"Cyrano de Bergerac" at the Guthrie Theater

The Guthrie's Artistic Director Joseph Haj brings his adaptation of the classic play Cyrano de Bergerac to the proscenium stage. First produced in 2006 and revised for this production, he based it on the original French and two early English translations, with a goal "to create a well-built, forward-moving story with a steady rhythm that remained in pursuit of what I believed to be Rostand's key theme: the idea that true beauty resides within." Mission accomplished. A dynamic staging, a lovely cast, and inventive design bring this beloved classic to life.

"C." by Theater Latte Da at the Ritz Theater

Friends, @TheaterLatteDa's C. totally wrecked me & left me with such an exquisite ache I might never recover. #theatermusically #allthefeels This was my 140-character review of Theater Latte Da's world premiere new musical C., and even though I will give you several hundred more words here, I'm not sure I can express it any better than this. This new musical adaptation of the classic play Cyrano de Bergerac, featuring book and lyrics by Bradley Greewald and music by Robert Elhai, directed by the incomparable vision of Peter Rothstein, is the second in Latte Da's NEXT 20/20 program in which they have committed to bringing 20 new works of music-theater to the stage by 2020. I saw the first reading of the show three years ago and thought it showed great promise, but it has exceeded my expectations in what is now a fully formed and exquisite new musical, with all elements of production coming together to tell this beloved story in a new and innovative way.

"Calvin Berger" by Minneapolis Musical Theatre at the New Century Theatre

"Rare musicals. Well done." Minneapolis Musical Theatre lives up to their motto, having given us great productions of such lesser known musicals as Steven King's Carrie and the controversial Bloody Bloody Andrew Jackson. Their second show this season is the 2006 musical Calvin Berger, loosely based on the classic French play Cyrano de Bergerac, set in a modern day high school. Instead of a sword-fighting poet with a big nose, this Cyrano is an insecure high school student named Calvin who thinks he has a big nose. Whether real or perceived, it keeps him from living the life he wants. It's a clever adaptation of a classic story, relating the still relevant themes of being true to yourself and wanting to be loved for who you are in a modern and accessible way. And while the non-Cyrano parts of the story are a bit cliche and the characters familiar stereotypes, it's charmingly delivered by a strong cast of four and makes for a fun and entertaining evening at the theater.

Calvin Berger is your typical high school nerd, smart and funny in his way but lacking in self-confidence, in this case because he thinks nose is too big. Isn't that always the way, we see our flaws first and think that everyone else sees them too, when really they're too busy with their own lives to notice. In fact we learn in the opening number that all of these characters, even the ones who appear to have everything, are insecure about something. Calvin's best friend is a girl named Bret, who secretly pines for him (a plot point that's familiar to children of the '80s). But Calvin only has eyes for the pretty popular Rosanna, who worries that she may never be anything more. When Rosanna asks Calvin to help her get to know the cute new guy Matt, he reluctantly agrees. Matt's insecurity is his inability to talk to girls, so like Cyrano does for Christian, Calvin gives Matt the words he lacks to help him woo Rosanna. The story diverges from the original (spoiler alert: nobody dies), and the truth is eventually revealed. Everyone learns that it's better to be who you are than pretend to be someone else, and is happier for it.

Matt and Calvin - "We're the Man!"
(Logan Greene and Gregory Adam, photo by Heidi Bohnenkamp)

The small cast allows for a greater focus on these four characters without the distraction of an ensemble. Director Joshua James Campbell brings out the best in the talented young cast; all four are extremely likeable and bring depth and color to roles that are familiar high school stereotypes. Gregory Adam is adorkable as the awkward Calvin, and has the most poignant moments of the show as he shows us Calvin's deep longing to be accepted. Logan Greene is perfect as the sweet but dumb Matt, and the two have a believable bromance that makes you think they kind of like and need each other, despite their odd arrangement. As Rosanna, Emily Madigan shows that she's more than just a great dancer, bringing a sweetness of voice and character to the role. Last but not least, Kecia Rehkamp is the quintessential funny best friend who wants to be more than just a sidekick. And happily, the two girls become friends in the end and overcome that tired cliche of fighting over a boy. All four actors have great voices singing these funny and clever, if not particularly memorable, songs, with some lovely harmonies in duet, trio, and quartet, accompanied by a four-piece band just barely visible behind the back wall of the set.

Calvin, Bret, and Rosanna in the home of the Cavaliers
(Gregory Adam, Kecia Rehkamp, and Emily Madigan,
photo by Heidi Bohnenkamp)

I was happy to see that they built out the usually wide and shallow stage, which can feel crowded and two-dimensional, to form a mini-thrust. It gives the characters more space to move around and even interact with the audience a bit as they hand out fliers for the big bachelor auction fundraiser. The set looks like a typical high school, with lockers and the high school colors painted on the floor (set by Darren Hensel). There's nothing noteworthy about the costumes, which is a good thing because these kids look like typical teenagers, each with a style specific to the character (costumes by Lori Maxwell, who doubles as the Music Director).

Calvin Berger is a really cute show, and I don't mean that in a condescending way; cute can be good and pleasant and everything you want sometimes. It's a sweet, charming, funny show, with a great young cast that is fun to watch. Playing at the New Century Theatre through February 15 (discount tickets available on Goldstar).


This article also appears on Broadway World Minneapolis.

"Cyrano" at Park Square Theatre

The story of Cyrano de Bergerac is one everyone knows, even if you haven't seen one of the many dramatic interpretations of this 17th Century French poet's life. Despite being familiar with the story (Cyrano is in love with Roxane but fears that she could never love him back because of his unusually large nose, so he agrees to supply the poetic words of love to the handsome Christian that cause Roxane to fall in love with him), I hadn't seen the play before last year (although I have seen the 1987 Steve Martin/Daryl Hannah flick Roxanne, if that counts). Bradley Greenwald's musicalized translation of the original late 19th Century play, presented as part of Theater Latte Da's new work initiative last year, was my first exposure to the full story. Park Square Theatre is currently presenting another new-ish translation by Michael Hollinger, and with a fantastic cast, impressive set, and "immediate, rhythmic, and lively" language (as the playwright himself notes in the program), it's a wonderful interpretation of this story that is a great mix of comedy and tragedy.

There's a feeling of a-play-within-a-play as actors wander on stage before the show begins and start prepping, dressing, and adjusting wigs. The character of Le Bret (Shawn Hamilton) functions as a sort of narrator, setting the stage and introducing characters. Cyrano (J.C. Cutler) and Christian (Sam Bardwell) are soldiers in the same regiment, the former known for his skill with words and the sword, and the latter a bit of an unknown as newcomer to the regiment. Cyrano is in love with his beautiful cousin Roxane (Emily Gunyou Halaas), so when she tells him that she loves the handsome Christian, he agrees to look out for him. Unbeknownst to Roxane, he also agrees to write letters to her from Christian, who is not blessed with the gift of poetry as Cyrano is. Roxane continues to fall in love with Christian through his (Cyrano's) letters, culminating in a lovely balcony scene reminiscent of Romeo and Juliet. The second act sees Cyrano and Christian going off to war, with Roxane in pursuit, unable to be parted from her love. When she tells Christian that she loves him for his soul, and would love him even if he were ugly, he realizes that it's Cyrano she truly loves, not him. It's a tragically bittersweet ending, as truths are revealed too late.    

Roxane and Cyrano
(Emily Gunyou Halaas and J.C. Cutler)

There are many reasons to see this show, but the number one reason is J.C. Cutler's beautiful and nuanced performance as the titular hero. His impressive talent (see also last season's Red) is a perfect fit for Cyrano; he's everything you want Cyrano to be. His voice is loud and commanding or soft and gentle, he's smart and witty, an ace swordsman, and speaks entrancing words of love. It's easy to see why Roxane falls in love with him, albeit unknowingly. The always great Emily Gunyou Halaas is a Roxane worthy of his affections, smart and spirited. Sam Bardwell is perfectly charming as Christian; even though he may not be able to put words together very well, there are still plenty of reasons to love him, and you almost wish that Roxane could see and love him for who he really is.

This wonderful cast of nine seems much larger, as everyone except for J.C. plays multiple roles, quickly coming and going from the stage with dizzying speed. Of special note are Jon Andrew Hegge and Craig Johnson who each create such different characters they're almost unrecognizable from one to the other, with fast and fantastic costume changes happening backstage. Jon transforms from the town drunk to the kindly nun, and Craig from the theater owner to Roxane's over-protective and fluttery pastry-loving nurse, and several characters in between.

When the director is also a choreographer as Joe Chvala is, you know that movement is going to be an interesting and integral part of the show, as it is here. One example is Cyrano's famous battle against 100 thugs, which is a delight to watch (with fight choreography by Annie Enneking). The period costumes (by Matthew J. LeFebvre) are gorgeous, from Roxane's flouncy dresses to the men in tall boots and capes. The set (by Robin McIntyre) is dominated by two large set pieces with stairs and a balconies that move and turn to create different shapes and spaces on stage. Lastly, there are also a few musical interludes that feel organic and are quite fun and lovely.

Cyrano is many things in one play - great comedy, a tragically beautiful love story, sword fights and epic battles, and beautifully poetic language. This impressive production is playing at Park Square Theatre now through April 6.

"C." by Theater Latte Da at the Lab Theater

The 1897 French play Cyrano de Bergerac has been adapted many times and in many forms, so much so that everyone knows the story of the poet Cyrano and his unusually large nose, who writes the words for a handsome but ineloquent man to woo his love Roxane. After musicals, operas, and countless movies (including the 1987 movie Roxanne, the only version of the story I've seen), it may seem like there's nothing new to say. But Bradley Greenwald's new musical adaptation (with composer Robert Elhai), presented as part of Theater Latte Da's new works initiative NEXT, strives to do just that. It lies somewhere in the intersection of theater, musical, poetry, and opera, emphasizing the music and poetry that is in the original piece. Or as Bradley writes in a note in the playbill, "It's the story of Cyrano and music, of Cyrano and poetry, and the story of what music and poetry mean to Cyrano, Roxane, Christian, me, you, all of us in this room right now." Still in its earliest form (they've been working on it for less than a year, and I saw the very first public presentation - how cool is that?), it feels a little rougher than the last week's NEXT piece, When the Moon Hits Your Eye, but it also feels like it has great potential. There's a lot going on, with many characters (a 13-person cast, many of whom play multiple characters, plus someone reading a few stage directions) and a fairly ambitious staging, so it's quite remarkable that in just two weeks the creators, cast, director Peter Rothstein, and music director Denise Prosek have gotten it into the shape that it is. They're still making changes, they mentioned in the post-show discussion (which is a big part of NEXT - getting audience feedback to make the work better) that another song will be added after the curtain call tonight. I feel privileged to have seen it in this early form and look forward to seeing where it will go from here.

As I said, we all know the story. Cyrano loves Roxane, a childhood friend, but she loves Christian. Cyrano reluctantly agrees to help Christian woo her by giving him words to say ("we poets always have epistles to our imaginary lady loves in our pockets"), because he is unable to express himself in the poetic way that Roxane desires. Roxane falls even more deeply in love with Christian from the letters that he sends her when he's away at war, not realizing that who she's really falling in love with is Cyrano. When she tells Christian she would love him even if he were ugly, he realizes that she doesn't really love him, and is devastated. He begs Cyrano to tell her the truth, but tragedy intervenes. (Not at all like the happy ending I remember from Roxanne!)

Apparently there are no limits to Bradley Greenwald's talents. He has an incredibly gorgeous voice, and could easily make a career doing nothing but musicals and opera. But he doesn't just rest on that effortless voice, he also does non-musical theater - from drama, to comedy, to an Ivey-winning performance in the one-man show I am My Own Wife. Adding to that list of talents, he did his own translation of Cyrano from the original French, so as not to be influenced by anyone else's interpretation of the work (I knew he could speak and sing German, but French too!). He's taken this literal translation and formed it a fresh new perspective on the story. The original play is all in verse, but Bradley chose to have only Cyrano speak in verse to distinguish his poetic voice from the masses. He focuses on the music that's in every scene, so when we hear music it feels organic to the story - the first scene takes place in a theater, another with a group of composers in the next room, another at war where soldiers sing to keep their spirits up. The plan for a fully staged production is to have the musicians be on stage and part of the action, rather than a separate band or orchestra. After all that creative muscle, Bradley also sings beautifully and expressively, and has a glorious death scene.

Bradley has a large and talented cast supporting him, some of whom I know from other shows and some who were new to me. One of the latter is Elizabeth Griffith, who is sweet and serene as Roxane, with a lovely voice, but also shows her longing and grief. Sean Dooley (whom I don't think I've seen since the 2004 Michael Brindisi production of Hair, one of my favorite local theater memories) is a great choice for Christian. His voice doesn't have the depth and richness of Bradley's (but whose does?), rather, his voice is like Christian's own words - simple and straight-forward and from the heart. Cyrano speaks in poetic flourishes, with a singing voice to match, and it makes sense that when Christian sings, his voice also matches his words. He's charming and sweetly awkward when trying to express himself and falling short, showing that Christian really does love Roxane as much as Cyrano does. "I love you and want you to always know it, that's the best I can say it, I'm no poet."

The music, composed by Robert Elhai, is comprised of a variety of styles, which he chose to do to give the piece a timelessness, or as Peter Rothstein said, "immediacy." There's a marching-off-to-war-WWI-ish song, a charming Renaissance era duet between Cyrano and Roxane recalling their childhood, a rousing duel song (in which Cyrano appears to be making up the lyrics as he goes), a touching love song "Love Lies Waiting," and what sounds like a folk song from Gascony. It's a nice collection of songs that fit the story and enhance it.

The two pieces I've seen so far in Theater Latte Da's "NEXT: New Musicals in the Making" have been so different, but equally intriguing, satisfying, and promising. When the Moon Hits Your Eye is an intimate and modern story with just seven characters, each of whom we get to know and love, featuring songs from the public domain. C. is more epic and timeless, with a huge cast of characters (sometimes difficult to keep track of, especially without costume changes to give us a clue), and original music that feels like a real part of the story. So far NEXT is showing the great diversity that can be found in music-theater, and I can't wait to complete the trilogy next week with Bessie's Birthday. But you still have two chances to see C. - don't miss out! For more information and to purchase tickets for this weekend and next weekend, see Latte Da's website, or just show up at the Lab Theater (a great setting for this series because of its vast open space like a blank slate).