"A Christmas Carole Petersen" by Theater Latte Da at Crooners Supper Club

In addition to their new holiday* favorite Christmas at the Local (playing at the Ritz Theater through December 31), and the beautiful tradition All is Calm that is on a national tour and streaming on PBS, Theater Latte Da is bringing back their original holiday show that was an annual tradition for many of their early years. A Christmas Carole Petersen is #TCTheater artist Tod Petersen's love letter to his family, his childhood Christmases, and his upbringing in Mankato (with a good amount of skepticism and "bah humbug" thrown in). Since its first production over 20 years ago, A Christmas Carole Petersen has gone through several iterations and was last seen at the Ritz in 2017. This production, at Crooners Supper Club, is a more streamlined version of the show, with no bells and whistles of fancy sets or costumes, more of a cabaret storytelling show and running just about 70 minutes. But it works, because at its heart this show is a collection of stories and songs, with no need for embellishment  (beautifully directed by Peter Rothstein, as always). The remaining four shows of this one-weekend run are sold out; contact the box office for cancellations, or check out some of the other great holiday offerings at Crooners this year.

"Stations of the Heart" at Nautilus Music-Theater

Nautilus Music-Theater's main focus is developing new works of music-theater (a hyphenate that encompasses opera, musicals, plays with music, and everything in between) through their monthly "Rough Cuts" series and their annual Composer-Librettist Studio. Their rare but wonderful full productions seem to pop up out of nowhere, but in reality they've been in the works for years. Such is the cast with the lovely new song cycle Stations of the Heart, which was first presented at a Rough Cuts 18 years ago. Now, as theaters are starting to open after a very long extended intermission, it's finally being presented as a full production, although a small one - three vocalists and two musicians. It's exactly what I've come to expect from Nautilus - innovative, modern yet connected to a long tradition, and musically gorgeous. Performances continue through October 17 with limited seating, so make your plans soon (proof of vaccination and mask required).

Leslie Vincent's Album Release Concert at Crooners MainStage Tent

I paid my third visit to Crooners MainStage Tent last night; for someone starved for live entertainment, it's been such a gift. Dinner and a show, great live in-person entertainment, listening and laughing amidst other human beings. It almost feels like normal life. But not quite, because I stay in my car (you would too if you drove a convertible), the staff are all wearing masks, and so are the people sitting at tables under the tent spaced well apart. We're not even close to being out of the pandemic woods yet, but moments like this give me what I need to keep trudging along. And when you have performers as talented as Leslie Vincent and her fabulous six-piece band, and a perfect Minnesota summer night, it's about as good as it can get right now, which is pretty great.

"Rough Cuts" at Nautilus Music-Theater: "The Parts I Admire" and "Norman!"

Nautilus Music-Theater's primary focus is developing new works of music-theater. They'll have a full production of a new or reinvented piece every year or two, but their regular work is monthly showcases of new works of music-theater, some developed in their Composer-Librettist Studio. This is their 26th season of "Rough Cuts," during which they'll be presenting their 200th showcase of new work. That's a lot of new music-theater, and a lot of support provided to creators of new music-theater. Read on for what they're presenting this month, with one show last night at their Lowertown St. Paul studio space, and another show tonight at Augsburg University (730pm at Sateren Hall). There's a $5 suggested donation, that comes with free cookies and milk!

"Teen Idol: The Bobby Vee Story" at the History Theatre

Friends, I think the History Theatre has another hit on their hands. After the huge success of last fall's new original musical Glensheen, which received a second run and an Ivey award this year, they follow in the footsteps of the proven success of Buddy: The Buddy Holly Story with Teen Idol: The Bobby Vee Story. In a way, this story picks up where that story left off. Bobby Vee's career was born on the day the music died. But this new musical (or rather play with music if you want to get technical about it, and I do*) doesn't just rest on the nostalgia of baby boomers, who, let's face it, would come see the show no matter how good it was just to hear these great old hits of the '60s. Teen Idol is more than just a string of familiar hits, it's a well written and extremely satisfying play with music that tells the story of Bobby Vee's life, music, family, and rise to and fall from fame. Kind of like a cleaner version of Jersey Boys (Fargo ND is far from New Jersey and not just in geography). Featuring a star performance by Tyler Michaels, who continues to impress with his range of talents and characters, and an incredibly strong ensemble chock full of local talent, who all get their moment to shine, Teen Idol is a fantastic show no matter your generation.

"Rough Cuts: Empire Builder" by Nautilus Music-Theater at the Landmark Center

I love going to readings of new works, especially works of music-theater. I've seen some great ones this year (including this and this), but strangely enough I don't believe I have attended Nautilus Music-Theater's monthly Rough Cuts series before. I always love the work that they do and the innovation they bring to the art form of music-theater, and Rough Cuts is a great way for artists to further their creations and test them out in front of the audience. It also allows us audience members a chance to peek inside the creative process. I highly recommend checking out this or one of the many other new works series around town, or ask your favorite theater if they ever do readings of new work. The rich theater talent in this town is not just seen in performances, but also in the creation of new and lasting work.

The subject of this month's Rough Cuts, which kicks off the 21st year of this series, is a new piece called Empire Builder, with book and lyrics by Anne Bertram and music by George Maurer. An excerpt of the show was presented a few years ago, but this is the first reading of the full show. It tells the story of three characters as they take the train called The Empire Builder from Chicago to points west, some as far as Seattle. I took this train from St. Paul to Montana years ago, and I can understand why the creators chose it as their inspiration for this musical. It's a wonderful way to travel, see the country, and meet people who are all on journeys of some kind. On this trip we meet Sky Wolf, a Native American given up for adoption as a child, returning home to see his dying Grandfather, the recently laid off and frustrated with life Jimmy Masterson, and sociology professor Dr. Beatrice Holder, who's considering leaving academia to take a high paying job. These three characters are all at a crossroads in their lives, and make a connection with each other on this journey. But this Empire Builder is not just any train, it's a time-traveling train that makes stops in the past. Most of these have to do with Sky's history; he steps off the train and into the lives of his ancestors. One stop is in Dr. Holder's past, as she meets her grandfather, a porter who faces racism. But this is mostly Sky's journey, and as he learns about his past he's able to move forward and forgive his grandfather.

This piece has great promise and I hope to see it develop further in future productions. A few things still need to be worked out, as pointed out in the post-show discussion (another fun feature of readings - audience feedback). I agree with the comment that it feels odd to have one stop in the past that has nothing to do with the main story; it would be nice to have it somehow connected, or maybe drop it and dig even deeper into Sky's story. A lot is covered in this piece, including Native American history, Civil Rights, Affirmative Action, the effect of wars, and the history of the railroad. That's a lot to chew on in just a few hours; narrowing of the focus might help the musical feel more cohesive. George Maurer's music is gorgeous, with various styles woven into it and recurring themes. There's a hint of Native American sound in Sky's lullaby, but I would love to hear even more of it, and in general more of the Native American culture (which may come in with casting and sets/costumes/props in future productions).

As with most readings I've attended, the cast does an amazing job performing this new material. I assume they haven't had much time with it, and they mostly read/sing from the script, but that in no way inhibits their performance and their emotions as they bring these characters to life. Dieter Bierbrauer sings beautifully (as always) as Sky, and brought me to tears with his emotional journey from resentment to acceptance to forgiveness. Max Wojtanowiz provides the comic relief as sidekick Jimmy, but also has some emotional moments of his own. Completing this excellent trio is Thomasina Petrus as Dr. Holder, strong but conflicted. The ensemble holds great talent too as they bring richness and fullness to the music and story, in the form of Jay Albright, Susan Hofflander, Ann Michels, Kasono Mwanza, and Dane Stauffer. And the five-piece orchestra, led by the composer on piano, sounds fantastic.

There is one more reading of Empire Builder - tonight at 7:30 at Walker Community Church in Minneapolis. Go see this promising new work, beautifully performed by talented musicians and actors. Or check out next month's Rough Cuts (held on the second Monday and Tuesday of the month), or one of the other new works series in town.

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

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

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

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

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

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

Darken the sundials with your shadows,

On the meadows let the wind go free.

Command the fruit to swell on tree and vine;

Grant them a few more transparent days,

Urge them on to fulfillment, and press

The final sweetness to the heavy wine.

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

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

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

I Love the Dark Hours

I love the dark hours of my being

My mind deepens into them.

There I can find, as in old letters,

The days of my life, already lived,

And held like a legend and understood.

  

I Live my Life in Widening Circles

I live my life in widening circles

that reach out across both earth and sky

I may not ever complete the last one,

but I give myself to

circling 'round God, that primordial tower

I've been circling ten thousand years long;

yet still I don't know:

am I a falcon,

am I a storm, or an unfinished song?

To the Beloved

Extinguish my eyes,

I'll go on hearing you.

And without a mouth, I can swear your name.

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

Break off my arms,

I will take hold of you

with my heart as with a hand.

Stop my heart

and my brain will start to beat.

And if you consume my brain with fire,

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

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

"Twin Cities Theatre Artists Support Japan" at the Ordway McKnight Theatre

The Ordway took their fun and colorful production of Joseph and the Amazing Technicolor Dreamcoat on tour to Tokyo, Japan earlier this year, and a few days after their arrival, the earthquake hit.  The experience obviously affected the cast and crew greatly, which inspired them to pull together much of the top musical theater talent in the Minneapolis/St. Paul area (including many of my favorites) to perform in a benefit concert at the Ordway's McKnight Theatre last night.  It was a wonderful evening of music and entertainment that raised money for the Red Cross.  (And it almost made up for the Guthrie not doing their annual Cabaret show this year.)

The evening began with Joseph castmember Brian Kim singing "Something's Coming" from West Side Story.  Next, local actor Linda Kelsey gave us a few sobering facts about the earthquake and its continuing repercussions, and introduced the evening's hosts, Kimberly Wells and Kristine Kvanli from ShopNBC.  The singers were accompanied by four talented pianists: Mindy Eschedor, Denise Prosek (Music Director of Theater Latte Da), Gregory Theisen, and George Maurer (more about him later).

Back to the performances.  Dennis Curley from local theater company Table Salt Productions sang a very funny song about a dinner party that got a little out of control, "I Should Have Said No."  Jennifer Eckes sang about her love of bald men in "I Want Them."  The next performance featured a delightful dance number by Brian Sostek and Megan McClellan of Sossy Mechanics, preceeded by a cute little voice from the audience crying, "Mommy!  Daddy!"

Local director Austene Van introduced her performance by saying that she usually stays behind the scenes, but was recently encouraged to share her voice with an audience.  It became clear a few seconds into the performance that she was joking, as she sang in a very over-exaggerated style with a very dramatic dancer behind her.  Very funny.

The next singer, however, was no joke.  I recently saw Melissa Hart in Frank Theatre's fabulous production of Cabaret.  A Broadway veteran, she was also involved in the original Broadway production of Cabaret.  She sang "Make Someone Happy," and her years of experience shone through in the way she emoted through the performance and sang to the audience.  Lucky for us, she now calls the Twin Cities home.

Joel Liestman was part of the Joseph cast and one of the people behind getting this event together.  He performed a comic ode to his lawn.  Next, Michael Gruber and one of my favorite Chanhassan regulars Tony Vierling performed "Moses Supposes" from Singing in the Rain (which Tony starred in a few years ago at the Chan).  In addition to some tongue-twisting lyrics, the performance included some pretty impressive tap-dancing.

The penultimate performance of the first act was by another one of my favorites, Bradley Greenwald.  He was brilliant as the emcee in Frank Theatre's Cabaret, among many other performances.  He sang the opening number from The Music Man, you know, the one that sounds like a train and includes the line "but he doesn't know the territory!"  It's super fast and contains a ton of lyrics, and was masterfully performed (although I'm glad I wasn't sitting in the front row at that point ;).  I'm pretty sure there's nothing Bradley can't do.

The first act ended with the always thrilling Mu Daiko.  A Japanese drumming group that's part of Mu Performing Arts, their presence seemed appropriate to the theme of the evening and was an entertaining and rousing combination of percussion and choreography.

The second act began with a performance of "Any Dream Will Do" by the cast of Joseph.  Another one of my favorites, from Theater Latte Da, the Chanhassan, and other theaters, Randy Schmeling, sang the lead (I also happened to be sitting next to Randy's biggest fan - his mom).  Connie Kunkle joined him, as did much of the cast, including a few children.

Ann Michels, who's been in too many amazing shows to mention, sang a beautiful song called "Christmas Lullaby."  She was accompanied on the piano by George Maurer, with whom she frequently performs as part of the George Maurer Jazz Group.  George later performed an original solo piece called "Purple Muppets," which combined classic rock, TV theme songs, and classical piano pieces.  In a very funny intro to this song, he said he wrote it as therapy for his "pianist's envy."  I have a few of his CDs but have never seen him live; I'm thinking now I need to make sure that happens soon.

James Rocco proved that he's not just the man behind the scenes as the Artistic Director of the Ordway when he sang a fast, jazzy song called "Cloudburst."  Connie Kunkle came back to center stage to sing "I've Got No Strings."

I just adore Jim Lichtscheidl; he never fails to crack me up.  He's currently appearing as Captain Bluntschli in Arms and the Man at the Guthrie, but he's recently made a name for himself by playing multiple characters in one piece.  He's brilliant at differentiating the characters through the tone of his voice and the carriage of his body.  Now I know he can do it in dance too!  He performed a hilarious dance/comedy routine in which his partner dropped out at the last minute, leaving him a "Dear Jim" letter which he sheepishly read on stage.  He then proceeded to do both parts of the dance, holding a dress on a hanger in front of him when he was doing the female part.  Brilliantly entertaining, as usual.

I had just seen Regina Marie Williams the day before in Ten Thousand Things' delightful Man of La Mancha, in which she plays the prostitute Aldonza, aka the lady Dulcinea.  She's wonderful in that role, and last night sang a beautiful, jazzy rendition of "Come Rain or Come Shine."  Erin Schwab followed that with a wacky performance of "Somebody to Love" (because nothing puts you in the mood to give like a hootenanny Queen song).  She had the audience help her out with the chorus, which I was able to do because I knew the song from Glee (my window into the world of popular music).  In addition to being very funny, she has a killer voice too.

The next performance featured my favorite local actor, Dieter Bierbrauer, in a performance from his recent Off-Broadway show Power Balladz.  His co-star from the 2009 Lab Theater version of the 80s jukebox musical, Randy Schmeling, joined him for "Wanted, Dead or Alive" (one of the few 80s songs I know despite never being featured on Glee).  They gave a very hammy, sincere performance of the song with dramatic poses and facial expressions.  But they both have outstanding voices individually that blend together beautifully, so even though they were playing it for laughs, it sounded gorgeous and rich.

The final individual performance of the night was given by Tokyo native Momoko Tanno.  It was very moving to hear her talk about her home and family, and then sing a Japanese song which translated to "My Country Home."  It made the recent tragedy seem a little more real.

Finally, all of the performers joined Jen Burleigh-Bentz and Jake Endres singing "You'll Never Walk Alone."  It was just thrilling to hear all of those amazing voices blend together in this inspirational song.  Which brings me to the business portion of the evening.  The Japanese people need our help.  If you're like me and you've been meaning to make a contribution to the Red Cross, but just haven't gotten around to it, maybe this will serve as a good reminder, as it did for me.  If so, you can go to the Red Cross website and click on "Donate Now" in the upper right-hand corner.  You can then check "Japan Earthquake and Pacific Tsunami" if that's where you want your donation to go.

Thanks to all of the artists and behind-the-scenes people who donated their time to bring this wonderful evening to reality and raise money for a good cause.  I only wish more people had been there to see it!