"Irving Berlin's White Christmas" at the Chanhassen Dinner Theatres

It may still feel like summer outside, but winter has arrived at Chanhassen Dinner Theatres! The #TCTheater holiday* season begins early this year with their production of Irving Berlin's White Christmas, a nostalgic and heartwarming charmer. And demand for it is high - the show is already virtually sold out in the months of November and December (more availability in October and January). Audiences will be rewarded will a ridiculously talented cast, familiar and beloved Berlin tunes (more than we hear in the movie), thrilling dance numbers, and an overall warm glow that'll prepare us for holiday celebrations and (hopefully) a snowy winter to come.

"Beautiful: The Carole King Musical" at Chanhassen Dinner Theatres

For their third regional premiere in a row, Chanhassen Dinner Theatres (CDT) is presenting Beautiful: The Carole King Musical. It's interesting that it follows on the heels of their regional premiere of Jersey Boys, because that 2006 Tony-winning bio-musical about Frankie Valli and The Four Seasons set the standard for the bio-musical and spawned a bunch more of the like, of which Beautiful (premiering in 2014), is one of the better ones. You can definitely see some similarity in structure between the two shows, both feature recognizable hits from the mid 20th Century, and both are really more like plays with music than musicals (most of songs are sung in context - in a studio or at a concert). As Artistic Director Michael Brindisi says, they went from the Jersey boys to the Brooklyn girl. And this first #TCTheater production is big, bold, and yes - beautiful. With an outrageously talented ensemble, super smooth transitions between the many mini scenes and songs, and unstoppable momentum that makes each act of this 2.5-hour-long musical feel like 20 minutes, Beautiful is not to be missed. It's playing through the end of September so you have plenty of time to get out to the Western metro for this celebration of one of the most prolific songwriters of 20th Century American popular music.

Preview of the Regional Premiere of "Beautiful: the Carole King Musical" at Chanhassen Dinner Theatres

For their third regional premiere in a row, following the Twin Cities Theater Bloggers' favorite musical of 2023 The Prom and the crowd-pleaser Jersey Boys, Chanhassen Dinner Theatres is bringing Beautiful: the Carole King Musical to their main stage (note: there was a production in Alexandria MN last summer at Theatre L'Homme Dieu, but this is the first one in the seven-county metro area). You can still catch the Frankie Valli jukebox musical Jersey Boys now through February 24, but beginning March 1, the Chan is moving on from the Jersey boys to the Brooklyn girl (as noted by director Michael Brindisi). I was fortunate enough to be invited to a special preview event last Saturday afternoon, which made me even more excited to see the show this spring. Beautiful premiered on Broadway in 2014 and ran for over five years. The first national tour came to Minneapolis for two weeks in the fall of 2015, about which I wrote, "Although it feels at times like a baby boomer tribute concert, Beautiful truly is just that - beautiful - as it celebrates this remarkable woman's talents and life story." A tribute concert that also tells the true story of the woman behind all of these iconic songs - what's not to love about that?!

"Jersey Boys" at the Chanhassen Dinner Theatres

Jersey Boys is my musical theater guilty pleasure, and the exception that proves the rule about jukebox musicals. Meaning, I'm not usually a fan of taking popular hit songs and creating a musical around them; I much prefer new original musical theater. Except for Jersey Boys, which I can't help but love and see nearly every time the Broadway tour came to town (four, although I missed last year's tour). After running for over 11 years, the Tony-winning musical closed on Broadway in 2017, but continued to tour the country for several more years. The reason I love it is not just because of the fantastically catchy music of Rock and Roll Hall of Famers Frankie Valli and the Four Seasons, the sharp choreography, and the retro fashions. But also because all of this is put together very smartly in the true story of the group, dealing with the good and the bad of fame and living in the music industry.* Leave it to Chanhassen Dinner Theatre's Artistic Director Michael Brindisi to snap up the rights to the show as soon as it became available for regional productions, making this their second regional premiere this year, after the super fun and heart-warming The Prom (which closed just a week before Jersey Boys began performances). It's great fun to see a different take on this show that I love and am so familiar with. As always, the Chan delivers a top-notch production of this musical that is sure to be a crowd-pleaser (but one with substance) for the next eight months (click here for info and tickets).

"The Prom" at Chanhassen Dinner Theatres

This late winter/early spring, Chanhassen Dinner Theatres is bringing us the regional premiere of a new original modern-day Broadway musical, a bit of a step outside their comfort zone of classics and retro pieces (like the recent '80s-set Footloose, which ran for a full year). But what a great and exciting choice The Prom is - a musical that’s all about love, inclusion, acceptance, friendship, community, and seeing the goodness and worth of all humans regardless of who they are or whom they love. It's a beautiful and necessary message, with recent threats to LGBTQ+ and transgender rights. The Prom shows is that we all belong, we all deserve to go to the prom exactly as we are, we all deserve to love whom we chose to love, be who we truly are, and be happy. That's not so radical, is it? Despite the modern message, The Prom is in many ways an old-fashioned classic musical, with big dance numbers, broad comedy, Broadway references, and a fantastic and mostly upbeat score that'll send you out into the cold singing, with a heart warmed from this beautiful story. But unlike many of their open-ended shows, this one has an end date - June 10. So don't wait too long to get your tickets and head out to the Western suburbs for this super fun and heart-warming show. Click here for info and tickets, and keep reading for information on discount tickets at the end of this post.

"Footloose" at Chanhassen Dinner Theatres

Chanhassen Dinner Theatres is back with their first show created after the long pandemic intermission of 2020-2021. After their 2020 production of The Music Man was finally able to return last summer and continue through January, the Chan is turning the page to Footloose, the adaptation of the classic '80s movie. While it's not my favorite musical, being both a movie adaptation and a (partial) jukebox musical, this production makes the most of the material and is a super fun time at the theater. As always at the Chanhassen, every element of production is smooth and professional, the music and dancing are fabulous, and the cast is top notch. It's nearly impossible not to have a blast at the Chan, and this Footloose is pure entertainment from start to finish. The show will continue through the summer and into September, but weekends are already starting to sell out and summers are always busy, so make your plans now to cut loose in Chanhassen.

"The Music Man" at Chanhassen Dinner Theatres

Chanhassen Dinner Theatres opened their production of The Music Man in early March of 2020, when I was out of town on vacation in paradise, aka New Zealand. I was scheduled to see it mid-March when I returned, but we know how that story goes. Fast-forward through 16 long months to their re-opening a few weeks ago, and I was finally able to see the show. It was only my second time inside a theater since I left town in late February of 2020, and my first large-scale musical with a full house. I attended with my mom, aunties, and cousins, and in the middle of the first act one of them leaned over to me and said "it's so good I can hardly stand it!" I couldn't agree more. It was a very emotional experience for me, watching a huge group of talented performers (many of whom I've watched on stage for years) doing what they do best, with a few hundred people in the same space experiencing it live. Something that I used to take for granted, but no longer will. And I can't think of a better show with which to return than The Music Man, a celebration of the importance of music, community, connection, and working together towards a common goal, all things that have been sorely missing of late. It's a fantastic production from start to finish, and such a joy to be back. Tickets are on sale through the end of the year, so make your plans to visit River City!

"Mamma Mia!" at Chanhassen Dinner Theatres

I fell head over heels for the Ordway Original production of Mamma Mia! last summer, calling it "fantastically fun and surprisingly moving, performed by a mostly local and all fabulous cast." So when I heard that Chanhassen Dinner Theatres had chosen it as their summer 2019 production, I thought, so soon? why? The answer is that it's an inherently fun and feel-good show show, and while the Ordway production still holds a special place in my heart, it only ran for two weeks and the Chan reaches a much larger out-state audience. There's room for two big, beautiful, fantastically fun Mamma Mia!s in this town. What I love most about this show is that it's very female-forward. Yes there are male characters, but it's truly about the women's stories. Better yet, it's about women loving and supporting each other, not competing with each other. The true love story at the heart of this piece is the love between parent and child, the love of lifelong female friendships. I can't think of any better message to celebrate this summer.

"Holiday Inn" at Chanhassen Dinner Theatres

Christmas may be over for another year, but that doesn't mean we have to stop celebrating. After all, Christmas is only one of many holidays celebrated around the world, and only one of the seven holidays celebrated in Chanhassen Dinner Theatres' gorgeously fun production of the Broadway musical Holiday Inn. Based on the 1942 Bing Crosby/Fred Astaire movie of the same name, the musical debuted on Broadway in 2016, and is now receiving its Minnesota premiere. This is the kind of thing that Chanhassen does best - a big splashy musical with wonderful recognizable music and fantastic dance numbers. If you didn't see it this holiday season, don't worry, it's still playing through February 23, and there are still plenty of holidays to celebrate.

"Newsies" at Chanhassen Dinner Theatres

The Children’s Crusade: kids walk out of their jobs or schools to take to the streets and stand up for what they believe in, for a fairer and safer world. Does this describe recent current events, a historical event, or the plot of a Disney musical? Trick question - the answer is all of the above! At the same time that the children of Stoneman Douglas High School, the site of latest tragic school shooting, are leading children across the country in making their voices heard, Chanhassen Dinner Theatres is presenting the regional premiere of Newsies, a new musical adaptation of the 1992 Disney movie based on the historical newsboy strike of 1899. As is happening today in real life, the kids involved the historical strike and the characters in the musical demand that the people in power listen to them in their call for justice. But the latter group does it with music and fabulous dancing. Children truly are our hope for the future, and Newsies celebrates that idea while providing a fun, entertaining, and inspirational show.

"Sister Act" at Chanhassen Dinner Theatres

Amazing things can happen when women stand together and raise their voices, something we've witnessed recently with all of the sexual harassment and assault experiences that have been coming forward. On the musical theater front, when the women standing together are some of the most talented in #TCTheater, and they're raising their voices in the joyous musical adaptation of the movie Sister Act, it's a very amazing thing. Chanhassen Dinner Theatres is bringing back their smash hit from 2015 with mostly the same cast, but while the show might be the same, the world is a much different place than it was two years ago. This beautiful story of sisterhood, friendship, community, and standing up together and raising your voices for joy, love, and faith, may be needed more now than it ever was.

#TCTheater Artists Respond to the #Ham4All Challenge

If you're a musical theater geek like me, or just someone who's aware of pop culture and particularly social media challenges, you've probably heard of and enjoyed Lin-Manuel Miranda's #Ham4All challenge, in which celebrities and normal people post a video of themselves singing a song from his brilliant creation Hamilton, donating $10 to the Immigrants We Get the Job Done Coalition through prizeo.com/hamilton, and challenging two others to do the same. It's been a ton of fun to watch all the contributions to #Ham4All (just search the hashtag on any of the social medias to see all the wonderful contributions), but of course I wanted to see my favorite #TCTheater artists do it!

"Grease" at the Chanhassen Dinner Theatres

Friends, I am here to tell you that in the southwest suburb of Chanhassen, Grease is most definitely the word of the summer. And yes, it may be 20 degrees with below zero wind chills and late winter snowstorms in this upside down weather world we now live in, but Grease is here to take you into spring, through summer, and even into early fall with a super high energy, gorgeously cast, supremely fun show. There's nothing subtle about this production that goes for big performances, big high notes, and big laughs. Grease is a guaranteed crowd-pleasing seat-filler, but the Chan doesn't just rest on the easy nostalgia of the piece. Instead, they've put in every effort to make this production the best it can possibly be.* It's very likely to sell well for them for the next seven months (who doesn't love Grease?), and it deserves to because it's pretty much the most fun you can have in a theater.

"Camelot" at Chanhassen Dinner Theatres

The rain may never fall till after sundown.
By eight, the morning fog must disappear.
In short, there's simply not
A more congenial spot
For happily-ever-aftering than here
In Camelot.

Even in a musical, this idyllic world cannot last forever. The problems of the real world - war, greed, betrayal - come crashing in despite the legendary King Arthur's dreams of peace. Perhaps turning a blind eye to reality is not the best way to keep the peace, but it sure was nice while it lasted. Even though I have some issues with the book, Chanhassen Dinner Theatres beautifully brings the mystical and idyllic world of Camelot to life with gorgeous design, a fantastic cast, and beautiful music.

"Beauty and the Beast" at Chanhassen Dinner Theatres

Of all the Disney heroines, the odd girl with her nose stuck in a book is the one that I relate to most, especially since the 1991 movie Beauty and the Beast came out when I was a teenager and at my most odd bookishness. Belle is a heroine for all us normal girls who feel like we don't quite fit in. She meets another odd soul (who conveniently happens to be a handsome prince inside) and they make a connection, bringing out the best in each other. Yes it's a typical Disney fairy tale that ends in a wedding, but at least it's a meeting of equals who rescue each other. A few years after the movie, Beauty and the Beast was adapted into a successful Broadway musical (the 9th longest running musical on Broadway), and in 2005 Chanhassen Dinner Theatres was one of the first regional theaters to mount a production. Now, 11 years later, director Michael Brindisi and his team are revisiting this classic and beloved fairy tale with an energetic show that is flawlessly cast and beautifully designed. My inner odd bookish teenage girl (who's never very far beneath the surface) was quite pleased.

"Sister Act" at Chanhassen Dinner Theatres

While I was off in NYC seeing a bunch of Broadway musicals last week, Chanhassen Dinner Theatres opened a new show. I missed the Sister Act press night (the best press night in town), but they kindly let me attend last night - on my birthday! (I can now cross the Chan emcee wishing me a happy birthday off my bucket list.) Director Michael Brindisi has once again brought us a polished production, and one that's a lot of fun and also has a beautiful heart, I enjoyed it as much as anything I saw on Broadway last week. This is a relatively short run for the Chan (just four months), so make your plans now so you don't miss this wonderful and heart-warming musical. If you need more reasons to see it, I've got ten - read on.

"Mary Poppins" at Chanhassen Dinner Theatres

Mary Poppins is a classic and beloved movie. What child growing up in this country in the last 50 years didn't grow up with the no nonsense magical nanny? The surprising thing is that this original movie musical released in 1964 wasn't adapted for the stage until 40 years later. But when it finally was, it was a success; the Broadway production ran for six years and toured the country, including a stop in Minneapolis in 2013. While it's not a perfect adaptation, the stage musical does retain the magical quality of the movie and many of the most loved moments and song. Chanhassen Dinner Theatres' new production of Mary Poppins: The Broadway Musical is delightful and charming with a huge and talented cast.

The familiar story we know and love from the classic movie is mostly there on stage, except, sadly, the floating to the ceiling with laughter scene and the women's suffrage subplot. Mary shows up to the Banks family in London because they need her. Father George is too busy with his important job at the bank to spend much time or thought on his children Jane and Michael, who are acting out and scaring all the nannies away, and mother Winifred doesn't know what to do to help the situation (pretty much the definition of first world problems). Enter Mary Poppins, who takes the children on fantastical outings while teaching them to be more considerate and responsible. After a crisis at the bank, George learns to appreciate his family, and with the family unit healed, Mary Poppins departs as quickly as she arrived, on to help the next family.

When I saw Mary Poppins on tour two years ago, I thought it was too long, especially for a show that will draw a lot of kids. The songs, scenes, and storylines that were added are just not as compelling as those we're familiar with from the movie. I was hoping that director Michael Brindisi would trim some of the fat, but I don't know how much freedom a regional theater has to make changes when licencing a work such as this. So I'll blame the creators of the piece for making it feel a bit bloated and draggy in parts. But it certainly doesn't overshadow the wonderful moments in the show, which are many:

Ann Michels as Mary Poppins
(photo by Heidi Bohnenkamp)

• It's not easy to step into Julie Andrews' sensible shoes in her iconic portrayal of Mary Poppins, but the Chanhassen has found just the right actor to do so. There's no practically about it, Ann Michels is perfect in every way - her voice, her posture, her attitude, her comic timing, her look, even the way she holds the umbrella. She's an absolute delight to watch in this beloved role.
• As young Jane and Michael Banks, Isabelle Erhart and Jay Soulen (who share the roles with two other actors) are adorable, very present and expressive with lovely voices who fit right in with the veteran cast.
• Fantastic dancer Mark King plays Bert, who serves as a sort of narrator of the story, often on stage observing the action as well as taking part in it. He has a sort of melancholy about him, as if he knows that Mary will soon leave.
• Seri Johnson is, as always, hilarious as the frazzled housekeeper Mrs. Brill. She and Scott Blackburn, as butler Robertson Ay, make for quite the comedy team, like a warped version of Mrs. Hughes and Carson.
• Even though the Mr. Banks at the bank story is not very interesting, Chan favorite Keith Rice is a joy to watch as he transforms from a prickly and absent father to a more devoted family man, with the help of Janet Hayes Trow's sweet and caring Mrs. Banks, who I wish had more to sing about than "Being Mrs. Banks."
• Michelle Barber only has a few short scenes on stage, but her "Feed the Birds" is a lovely and quiet moment in the busy show.

Mary, Bert, and the children
in the sky (photo by
Heidi Bohnenkamp)

• Tamara Kangas Erickson's choreography shines in a couple of group numbers. In "Supercalifragilisticexpialidocious," the cast spells the crazy long word in song and with their bodies, and it's a thrill as the speed increases and the precision never wavers. "Step in Time" is a tap-dancing delight, with chimney sweeps popping up as if by magic in the audience and slowly making their way onto the stage for the ever increasing energy of the number.
• The entire show has a sort of magical, dreamlike quality. The set is dominated by a large moon, with ladders climbing to the sky. Low-tech theatrical tricks create the illusions of flying and large objects coming out of Mary's bag. Hundreds of tiny lights twinkle on the ceiling in the formation of the constellations, making one want to lean one's head back and get lost in the stars (set design by Nayna Ramey, lighting design by Sue Ellen Berger).
• The Chanhassen's resident costume designer Rich Hamson (who recently had his own moment to shine on stage) has clothed the cast in a wide array of London street garb, living life-size toy costumes, and other fantastical getups.
• Last but not least, I would be remiss if I didn't mention Music Director Andrew Cooke and his always fabulous onstage band, making this (mostly) familiar music sound great.

The Chanhassen's Mary Poppins is a joyful production (even if it is a bit too long), filled with great performances and plenty of theatrical magic. Playing now through the end of August, so you have plenty of time to get out to the suburbs and experience the magic.

It's a Jolly Holiday! (photo by Heidi Bohnenkamp)

"Hello Dolly!" at Chanhassen Dinner Theatres

Everyone loves Dolly. The title character of the popular musical Hello Dolly! is a matchmaker, dance teacher, entrepreneur - basically a woman who knows how to get things done. She "puts her hand in" here and there, and makes people's lives better with her helpful manipulative ways. You can't help but love her, and you can't help but love the Chanhassen's shiny new production of this 50 year old musical. It's charmingly old-fashioned, with a fantastic cast from the lead to the supporting players to every last member of the ensemble, wonderful dance numbers, gorgeous period costumes with those all important extravagant hats, and familiar music beautifully played by the orchestra. It's silly and fun and adventurous - a grand old time.

It's the late 19th Century in New York City, and Dolly is tired of working to make everyone else's lives better at the expense of her own. She decides to marry the noted "half a millionaire" Horace Vandergelder, and asks her beloved deceased husband for a sign to move on. In order to catch the gentleman, who is one of her clients, she sabotages the other matches. He's supposed to marry the widow Irene Molloy, owner of a hat shop, but Dolly quickly squashes that. Instead Irene falls in love with Horace's employee Cornelius who, along with his friend Barnaby, has come to New York City for an adventure. Said adventures include a parade, a dinner they can't pay for, a quick trip to jail, and falling in love. But this is Dolly's story, and when Dolly decides she wants something, she gets it, for better or worse.

Highlights of the show include:

the mother/daughter act - Michelle Barber
as Dolly and Cat Brindisi as Irene

• As I said, this is Dolly's show, and Michelle Barber owns the role and ably leads the show. The highlight is Dolly's moment "Before the Parade Passes By," her declaration to live her life to the fullest. But another wonderful moment is the title song, when Dolly is being serenaded by singing waiters. Michelle is so easy and comfortable in the role as she makes her way across the stage and through the audience, shaking hands, kissing my table-mate on the head, sharing little asides and knowing winks with the audience. She just is Dolly.
• The Chanhassen has always been a family affair, and never moreso than in this show. Michelle's husband, by the way, is the Chan's Artistic Director and director of this show, Michael Brindisi. And their daughter, Cat Brindisi, is making her adult debut on the stage on which she grew up, after proving that this is no act of nepotism with brilliant turns in such shows as Aida and Hair (by a theater company she co-founded). As Irene Molloy (a role her mother played the last time the Chan did this show), Cat is strong and spirited, and provides a quiet, lovely moment in the otherwise busy and high energy show with the song "Ribbons Down My Back." As my companion said, I only wish she had a chance to sing more.
• "It Only Takes a Moment" to fall in love with Tyler Michaels and his unique performance style, and if you haven't already done so in one of his previous appearances, most recently as the Emcee in Cabaret, Prince Eric in the The Little Mermaid, or Freddie in My Fair Lady, you will here. Watching him dance badly as Dolly teaches Cornelius to dance is more fun than watching most people dance well. He brings an awkward grace and boundless enthusiasm to the role of this young man who's determined to have the night of his life.

the boss and his hard-working employees
(Keith Rice, Adam Moen, and Tyler Michaels)

• Who else but Keith Rice, a longtime favorite at the Chan, could play Horace? Even though "It Takes a Woman" may be the most sexist song in musical theater history, it's somehow almost charming coming out of the mouth and person of Keith Rice. The last time I saw Helly Dolly! I did not get the appeal of Horace at all, but I do now. Of course no man is quite good enough for our Dolly, but he'll do.
• Several actors shine in smaller roles. As second fiddle Barnaby, Adam Moen holds his own with Tyler and is quite charming himself, and the two often dance and move in perfect unison. Jessica Fredrickson is sweet and adorable as Irene's assistant and friend, and as Horace's niece Ermengarde, Krysti Wiita wails perfectly on pitch. As per usual, Kersten Rodau steals her few brief scenes as Horace's (mis) match Ernestina, turning her beautifully powerful voice into something hilariously grating.
• All elements of the production are top-notch, from Tamara Kangas Erickson's choreography perfectly and precisely performed by the ensemble (oh, those dancing waiters!), to Rich Hamson's gorgeous costumes (spats! hats! gowns!), to the simple set by Nayna Ramey that lets the show shine, to Andrew Cooke's always wonderful onstage orchestra (with banjo!).

This fun, charming, entertaining, perfectly cast, and well performed classic musical plays all winter. The weather may be getting colder, but it's always warm and pleasant at Chanhassen Dinner Theatres*. Dolly will never go away again... until February, when Mary Poppins takes her place.

the cast of Helly Dolly! (all photos by Heidi Bohnenkamp)

*If you happen to go in the next month or so, you should also head over to the Arboretum for TigerLion Arts' lovely and poignant outdoor walking play Nature, about the friendship of Ralph Waldo Emerson and Henry David Thoreau.

"The Little Mermaid" at Chanhassen Dinner Theatres

The Little Mermaid was the first of the new Disney movies, and my favorite. I was a teenager when the movie came out in 1989, and "Part of Your World" is the quintessential teenage girl anthem (before my theme song was "I Don't Do Sadness" or "I'm Not That Girl," it was "Part of Your World"). Every kid I babysat at the time had the VCR tape (yes, VCR), so I've probably seen the movie hundreds of times. The soundtrack was the first cassette tape (yes, cassette tape) I ever owned, and I listened to it constantly, and even played "Under the Sea" in band because my tuba-playing band director loved the calypso rhythm and the bass parts ("guess who's going to be on the plate"). Even though I haven't seen the movie or listened to the music in many years, it all came right back to me while watching Chanhassen's production of the stage version of the movie. Now, as you might know if you read this blog with any regularity, I'm not crazy about the trend of turning every Disney movie (and every movie, for that matter) into a musical; I think it's an easy and risk-free way for Broadway producers to recoup their investment, and not necessarily about making art. Whether or not The Little Mermaid should have been made into a stage musical can be debated (the Broadway production ran for less than two years and received mixed reviews), but since it was, there's no place I'd rather see it than at the Chanhassen with a local cast that is perfection. They bring the movie and the wonderful songs to life with the usual Chanhassen flair, fun, and color.

The stage musical The Little Mermaid is based on the Disney movie, which is based on the Hans Christian Anderson story about a mermaid who falls in love with a human Prince and exchanges her voice for a chance to be human. In the Disney version, Ariel is a precocious teenager who doesn't feel at home under the sea with her father King Triton and six sisters. She longs to be part of the human world, and collects trinkets and visits the shore against her father's wishes. After rescuing Prince Eric from a shipwreck, she makes the fateful deal with her aunt Ursula, the evil sea witch, and must charm the Prince and get him to kiss her within three days, or she's doomed to an underwater hell. Unlike the original story, in this Disney version Ariel banishes the sea witch, gets her Prince, and lives happily ever after. A typical Disney fairy tale story, but with the following wonderful features:

• Caroline Innerbichler is so perfect for the role of Ariel. When you're a musical theater actress with long curly red hair and a lean torso, you're destined to play this role. Fortunately Caroline has the chops to back up the looks, not just a siren-like voice, but the spunk and awkward grace of this fish-turned-woman. The way that she tentatively takes her first steps on her new legs is really well done, and once she learns to walk, she runs and dances across the stage with ease. Caroline is also able to convey everything about the character while not speaking for most of the second act, although she does sing a few songs to show us what's going on in Ariel's head and heart.

"Kiss the Girl!" Caroline Innerbichler and Tyler Michaels
(photo by Heidi Bohnenkamp)

• Tyler Michaels never fails to impress in any role, large or small. On the heels of a brilliant (and perhaps, career-making) turn as the Emcee in Cabaret, he does a 180 to play a wholesome Disney prince, and once again transforms into the character. He's so charming as this prince fighting against his role, and even gets to throw in some of his aerial (no pun intended) tricks as he hangs upside down from a rope when Prince Eric falls off the ship. Rest assured that was put in specifically to play to Tyler's talent, anyone else plays this role and they'd do the scene differently (which makes me wonder what they'll do when he leaves the role to make his Guthrie debut as Freddy in My Fair Lady this summer, perhaps his replacement is already studying the art of aerial work).
• I am convinced there is not a better actress in Minnesota to portray Ursula than Kersten Rodau. Her deep, rich, and powerfully strong voice is perfectly suited to the temperament of the sea witch and the song "Poor Unfortunate Souls," and she's proven she can do broad comedy to great effect (see also Xanadu and Urinetown). My one disappointment is that my favorite line from the movie, uttered by Ursula, appears to have been cut: "Life's full of tough choices, isn't it?" dripping with sarcasm. (Kersten - can you please just ad lib that sometime?)

"Poor Unfortunate Souls!"
Michael Gruber, Caroline Innerbichler, Kersten Rodau, and Tony Vierling
(photo by Heidi Bohnenkamp)

• As usual, Jay Albright is an absolute scene stealer as the know-it-all sea gull Scuttle. The slow and practiced bird walk to exit the stage every single time and the way he mangles words is hilarious. Anytime he's onstage, it's impossible to notice anything else.
• Other perfectly cast supporting characters include Derek Prestly as the adorably sweet Flounder, the fish with an unrequited love for Ariel; a regal Keith Rice as King Triton, with his big beautiful booming voice; Michael Gruber and Tony Vierling as Ursula's deliciously evil and electric sidekicks; and Andre Shoals as Sebastian the comic relief crab (although the role was played as a bit too much of a fool for my taste, with the "uh oh" catch phrase verging into bad sitcom territory).
• Honorable mention to the six talented women playing Ariel's sisters (Ann Michels, Julianne Mundale, Emily Madigan, Emily King, Maura White, and Laura Rudolph), small roles that they each make the most of, swishing their tails with attitude. And they double as Eric's hilariously horribly voiced suitors in the Bachelor-like competition for his hand.
• About ten new songs were written for the stage musical by original score composer Alen Menken, with varying degrees of success. My favorites are "Positoovity," mostly because it gives Jay Albright a great opportunity to do his shtick; "Her Voice" because it gives Tyler more to do (when I heard he was playing the role I was concerned because I couldn't remember Eric singing much, if at all, in the movie, but rest assured he sings plenty here), and the lovely Ariel/Eric/Sebastian/Triton quartet "If Only." Some other numbers, including the hokey dancing song "One Step Closer," are forgettable. It's a little like going to see your favorite band, and you want to hear all their hits, but interspersed with the hits they play a bunch of new songs you've never heard, and you just want them to get back to the hits. I mostly just sat through the new songs waiting to hear the likes of "Kiss the Girl" and "Under the Sea" and "Poor Unfortunate Souls."
• The underwater world is presented quite successfully, and the costumes (by Rich Hamson) are superb. The mermaid effect is created with the tail sticking out behind the actress, over flowy light blue pants which blend into the pale blue set. They walk with tiny quick steps to skim across the stage; if you squint your eyes you can almost see them floating. Sebastion is in a full orangey-red crab costume, and octopus Ursula's darkly gorgeous dress ends in eight tentacles, two of which are connected to her hands and in constant motion. Birds, eels, fish - all fantastical and fun.
• Two highlights of the show are the ensemble numbers "Under the Sea" and "Kiss the Girl," with the cast adorned in crazy aquatic costumes wandering through the audience - dolphins, sea otters, starfish, seahorses, and the most colorful fish I've ever seen. In a show that's sure to draw a lot of children, it's a nice touch to have the cast in the audience so much, bringing the colorful underwater world a little closer.
• I view the story a little differently as an adult than I did as a teenager, but I'm not going to bring you down with the misogynist symbolism of a woman giving up her voice to win a man, or how frustrating I find the "fairy tale" ending that implies a woman's only goal is to get married. That's Disney for you, and this is Disney's The Little Mermaid.

The Little Mermaid is playing through August at the Chanhassen, so you have plenty of time to see it, with or without kids. But I do recommend you catch it before Tyler Michaels leaves the show, probably in May sometime. It's a colorful, fun, light, happy show with great music, familiar to those of us who grew up with the movie, performed by an energetic and talented cast. Six months is a long time to do the same show night after night, but if I know the Chanhassen, they'll continue to find fun and playful moments every night to keep it fresh.

"We got no troubles, life is the bubbles, under the sea!"
(photo by Heidi Bohnenkamp)

"Fiddler on the Roof" at Chanhassen Dinner Theatres

Chanhassen Dinner Theatres' new main stage musical Fiddler on the Roof feels like a bit of a change from recent fare. The last few shows (Joseph, Bye Bye Birdie, Xanadu) have been very high energy, fun, almost campy musicals. It's been quite a while since I've had a tear in my eye at the Chanhassen, but I did on Friday night. Tevye, the main character in Fiddler, has such love for his family, his traditions, and his village that when those things begin to be broken apart, you can't help but be moved by it. Don't get me wrong, there's still plenty of humor and great dancing (although of a different kind than the usual Broadway style), but this show has more of a deeper meaning and serious undertone that we've seen recently at the Chan. But what hasn't changed is the excellent cast of regulars (and a few newcomers) directed by Michael Brindisi, the fantastic onstage orchestra led by Andrew Cooke, and the high production values. This is a great production of one of the most popular musicals of the last century.

The 1964 musical Fiddler on the Roof is based on late 19th century stories by Russian Jewish writer Sholen Aleichem. Tevye is a poor and simple man with strong belief in his Jewish faith and traditions. He believes in doing things the way they've always been done, which means arranging marriages for his five daughters. But it's 1905, and the times, they are a-changin'. Oldest daughter Tzeitel wants to marry a man of her choice, a poor tailor. Despite the fact that Tevye has arranged for her to marry the wealthy (and much older) butcher, he gives in to Tzeitel. It's obvious that the girls have their papa wrapped around their little fingers and he would do (almost) anything to see them happy. In the struggle between tradition and his daughters' happiness, his daughters win. Second daughter Hodel moves further away from family tradition when she agrees to marry a man not from the village, a scholar and political activist who gets arrested and sent to Siberia, with Hodel to follow. Third daughter Chava goes a step too far when she wants to marry outside the faith, a Russian man named Fyedka (but he's one of the "good" Russians). It breaks Tevye's heart to do so, but he cannot accept this gross breach of tradition and the seeming rejection of the faith he holds so dear. But these are not the only problems poor Tevye is dealing with; 1905 Russia was not a welcoming place for Jews. Facing religious persecution and pogroms, Tevye and his family are forced to leave and find a new home. It's a sad ending, but there's also a feeling of hope that this family will stay together and continue their traditions, as well as begin new traditions, wherever they find themselves.*

Keith Rice as Tevye

At the heart of this production is Keith Rice as Tevye. He's long been one of my favorites at the Chanhassen, often hamming it up in a comedic role (such as his recent turn as the Pharaoh in Joseph), but this is the best I've seen him. He still plays the comedy in Tevye's friendly kvetching about his troubles as he talks to God (and the audience) like an old friend, but there's great heart there too. Keith possesses a beautiful rich baritone with which he can bring down the rafters, but he shows incredible restraint in "If I Were a Rich Man," pulling it in and making it a sort of conversational rumination on a daydream. Michelle Barber is a good match as his wife Golde, and they share a comfortable chemistry, especially in the sweet song "Do You Love Me?" The three daughters are well cast; they're charming, strong singers, and embody the different personalities of the girls (Serena Brook, Ruthanne Heyward, and Caroline Innerbichler). Also great and well cast are the men playing their suitors (Zachary Colton Schaeffer, Jared Oxborough, and Tyler Michaels**). The large ensemble provides great support, and Mary Sue McDonald is the titular Fiddler, who seems to represent Tevye's soul, always there at important moments.

The costumes (by Rich Hamson) are excellent and authentic-looking, and I couldn't help but think how hot the actors must be under the layers of coats, shawls, skirts, boots, hats. A fortunate story element - according to tradition everyone must keep their heads covered - eliminates the need for unflattering wigs. In addition to the muted everyday wear, there's also an opportunity for fun and colorful costumes in a fantastical dream sequence. The choreography (by Tamara Kangas Erickson) features some thrilling Jewish and Russian-style dancing, and the well-known score includes such favorites as "Tradition," "Matchmaker, Matchmaker," and "Sunrise, Sunset."

I wasn't that familiar with Fiddler before seeing this show, having never seen the entire 1971 movie and only having seen it onstage once before (pre-blog, which means I don't remember much about it). I found it to be a great musical about faith, family, tradition, resilience, and community. Head out to Chanhassen between now and February for something to warm your heart (and stomach - some great new menu items) this winter.




*If you want to know what happens to Tevye and his family upon immigrating to America, go see Theater Latte Da's Steerage Song, a new music-theater piece about the European immigrant experience in the 19th and early 20th centuries.
**Tyler Michaels is playing the role of Fyedka through Dec. 8, at which time he leaves the show to play the emcee in Theater Latte Da's Cabaret.