been almost four years since a global pandemic halted all live indoor performances for almost 18 months. I went from seeing over 200 live performances in 2019 (and for several years before that), to 49 in 2020, to 86 in 2021 (the year that live theater began to return), to over 150 in 2022 (when theater was back but not out of the woods). But now, finally, 2023 felt almost like a normal year of theater. From the incredible touring production of King Gilgamesh and the Man of the Wild at the Jungle in snowy early January, to my second viewing of Christmas at the Local on New Year's Eve, I saw 226 live performances (including 41 Fringe shows, 10 concerts at the best little folk festival in Minnesota - Storyhill Fest, and a half dozen shows in NYC). The virus is still around, and performers still miss shows due to illness, and some shows are still cancelled because of it, but we know better how to deal with it now, with vaccines, masks, and understudies keeping theater going. This is definitely the hardest favorites list I've had to write since 2019, since there was so much good theater to choose from this year. It's a welcome problem to have. So without further ado, here are some of my favorite shows of 2023 (in alphabetical order, click on show title for full review). I know this list is too long, but don't blame me, blame the incredible artists of #TCTheater for making it impossible to narrow down my list of favorites to anything less than 50!

"Once" by Theater Latte Da at Ritz Theater

Ever since it became available for regional productions a few years ago, I've been (im)patiently waiting for a #TCTheater company to do Once, the eight-time Tony winning musical based on the Irish indie film that won an Oscar for best song. My (im)patience has finally been rewarded with a production by my favorite company of theater musically that is, in a word, grand. Theater Latte Da used to have a series called "Broadway Re-imagined," but the cool thing about Once is that the original production on Broadway was already re-imagined, at least in terms of what you usually see on a Broadway stage. It's a small intimate story lacking the traditional (clichéd) happy ending; it features folk-rock music; and there is no separate orchestra, rather the ensemble also functions as the band in one cohesive celebration of music, love, joy, and pain. So very Irish. Still, Latte Da has managed to put their own unique spin on it and cast 13 multi-talented local performers to create something truly special that will make your heart ache in the best possible way.

2025 #TCTheater Favorites - It Was a Great Year (in theater anyway)

2025 was in many ways a terrible year, with increasing violence, wars, division, bullying, and the dismantling of our democracy. But in difficult times, I always look to the artists - to hold up a mirror to our society, to show us a way out of the dark times, to create empathy and conversation, or to distract us from the harsh reality of the world with some joyful entertainment. Our #TCTheater artists really stepped up to the task this year on all fronts. From The Mystery Cafe's* high school reunion themed comedy/ improv/ mystery immersive dinner show Alma Mater in early January, to my longtime favorite a capella group Tonic Solfa's annual (and final?) New Year's concert at the Paramount Center for the Arts in St. Cloud, I saw 256 live performances this year. That's slightly more than last year, and right up there with my pre-pan highs. In fact, I think this year, and this fall in particular, was the busiest season in #TCTheater since a global pandemic shuttered all live performance venues for some 16 months. It's good to be back, and a theater season that's so busy even I can't see everything is a great problem to have. Of the 256 shows, 242 were here in Minnesota, including 39 Minnesota Fringe Festival shows and 6 Twin Cities Horror Festival shows, as well as a half dozen or so non-theater concerts that I did not write about (because I decided I needed more live music in my life). I also saw shows in our neighbor state of Wisconsin, and of course in the greatest city of the world NYC, and even one concert of Mozart and Strauss in Vienna, where the famous composers (and original rock stars) lived and worked. Yes, it was a fantastic year of theater, music, dance, comedy, and more. The good work continues in 2026, and it can't help but make the real world better.

"The Rink" at Daleko Arts

This was my weekend for seeing rarely produced musical theater gems. First I saw a charming production of 110 in the Shade at Theatre in the Round in Minneapolis, then I headed down to the very southern edge of the seven-county metro area to see the Kander and Ebb musical The Rink at Daleko Arts in New Prague. I found both of these musicals to be really great and I don't understand why they're not produced more, but I'm grateful for the wonderful Twin Cities (and beyond) theater community for giving me the chance to experience shows like this. On my second visit to Daleko Arts I continue to be impressed with the work that they do in the tiny Prague Theater on charming Main Street in New Prague. Part of Daleko's mission is to "help decentralize professional theatre in Minnesota," a mission that I support in theory but in practice is a bit challenging; I'd like to see all of their shows but the distance can be prohibitive. But if you live in the Southern Metro, or don't mind a road trip through some of the prettiest country in Minnesota (I may be biased because I grew up in the area), Daleko should definitely be on your radar as a destination for quality theater that includes classics, new works, and interesting unexpected choices like The Rink.

Storyhill Fest 2022

 

After seeing 23 shows in 7 days at the Minnesota Fringe Festival, I headed Up North to see 10 concerts in 2 days at Storyhill Fest, the best little folk music festival in Minnesota. I attended Storyhill Fest every year from 2010-2014 (I think I just missed one in 2009), after which it went on hiatus for a few years. Storyhill Fest was scheduled to come back in 2020, but we know how that story goes. Finally, in 2021, I returned to Clearwater Forest Camp in the Brainerd Lakes area for two glorious days of music, and it was like the past 7 years slipped away. It was such a welcome return to a favorite place and event, especially after the many long months without any performing arts in 2020-2021. This year was the second year of this second incarnation of the Minnesota Storyhill Fest (similar fests have also been held in Storyhill's native Montana in the past), and once again it was a joyous celebration of music and community. There was vague mention of "next time" without any firm details, but follow Storyhill on Facebook or sign up for their newsletter for the latest information about the next Fest, and other upcoming Storyhill concerts. Read on for photos and info about the 8 additional artists who performed, all beautifully unique variations of the folk singer/songwriter genre, and click on their names to be taken to their website where you can listen to and/or buy their music, and find out about upcoming performances. Several of them are Minnesota-based, and if not, they'll come around again soon.

"Sweet Land" at the Lundstrum Center for Performing Arts

I've been following the progress of the new musical Sweet Land, based on the Minnesota made movie of the same name, since the first reading I attended last spring.* If you've seen the movie, you know what a beautiful, sweet, funny, simple, honest story this is. Creators Perrin Post (book), Laurie Flanigan Hegge (book and lyrics), and Dina Maccabee (music) have done a wonderful job adapting Sweet Land and retaining that wistful, nostalgic, romantic tone, only enhancing it with the addition of music. But their work isn't done yet. With an Artist Initiative grant from the MN State Arts Board, they've continued to develop the work in recent months, culminating in a week-long workshop with actors and musicians and a public staged reading. Songs have been cut and added, but perhaps the biggest change is the addition of movement, created by my favorite local dancing pair Megan McClellan and Brian Sostek. Another addition is orchestration and music direction by Robert Elhai (who was nominated for a Tony for a little show called The Lion King). The reading was very much a work in progress (they would occasionally stop, explain, and set up the next segment), but it's quite obvious even at this phase that this musical is a unique and special gem. I cannot wait until it is polished into a full production that I'm certain will be thrilling!

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

The creators of the musical have stayed true to the plot of the movie, with many of my favorite moments and lines represented, or better yet - turned into song. The good-natured Frandsen calls Inge "ducky" and she doesn't quite understand, which has been turned into a fun light-hearted song. At the end of the movie, after living and working together for so long, Inge declares that she and Olaf are already married without any ceremony or legal documents necessary, which has become a beautifully moving ballad. The moment when Olaf first really looks at Inge through the camera lens, the auction, Olaf's declaration that "farming and banking don't mix," the threshing scenes, Inge's rebellious bath, all of these are songs. They really did take all of the best and most memorable moments in the movie and turn them into songs, which is really the best way to make a musical.

The music is all wonderfully Americana, with a couple of guitars, a fiddle, an upright bass, and an accordion in the band. In this year's reading, they moved closer to the intention for the full production, with band members doubling as ensemble members, playing some of the smaller roles and joining in on the singing. This is similar to the new musical Once, also an adaptation of a sweet and simple but lovely movie, in which the musicians are also the ensemble; perhaps this multiple Tony winner has defined and allowed for a new type of musical. A musical like this one in which there is no differentiation between actor, singer, and musician, with a style of music that strays far from "Broadway" into territories of folk, country, and Americana.

Much of last year's cast returns, with a few changes/additions in the 7-person cast and 5-person band (who are really also part of the cast). Ann Michels is once again the perfect Inge (and in fact is the muse for this piece), with the spark and strength and humor of the character, while also showing her vulnerable longing side. Robert Berdahl returns as her Olaf, a typical Norwegian farmer hiding his feelings deep down inside but allowing them to come to the surface at pivotal moments. Tinia Moulder once again brings heart and humor to the role of Brownie, this time with Jon Andrew Hegge as comic relief Frandsen. New ensemble members include Michael Gruber, Holly Schroeder, and Jefferson Slinkard, and doing double duty as band and ensemble were Matt Riehle, Kellie Rae Nitz, Mathias Becker, Ben Wagner, and Sarah Burk. (It should be noted that these busy performers took time off of their "day job" to do this - Ann is in the middle of a many months long run as the Chan's Mary Poppins, Robert, Tinia, and Michael are in the Guthrie's scrumptious production of The Music Man, and Jon, Jefferson, and Mathias can be seen at the Old Log in Best Little Whorehouse in Texas).

Some of the scenes in this year's reading included movement, with minimal and efficiently used props consisting of suitcases, trunks, old chairs, and a child's wagon. Highlights of these scenes include the baseball/church social/dance scene, which very specifically created the world of the play, and a small taste of the church/threshing scene that only whet the appetite for more. At the end, Brian and Megan also presented an option for the opening of Act II, in which Olaf and Inge wordlessly become closer through shared living and working. This piece is so rich, with so much potential, it's just a matter of figuring out the best way to tell this lovely little story. And I have faith that they will do so.

Sweet Land is such a special little movie, a small story but one that's so moving and timeless and beautiful. It's a piece of our history as Minnesotans, one that I, as a descendant of German immigrant farmers, feel a special connection to. The musical is everything I hoped it would be, retaining what was so special about the movie and its wistful, funny, romantic tone, and only adding to it with the wonderful new original music of the Americana style that I love so well. I am confident we will see a full production, hopefully in the not too distant future. Visit the Sweet Land musical website or become a fan of their Facebook page for more information about the piece, future productions, and how you can help with the next phase of development.


*Much of this post is copied from what I wrote about last year's reading.

"Putting It Together" and "La Rondine" by Skylark Opera at E.M. Pearson Theatre

One of the theatrical highlights of the summer, Skylark Opera's Annual Summer Festival, is upon us! As usual, the two shows playing in repertoire include one that's more of a traditional opera (but always in English) and one that skews a bit more towards musical theater: Puccini's La Rondine and the Sondheim musical revue Putting It Together (put together by Sondheim himself). As someone who loves musical theater but doesn't venture into the world of opera very often, Skylark's Summer Festival offers a fun, easy, accessible way to enjoy to dip my toes into the opera scene and indulge my love of musical theater. Both shows are highly entertaining with excellent casts and orchestras. But the runs are short with just four performances of each show. So read on, take your pick, and get your tickets before this all-too-brief Summer Festival is gone like the all-too-brief Minnesota summer!

Putting It Together
A terrific five-person cast, a fantastic eight-piece orchestra, and over 30 of Sondheim's greatest songs. What could be better?! Written in the early '90s, Sondheim pulled together songs from over a dozen of his musicals (including some that were cut from the original shows) and tied them together loosely with the story of two couples, one that's been together a long time and one that's just starting out. This allowed him to use many great relationship songs from the likes of Merrily We Roll Along, A Little Night Music, Company (my personal favorite, and perhaps Sondheim's as well because he included five songs in this revue), Follies, and the movie Dick Tracy. (Does anyone remember that Sondheim wrote five original songs for the 1990 movie? Me neither, but he included four of those five songs in this revue, maybe because it was so recent.) There's not much of a story here, so much as a study of relationships, and all of these diverse songs work surprisingly well to explore different facets of these relationships and give us a picture of who these people are (although some work better than others - the wolf's song from Into the Woods doesn't really fit in any context outside of the woods, although it is a commentary on a certain kind of relationship).

On a set that looks like a posh and sparse NYC apartment with a terrace, the long-married couple, the new couple, and their butler/commentator have a dinner party, dressed of course in tuxes and gowns. Each song is like a little story in itself, exploring a different facet of the relationships. There's little to no dialogue tying them together, although the commentator does declare the theme of certain segments, like "seduction," "desperation," and "competition." The long-married couple is full of regret ("The Road You Didn't Take" from Follies) and desperation ("The Ladies Who Lunch" from Company), the new couple full of hope ("Marry Me a Little" from Company) and sweetness ("Unworthy of Your Love" from Assassins). The men talk about women ("Have I Got a Girl for You" from Company, "Pretty Women" from Sweeney Todd) and the women talk about men ("Every Day a Little Death" from A Little Night Music). And then there are some silly songs that don't have much to do with anything but are fun nonetheless ("More" from Dick Tracy, "Buddy's Blues" from Follies).

Jeffrey Madison, Emily Gunyou Halaas, Paul Coate,
Vicki Fingalson, and Gabriel Preisser (photo by Matt Bellin)

The original 1993 Off-Broadway production starred Julie Andrews. Despite having Julie Andrews' cute pixie cut, Emily Gunyou Halaas is not known in this town as a singer, but rather as a talented actor in straight plays. I suspect that will change after this performance, in which she proves that singing is another tool in her acting toolbox that is readily available to her. I've always thought she has a melodious speaking voice, and she sings like she talks. Not only is her voice lovely, rich, and pleasant to listen to, but she brings all of her acting talent to the song, making us feel every emotion in Sondheim's intricate lyrics, which is perhaps the most important part of musical theater. She tackles some of the most difficult songs in this show ("Could I Leave You" from Follies, "Getting Married Today" and "The Ladies Who Lunch" from Company) and comes out on top every time.

The rest of the cast more than holds their own, and they all sound beautiful individually and in various combinations of duets, trios, and group numbers. Commentator Paul Coate nicely delivers "Invocations and Instructions to the Audience" from Frogs (which sounds a lot like my recent audience DOs and DON'Ts post) and the super fast and funny "Buddy's Blues" from Follies. As the husband, Jeffrey Madison hits some poignant and creepy notes, respectively, in "The Road You Didn't Take" from Follies and "Hello, Little Girl" from Sweeney Todd. The new couple Vicki Fingalson and Gabriel Preisser share a lovely duet in "Unworthy of Your Love" from Assassins, as well as some nice solo moments including Vicki's seductive "Sooner or Later" from Dick Tracy and Gabriel's triumphant "Marry Me a Little" from Company. And of course, no Sondheim revue about relationships is complete without one of his best songs on the subject, "Being Alive" from Company, a song I've heard many times but never quite like this, as the entire company joins in on a beautiful five-part version of the song.

With direction by Robert Neu and music direction by Andrew Fleser leading this terrific cast and orchestra through some of Sondheim's best work, put together by the man himself, Putting It Together is a must-see for fans of Sondheim, and music-theater in general.

La Rondine
Perhaps most famous for La Boheme (this inspiration for my favorite musical RENT), Puccini called La Rondine "perhaps, my best music" (per a note from director Ben Krywosz of Nautilus Music-Theater). Written in the early Twentieth Century, Skylark sets the story in 1920s Paris. The three acts depict different phases in the life of our heroine, Magda. The first act takes place in her posh Paris apartment (reusing some of the set pieces from Putting It Together). At a dinner party with friends, she reminisces about an exciting and romantic encounter with a man long ago. But now she has settled for a comfortable but loveless life with her patron (or sugar daddy, to put it in modern terms) Rambaldo. The second act takes place in a crowded dance hall, where Magda has decided to go in disguise for a bit of excitement. There admidst the dancing and revelry she meets the charming young Ruggero and they fall instantly in love (because such things happen in opera). She decides to leave Rombaldo and run away with Ruggero to the country, where we see them living blissfully in act three. But alas, their love cannot last because... something about Magda's shameful past? She doesn't think his mother would approve? They ran out of money? It doesn't quite ring true that in 1920s Paris these two crazy kids would conform to social standards and not be able to make it work. But tragedy is as sure to happen in opera as sudden all-consuming love, and the story ends on a tragically beautiful note.

the cast of La Rondine (photo by Matt Bellin)

Cecilia Violetta Lopez is a star as Magda. Not only does she have a stunning voice, but she makes you feel Magda's every emotion, from dissatisfaction to hope to resignation. As Ruggero, Won Whi Choi is her match. They both have huge voices, and when they sing in harmony it's really quite something. The large supporting cast is great and creates some stirring sounds when their voices join together on this gorgeous score. Lindsay Russell provides some comic relief as Magda's spunky and ambitious maid Lisette, and Norman Shankle is lovely and charming as Madga's poet friend and Lisette's secret lover. Paul Hindemith does a good job with Rambaldo, despite the distracting and borderline offensive old man make-up (is "oldface"a thing?).

Skylark's Artistic Director Steven Stucki conducts the 20+ piece orchestra through this lovely and luscious score. Lynn Farrington's costumes recreate that '20s flapper look for both the high society crowd and the dance hall revelers with dropped waist dresses, smart hats, headbands, and jewels. Kit Meyer has designed a flexible set of faux-marble columns and pieces that can be rearranged for the necessary sets in both shows.

Both shows in Skylark Opera's Summer Festival are perfectly lovely and a wonderful summer treat. Head down to St. Paul's Concordia University campus in the next week to see one or both of these very different but equally satisfying shows.


This article also appears on Broadway World Minneapolis.

Musical Mondays at LUSH, November 2023

Happy 11th Anniversary to Musical Mondays! This monthly cabaret that showcases the abundance of talent in our community, started by BFFs Max Wojtanwicz and Sheena Janson Kelly, just held their 90th show. Can you believe that?! It was my 19th time attending Musical Mondays (previously held at Hell's Kitchen), and just my second since its post-pandemic return to LUSH last December. Every time I go I think - why don't I go to this every month?! (The answer: too many shows, too little time.) It's always a great time filled with fabulous performances, great people watching, beloved songs as well as new ones, and a fun and festive community atmosphere. I've said it before and I'll say it again - if you are casting musicals in the Twin Cities, you need to go to Musical Mondays to scout out new talent, or talent you may think you know but who show a whole new side of themselves in this format. And if you love musicals and our #TCTheater talent, you need to be attending this show too. So mark your calendar for the next show on December 6, and follow them on Facebook or Instagram for updates.

"Twelfth Night" by Orchard Theater Collective at Calvary Baptist Church

New #TCTheater company Orchard Theater Collective, founded by a quartet of U of M/Guthrie BFA grads, has brought us some interesting and innovative shows over the past year or so. They continue that tradition with Shakespeare's comedy Twelfth Night, a clever choice to stage in early January when this actual holiday (aka the 12th day of Christmas) falls. And they've made it feel like a holiday. What is essentially a church basement theater has been transformed into a warm, cozy, festive space with lights and colorful decorations, as well as drinks and a lovely spread of cheese, hummus, bread, and cookies, all included in the price of admission. The intrepid cast of eight brings many more characters to life in this gender-swapping mistaken identity romantic comedy, performed on the small stage and in a square in front of it, with the audience sitting at tables on three sides. This Twelfth Night is playful and fun, an evening of pure frivolity. Fortunately this show runs a little longer than their previous shows (sometimes one weekend only); you have until January 19 to celebrate Twelfth Night with Orchard Theater Collective (click here for info and tickets).

Musical Mondays at LUSH, January 2024

No better way to start the year than with Musical Mondays at LUSH! This monthly cabaret show hosted by #TCTheater artist Max Wojtanowicz (see him in his TCTB Award-nominated performance in 'Art' at the Guthrie through January 28) held it's 92nd show this Monday. It's always a fun night (especially when the Twin Cities Theater Bloggers go as a group) and an incredible showcase of the talent in this town. You might discover a new favorite performer, or you might see a new side to a performer you've seen before. They get to choose what they want to sing, which allows them to really express their personalities and unique talents in a way that sometimes a role in a musical might not. Keep reading for a recap of this month's show, then mark your calendar for the next Musical Mondays at LUSH on February 5 (follow them on Facebook for details).

"Noises Off" at Lakeshore Players Theatre

The classic farce-within-a-farce Noises Off is a perfect choice for Lakeshore Players Theatre's winter show; two and a half hours of laughter will warm you up on a cold night. It's ridiculously funny and very meta as it gives us a glimpse into what it takes to make a show, and all the things that can go wrong. Fortunately for the real show, things go very right. Everyone in the nine-person cast as an absolute delight (most of them playing actors playing characters), and director Greta Grosch (of Church Basement Ladies fame) keeps everything hurtling towards the finish line in a beautiful display of organized chaos. Add to that the impressive set that you get to watch the hard-working four-person run crew transform not once but twice, and it's just an all-around good time. Sometimes what you need is what one of the characters says in the show: "I don't go to the theater to listen to other people's problems, I go to be taken out of myself, and hopefully not put back in again." This show delivers on that, although you likely will have to be put back in again when you go back out into the cold and not as funny real world. See Noises Off weekends through February 12 at Hanifl Performing Arts Center in lovely White Bear Lake, plus a pay-what-you-can performance on Monday February 6.

2022 #TCTheater Favorites - Finally, a Full Year of Theater!

2019 was a fantastic year of theater, during which I saw over 200 shows. Then came 2020, and a global pandemic that shut down theater for much of that year and into the next. With increasing vaccinations and decreasing infection rates, theater came back in the fall of 2021, but not without cancelled performances and entire productions due to new variants and higher infection rates in the winter months. It hasn't been an easy road, with the COVID requirements put in place by Actors Equity (union) for the safety of artists and patrons, a significant decrease in theater attendance, and financial instability that caused at least two local theaters to suspend all performances. But if there's one thing we've learned the past few years, it's that artists will find a way to make art. I couldn't be happier that in 2022 I finally experienced a full year of theater again, with some really amazing and creative work by our intrepid local theaters. From the Broadway tour of Come From Away in January (during which they flew in cast members from across US and Canada to keep the show up and running in the high Omicron days), to my second viewing of Theater Latte Da's new holiday classic Christmas at the Local on New Year's Eve, I saw about 140 theater performances in Minnesota (not counting a few out of state theater trips and 23 Minnesota Fringe shows in 7 whirlwind days), which is a pretty great bounce-back from the last two years, if not quite up to pre-pan levels. And now I have the difficult task of narrowing down the amazing shows I saw this year to a small list of favorites. Here are my 10 (or so) favorite musicals, plays, new work, and more.

"Into the Woods" at Lyric Arts Main Street Stage in Anoka

The more I see the Stephen Sondheim/James Lapine fairy tale mash-up musical Into the Woods, the more I like it. I'd seen it on stage twice (BCT and Mu) before the big star-studded movie came out a few months ago, which I also enjoyed, but seeing it on stage again is even better. Like most pieces written for the stage, it works better as a stage experience. With repeated viewings, I'm able to appreciate even more Sondheim's clever lyrics and complicated melodies and Lapine's funny and poignant book, which can be best summed up by the statement "be careful what you wish for, you just might get it." A new production* opens tonight at Lyric Arts, a community theater in Anoka that has continued to improve over the last few years. This show continues on that trajectory and is perhaps the best thing I've seen at Lyric Arts, except of course for the fantastic production of my favorite musical RENT last summer. The cast is all-around excellent with not a weak link among them, the production design includes inventive puppetry, and Sondheim's gorgeous and intricate score sounds so beautiful it sent me out of the theater singing and inspired me to finally download the cast recording (OBC, of course). If you have not yet made the drive out to Anoka to visit Lyric Arts, this might be a good time to start.

Into the Woods is a mash-up of familiar fairy tales, but with a twist. We have Cinderella with her handsome prince and missing shoe, Jack and his beanstalk that leads to a kingdom of giants, Rapunzel with her unusually long and strong hair, and a little girl in a red cape going to visit her Granny. Tying these stories together is a Baker and his Wife, who long to have children but were cursed by their neighbor, who happens to be a witch. The witch promises to reverse the spell if the couple completes a series of tasks, which will allow her to become the beautiful young witch she once was. Everyone heads into the woods to accomplish their task, where their stories intersect. At the end of the first act, everyone seems to have accomplished their "happily ever after." But the second act shows us what happens next. Happiness is complicated, actions have consequences, and things are not always what they seem. It's a little like growing up; as children we're told these fairy tales, but when we grow up we learn that life is not like fairy tales, it's complicated and messy, and "sometimes people leave you halfway through the wood." But the good news is, "no one is alone," not even witches and giants.

It's hard to pick out standouts in this large ensemble cast that is excellent across the board, under the direction of Matt McNabb, who also directed the aforementioned RENT, as well as the outrageous Young Frankenstein. Alyssa Seifert is a lovely Cinderella, Nykeigh Larson is at her most adorable as Little Red Ridinghood, Molly Jo Hall is the angelic voice in the tower as Rapunzel, Kyler Chase and Daniel Vinitsky are hilariously pompous and shallow as the dueting princes in "Agony," Joseph Pyfferoen and Kelly Matthews bring much humanity to their roles of the Baker and his Wife, Sam Sanderson is a sweet and open-faced Jack, Lara Trujillo's witch is creepy and deliciously over-the-top, and last but not least, 13-year-old Carter Skull is a great narrator, leading us through this story, always onstage, observing or taking part in the action.

In addition to the great cast, the production elements are all well done. The stage is dominated by a large tree, with wooden stairs and platforms leading from the floor of the stage to the top of the tree, all well-utilized by the cast (set design by Ben Olsen). The animals (and some of the humans) are represented by charming puppets reminiscent of Avenue Q. Most of the puppets don't have legs, and the puppeteers are visible and as much a part of the performance as the puppets. The wolf is particularly fun, with two puppeteers manipulating the puppet and performing an intricate waltz (Kyler Chase and Gabriel Gomez, who also designed the puppets and plays Milky White). Finally, Jeff Geisler's sound design creates some ominously loud giant steps, as well as cool and mysterious echoing effects.

Lyric Arts is a community theater, but their productions are often at professional levels. Now that Bloomington Civic Theatre has transitioned from a community to a professional theater (which seems to be a bit of a blurry line in most cases), Lyric Arts is stepping up to be the top community theater in the region, one that serves as a stepping stone for new young talent. I really can't ask more of a production of one of Sondheim's best musicals than a talented, enthusiastic, and dedicated cast, music that sounds beautiful (music director Louis Berg-Arnold leads a nine-person off-stage orchestra), and creative sets, puppets, sound, costumes, and choreography.

Into the Woods is a musical that tickles your funny bone, tugs at your heartstrings, and challenges your brain, all set to beautiful music. If you've only seen the movie, you owe it to yourself (and the show) to see it on stage, where it was meant to be seen. Into the Woods opens tonight and continues Thursdays through Sundays through March 8 at Lyric Arts on Main Street in Anoka (if you've never been to this theater before, check out my venues page, with info and tips on thirty venues around town).


*Lyric Arts' Into the Woods is the first of two local productions this year. Theater Latte Da will be presenting their version of the show, set in a German beer garden, at the Ritz Theater, opening in March.

"The Age of Wordsworth" by Four Humors Theater at the Southern Theater

Four Humors Theater's original new rock musical The Age of Wordsworth is bizarre and super cool.  Even though rock music isn't really my thing, I'm a huge fan of the genre of the rock musical, which began with HAIR in 1967 and continued through my favorite musical RENT in 1996, on through to some of my favorite recent musicals such as Spring Awakening and Next to Normal.  But the show that The Age of Wordsworth most brought to mind is last year's fabulous new Broadway musical Bloody Bloody Andrew Jackson.  Both shows reimagine a historical figure, mixing fact and legend with great rock music and a spirited young cast.  And like when I saw BBAJ last October, I was intrigued by the title character and had to go home and google him to find out more about his life, and find out how much of what I saw is true.

The spacious and gorgeous space at The Southern Theater is set up with a square of artificial grass on the right-hand side of the stage, filled with instruments and musical equipment.  That's where the cast performs the musical numbers, interspersed with stories about Wordsworth which are acted out on the rest of the stage.  The actors take turns playing the English Romantic poet William Wordsworth and other historical characters, such as his friends Mary Wollstonecraft Shelley (author of Frankenstein) and Samuel Taylor Coleridge (inventor of the concept of suspension of disbelief).  From being haunted by one of his own creations, to waiting for 20 years on the French border to see his wife and child, to being lost at sea, to his wedding, the stories are funny, touching, and a little bit crazy.  The wedding story takes the form of a drunken best man's speech, and the actor giving the speech is so convincing as a drunk that for a moment I was afraid he really was ill!

Most of the musical numbers are based on poems by Wordsworth or his contemporaries, with additional lyrics by Nicholas Jacobson-Larson, who also composed the music with help from the ensemble.  According to the creator and director of the show, Jason Ballweber, the show is centered around Wordsworth's poem "We Are Seven," which is one of the songs.  Some of the songs are sad and haunting, others are loud and rockin.  Just before the doors opened for seating (I was there early because, annoyingly, my ticket said 7:30 when the show really started at 8), Jason spoke a few words about the show, which ended with "please take ear plugs if you wish."  I didn't, and I survived just fine.

I'd like to point out my favorites in the cast, but since the playbill does not include photos or a cast of characters, I don't know who is who.  So I'll just list them all and say they're all talented and energetic young actors and musicians, many of whom graduated from the Univeristy of Minnesota's theater program or are currently students there: Ben Desbois, Ryan Lear, Alisa Mattson, Brant Miller, Tyler Olsen, Rachel Petrie, Mark Rehani, Toby Rust, and Matt Spring.

Most of the theater that I see is fairly conventional, but I'm trying to branch out, which is why I purchased a season package at the Southern Theater.  In addition to dance, music, and film, the Southern hosts smaller theater companies doing new, original, avant-garde work.  So far, I like what I see, and I love the creativity and outside-the-box thinking that continues to advance theater in a forward direction.  (And since I really love the image on the playbill, but the effect is somewhat lost in black and white, I'm repeating it here.  The imagery of flowers plays an important and lovely role at the end of the show.)

Weekly Online #TCTheater Events

Hello friends. I sure miss live theater, more than I've ever missed anything in my life. I don't know when we'll be able to gather together again in the same space to share stories, but I know that day will come (watch Guthrie Theater Artistic Director Joseph Haj's inspiring message about that here). In the meantime, you can watch #TCTheater artists sharing their art online almost every night of the week! Below is a list of events occurring weekly. For other events, please visit the Twin Cities Theater Bloggers Event page on Facebook, where we are compiling #TCTheater Facebook events for online performing arts. If you know of any other events not listed there, please comment or send us a message.

"Rough Cuts" at Nautilus Music-Theater: "Fidgety Fairy Tales" and "Heroine"

On the second Monday of (most) every month, in a little studio space in Lowertown St. Paul, you can listen to exciting new works of music-theater. The place is Nautilus Music-Theater, a company committed to developing new works. Once a month (typically repeated on Tuesday at a location in Minneapolis), composers and playwrights have the opportunity to see their work read by talented local actors, and we the audience have the opportunity to witness a new work in the making and provide feedback to help the creators in their process. That's a pretty cool thing. Here's what I experienced at Nautilus last night, to be repeated tonight at Open Eye Figure Theatre (for a suggested donation of $5, which includes milk and cookies!).

"Musical Mondays" at LUSH, April 2018

I know it's hard to believe today with all of the snow, but it's April! And with the beginning of a new month comes the fabulous monthly cabaret series Musical Mondays at LUSH! It's the 57th installment of this series, and as co-host Max Wojtanowicz noted, they're not running out of talented performers; the talent pool in this town is that deep. This month, six performers sang songs from Tony Award-winning musicals or performances. Because of that I knew most of the shows referenced, but as always there were a few surprises/educational moments. And of course, many entertaining, funny, and thrilling musical moments.