"Falsettos" by Morris Park Players at Edison High School

There's a ton of great community theater in the Twin Cities, but I don't get to see much of it because I'm kept more than busy attending shows by the plethora of professional #TCTheater companies. But when the only local theater to do Falsettos (in my recent memory) is a community theater, I'm there. The 1992 multiple Tony winner had a successful Broadway revival a few years ago, and I fell in love with this messy and real love story when I saw the filmed version in a movie theater, and the subsequent tour. I just happened to see that Morris Park Players, a Northeast Minneapolis-based company that has been around for 70 years, was doing Falsettos, and I was lucky enough to catch their final performance. This is not an easy musical, think Sondheim-level complicated lyrics and rhythms, and I was super impressed with MPP first for choosing it, and secondly for the way they handled the material with energy, skill, and heart. It looks like they do one or two shows a year, so I'll be watching for their next choice. You can too (follow them on Facebook here), or better yet, find out what community theater is performing in your neighborhood and give them your support!

"French Twist" by Flying Foot Forum at Hanifl Performing Arts Center

Flying Foot Forum is taking their charming original dance musical French Twist on the road! They've performed it several times throughout their history, including at Park Square Theatre last year for their 25th anniversary, at which time I wrote: "A series of thrilling and entertaining dances loosely tell the story (with very little dialogue) of a group of friends in a cafe called "Chez Jojo" (the proprietor played by Joe Chvala, natch). With vibrant costumes, a detailed and eclectic set design, a mix of live and recorded music (and film!), the wonderful ensemble of dancers/singers/musicians brings this dream of Paris to vivid life." They've brought back that cast (mostly), and shortened it to just over an hour, with perhaps a few other small tweaks. It's a delightfully fun and quirky show. I caught it at Hanifl Performing Arts Center, the beautiful new home of Lakeshore Players Theatre. Here's where you can see it over the next few months:

Fairmont - Sept 28, 2019, https://fairmontoperahouse.org/shows-and-tickets/
St Olaf College - Oct 26, 2019, https://wp.stolaf.edu/dance/eventsperformances/
Grand Rapids - Jan 11, 2020, https://www.reifcenter.org/event/flying-foot-forum/
Mankato - April 25, 2020, https://www.mnsu.edu/theatre/season/tickets/
Wykoff - May 30, 2020, http://dreamacresfarm.org/events

"Man of La Mancha" by Mounds View Community Theatre at Chippewa Middle School

This is my annual PSA to support your local community theater! Especially if one of your favorite #TCTheater director/choreographers is involved. I'm lucky enough that Joe Chvala (founder of the dance company Flying Foot Forum) is directing and choreographing a production for Mounds View Community Theatre for the second time (after helming a delightful H.M.S. Pinnafore two years ago). This Man of La Mancha, playing at a middle school a mile from my house, is as good as what I see on professional stages around town. Of course there's fantastic dancing in Joe's trademark rhythmic percussive style, but he's also assembled a really talented cast, most of them unknown to me, with impressive set design, all of which combines for an all around funny, engaging, and inspiring show. This story of the idealistic noble knight fighting injustice in the world is one that we always need to hear.

"Heaven" by Flying Foot Forum at Park Square Theatre

A dance musical about the Bosnian War? Why not! It may sound like a crazy idea, but in the hands of creators Joe Chvala (Artistic Director of theatrical dance company Flying Foot Forum) and Chan Poling (renowned local musician and composer of musicals such as History Theatre's smash hit Glensheen), it's a thing of beauty. The Bosnian War in the mid 1990s was a devastating event that resulted in the deaths of 100,000 people, many the result of ethnic cleansing. The devastation and horror, along with the beauty and culture of the people, is expressed through story, music, and movement in an incredibly moving way. I saw Heaven at the Guthrie's studio theater eight years ago and loved it, and I'm thrilled that Park Square Theatre has brought it back so that this story can live on and be shared with a wider audience. Combined with the excellent and sobering exhibit Genocide and Justice: From Nuremberg to the International Criminal Court by World Without Genocide, it makes for a really powerful evening that goes beyond theater. Even though the show is over two and a half hours long, I didn't want it to end.

"Mary Poppins" at Artistry

Artistry's Mary Poppins may be just the thing you need right now. That is, an escape from reality into the magical world of everyone's favorite nanny, filled with talking dogs, moving statues, high-flying kites, and fantastic dance numbers. Watching the show is, indeed, a jolly holiday as Artistry's large and talented cast brings the beloved movie to life with unstoppable energy. This is my third time seeing the 2004 stage adaptation of the 1964 classic movie and P.L. Travers' series of books, with book by Julian Fellowes (creator of Downton Abbey) and about a half dozen new songs added. I still think it's a bit long and bloated, with several scenes, songs, and characters that could be cut to make the runtime more child (and me) friendly than the current nearly 3 hours (which of course is no fault of Artistry, they have to work with the piece as written). But on the whole it's a heart-warming and smile-inducing show filled with moments of magic and delight for any age.

"French Twist" by Flying Foot Forum at Park Square Theatre

To celebrate their 25th anniversary, Joe Chvala's percussive dance troupe Flying Foot Forum* has brought back their original dance musical French Twist. Now playing on Park Square Theatre's Andy Boss stage in the basement of the Historic Hamm Building in downtown St. Paul, it feels like a weird and magical dream of a barely remembered night in Paris. A series of thrilling and entertaining dances loosely tell the story (with very little dialogue) of a group of friends in a cafe called "Chez Jojo" (the proprietor played by Joe Chvala, natch). With vibrant costumes, a detailed and eclectic set design, a mix of live and recorded music (and film!), the wonderful ensemble of dancers/singers/musicians brings this dream of Paris to vivid life in what would be a perfect 90-minutes-no-intermission (if not for the early and unnecessary intermission). Escape the hot and steamy streets of St. Paul to the cool and fun world of French Twist (through July 15).

"The Abominables" at Children's Theatre Company

A musical about youth hockey with an abominable snowman, er... yeti? It's gotta be Minnesota, and it's gotta be the Children's Theatre Company. It's no surprise that this new original musical is a surefire hit, the only surprise is that it took them so long to come up with the idea. The musical was developed by The Civilians, a NYC-based theater company, and researched and workshopped right here in Minnesota. I've never been involved in hockey (except the odd game or two I was forced to attend with the pep band in high school), but from what I've heard, this feels like authentic portrayal, if a bit extreme and fantastical (the yeti and all). I attended a backstage tour at the Children's Theatre a few weeks ago (see photos and a rehearsal video here), which was hugely exciting as things were starting to come together. It's such a thrill to see the final product this opening weekend and to report to you that this is not only a super fun and entertaining new original musical for kids and adults alike (as I've come to expect at CTC), but also one that celebrates the good (and gently mocks the less than good) of our beloved state of Minnesota while telling a heart-warming story about teamwork, friendship, community, and family that, yes, brought tears to my eyes.

Sneak Peek of "The Abominables" at Children's Theatre Company

Last week, I had the opportunity to tour the Children's Theatre Company in South Minneapolis, where they were busy getting everything ready for the world premiere of the new original musical The Abominables. Developed and produced in association with the NYC-based theater company The Civilians, The Abominables tells the story of a youth hockey team. In other words, it's a very Minnesotan musical! The creators (including playwright/director Steve Cosson and composer/lyricist Michael Friedman) researched and workshopped the piece right here in Minnesota, so it's sure to feel familiar to many audience members.

"H.M.S. Pinafore" by Mounds View Community Theatre at Irondale High School

Friends, support your local community theater! In the beautifully rich theater community that is #TCTheater, there is a ton of great work being done in high schools, community centers, churches, and other locations around the Twin Cities metro area. Most of which I don't get to see because I'm too busy seeing work by the 70+ professional theater companies. But lucky for me, my local community theater is Mounds View Community Theatre, which does a musical every summer. And lucky for all of us, the director of this year's selection, the delightfully silly Gilbert and Sullivan operetta H.M.S. Pinafore, is one of the Twin Cities' best director/choreographers Joe Chvala. I saw the show on their closing weekend and was absolutely delighted by it from start to finish. Joe Chvala's energetic and dynamic choreography combined with this amazingly talented and hard-working cast of "amateur" performers and designers, not to mention all the behind the scenes volunteers, adds up a whole lotta joy and rapture for this audience member.

"Little Shop of Horrors" at Artistry

I love Little Shop of Horrors. While I wasn't too familiar with the beginnings of it (it started as an Off-Broadway musical in the early '80s and was made into a movie in 1986), I was lucky enough to see the original Broadway run when it finally landed there in the early aughts. The campy and nostalgic story of a 1960s plant shop employee who sells his soul to the devil in the form of a man-eating plant is full of unique charm. It may not be a typical musical with its small cast, small band, and darkly comic subject matter, but it has become a classic, and I'm glad that Artistry (formerly known as Bloomington Civic Theatre) continues to include non-traditional musicals in its programming, even if the BCT Sunday matinee crowd didn't seem that into it. I overheard a comment in the ladies' room that "it's not Camelot," but that's exactly the point. Artistry's production is perfectly cast, features a fun and colorful set, and beautifully captures that campy tone - definitely worth the drive to the southern suburbs.

"A Christmas Carol" at the Guthrie Theater

A rich, greedy, selfish old man with no regard for his fellow human beings, especially those that are different from him, that are suffering, that could benefit from a little kindness. Why is it that the story of Ebeneezer Scrooge seems so familiar? It must be because this is my 11th time seeing The Guthrie Theater's gorgeous, lively, and warm-hearted production of A Christmas Carol. And I never tire of seeing it, because Charles Dickens' story of redemption, community, family, and human kindness never gets old. It's a beautiful and necessary thing to be reminded that "what brings us together is greater than what drives us apart." That it's never too late to change, to grow, to become a kinder and more generous person. In today's current environment when there's so much division among us, so much violence and ugliness, A Christmas Carol shows us how good humanity can be.

"Passing through Pig's Eye" by Flying Foot Forum at Park Square Theatre

The dance/theater company Flying Foot Forum never disappoints, with it's fast, rhythmic, and yes, flying foot choreography, performed by top-notch dancers with much theatricality and storytelling. But with their newest creation, Passing through Pig's Eye, they're offering all this and more! Starting at Park Square Theatre's Andy Boss Stage in the basement of the historic Hamm building in downtown St. Paul, the cast leads the audience through the building and out onto the streets, where we learn a bit of the history of our fair capital city. It's an exceedingly fun time, watching the incredible dancers/singers/ performers, walking around beautiful downtown St. Paul, and even participating in the music and dancing (if you choose, the audience participation is completely voluntary and without pressure). I highly recommend experiencing Passing through Pig's Eye for yourself for an entertaining, immersive, non-threateningly participatory, uniquely fun night of music, theater, dance, and history.

"The Best Little Whorehouse in Texas" at Artistry

In one of those strange local theater programming coincidences, I have seen The Best Little Whorehouse in Texas twice in the last year, after never having seen it before in my life. But I enjoyed the charmingly corny show at the Old Log last summer, so I was happy to give it another go as part of the former Bloomington Civic Theatre's first season as Artistry. I think I like it even more the second time around! First of all - it's a whole lot of fun (whorehouse + '70s + Texas = fun). But if you look a bit deeper, you'll see some prescient themes in this 1978 Broadway hit about the influence of TV and the media to ignite hysteria, as well as the power of women over their lives and their bodies, or lack thereof. If you're not convinced yet, let me give you a few more reasons to see this show.

"The Music Man" at Guthrie Theater

The Guthrie Theater's production of The Music Man is the reason why people who love musicals love musicals. And since I'm a person who loves musicals, I love everything about it! I loved the movie as a kid, and recently fell in love with the piece anew when I saw Ten Thousand Things' sublimely sparse and spellbinding production last year. On the opposite end of the spectrum is the Guthrie's big, bold, glorious show, with a huge cast of old and new favorites, breathtaking sets and costumes, those beloved familiar songs, spirited dancing, and a real live marching band! Meredith Wilson's story and music is such a beautiful and moving celebration of the power of love, music, hope, community, and a shared goal. And this production brings out every wonderful thing in his work. In a word, this Music Man is scrumptious.

You all know the story - a con man comes to a small Iowa town to sell them band instruments, uniforms, and a false promise of musical instruction, bringing music and new life to the stolid town, all the while planning to skip town after he collects the money, until he unexpectedly "gets his foot caught in the door on the way out," realizing that he needs these people to believe in him as much as they need someone and something to believe in. Professor Harold Hill is an expert salesman with a knack for knowing exactly what people need to hear and telling it to them in the most appealing way. He wins the town over person by person, giving the children something to focus on and look forward to, convincing the bickering school board to become a barbershop quartet, prompting the busybody ladies to form a dancing society.  But music teacher and librarian Marian, a proud, guarded, and bookish "old maid" with high standards is not so easily won over. She knows the truth about Professor Hill, but when she sees her troubled and withdrawn little brother begin to blossom under his friendship, and the town come together as one, she sees that "the truth" about Professor Hill doesn't really matter. What matters is the joy that he's brought to the town, and even if he does skip town, he will leave them better than he found them.

I love our local actors so much that I'm always a little disappointed when cast lists are released with unfamiliar names at the top. But I need to learn to trust the Guthrie casting department, because they always find just the right person for each role. For as soon as these newcomers stepped on stage, they made me fall in love with them against my will! And truly, this 40+ person cast is a beautiful mixture of about half Guthrie veterans, a half dozen newcomers from the national scene, and even more Guthrie newcomers from within our own talent base, including many of our most above average children.

Marion and Professor Hill lead the dance
(Stacie Bono and Danny Binstock, photo by T. Charles Erickson)

Moments after stepping onstage, or rather, revealing his identity after the opening train scene (more about that later), Danny Binstock had me under his spell as much as Harold Hill has the River City-zens under his. Smooth-talking, -moving, and
-singing, with boundless charm, an ever-present spring in his step, and a knowing roguish smirk on his face (and looking a bit like Joseph Gordon-Levitt), he simply is Professor Hill. Stacie Bono is everything you'd want in Marian the librarian, sensible, smart, and proud, slowly letting her hair down (figuratively and literally) as she lets this man into her life. And her golden soprano voice will give you chills on such songs as "My White Knight" and "Till There Was You." Danny and Stacie are a charming pair with oodles of chemistry and lovely harmonies.

the marvelous cast of The Music Man (photo by T. Charles Erickson)

I cannot possibly mention all of the wonderfulness in the ensemble, but I'll just point out a few, starting with the littlest (the child roles are shared between two actors). Soren Thayne Miller is sweet and adorable as Winthrop; the moment when he begins to talk excitedly about his scrumptious solid gold coronet always gets me. Rising star Natalie Tran is equally adorable as the spunky Amaryllith. Moving on to the grown-ups, Richard Ruiz has played the role of the Professor's buddy Marcellus four times around the country, and it's easy to see why - he's a dead ringer for Buddy Hackett from the movie, and his big song "Shipoopi" is just as fun. Peter Thomson is hilarious as the bumbling mayor (in Peter's words, he thinks himself the Teddy Roosevelt of River City, but possesses the intellect of Spiro Agnew). Barbara Marineau is a hoot as his wife Eulalie, performing in ever more ridiculous get-ups with her dancing ladies (all of whom are wonderful). James Ramlet, Joel Liestman (filling in for an injured T. Mychael Rambo), Robert O. Berdahl, and Robert DuSold comprise a barbershop quartet sent from heaven. Margaret Daly is a warm and funny presence as Mrs. Paroo, and Brandon Timmons is a wonderfully high-stepping, baton-twirling, band-leading drum major.

the train rolls into River City (photo by T. Charles Erickson)

The talent in the large ensemble bursts off the stage, and director John Miller-Stephany does a wonderful job keeping everything organized and moving, and bringing out the huge heart in this piece. The busy and spectacular group numbers are nicely balanced with quieter character moments. Speaking of spectacular group numbers, Joe Chvala's choreography is, as always, an absolute delight and so much fun to watch, even though there's so much going on onstage it's impossible to take it all in in one sitting (lucky for me I'm going back to see the show again with my family in August). The opening number is particularly ingenious, as the salesmen rap about the art of selling ("you've gotta know the territory!") while moving as one, so realistically depicting the motion of a train that I almost got nauseous just watching them! Another highlight is "Marian the Librarian," depicting probably the most fun that's ever been had in a library.

Tommy (Brandon Simmons) leads the band as the crowd cheers
(photo by T. Charles Erickson)

A musical about a band has to have a great band, and do they! Music director Andrew Cooke is the first person onstage, taking his place in a mini-pit at the front of the stage, only his shoulders and head visible as he leads the cast and backstage band performing this beautiful, rousing, clever, lovely score with too many great songs to mention. And when the River City band marches on stage at the climax of the play, it's truly thrilling, and so moving as these loving parents think the warbled sounds of these unrehearsed children is as sweet as a symphony. That's love.

Grant Wood's Young Corn

The inspiration for Todd Rosenthal's set design is, appropriately, Iowa artist Grant Wood. Yes, there is an American Gothic moment, but the larger inspiration is the painting Young Corn. Not only are the backdrop and scrim painted in the style of Young Corn, but the buildings are as well. Director John Miller-Stephany said in a post-show discussion that this emphasizes the importance of the rural farming community in this small Iowa town. In addition to the massive buildings (some of which might look familiar to those who saw My Fair Lady last summer), there is large square in the stage floor that lowers to the bowels of the Guthrie* to change the set pieces from the train, to the town square statue, to the Paroo living room, to the gymnasium, to the hotel, to the library, and finally to the footbridge. Mathew J. LeFebvre's costumes are a feast for the eyes, from flouncy dresses to well-tailored suits to brightly colored band uniforms.

It's obvious that Meredith Wilson wrote The Music Man as a loving homage to his home city of Mason City, Iowa, using people and places he knew as inspiration for the piece. And the Guthrie's production continues in that spirit. As much as we Minnesotans like to make fun of Iowa, we're really not that different, and the values of home, community, pride, and family ring true. If you're a person who loves musicals, you won't want to miss this Music Man that will remind you of why you love musicals. That is, familiar and beloved songs, a huge and hugely talented cast of familiar faces and new, fantastic set and costumes that bring you right into that world, humor, and most important, a meaningful and poignant story told with much heart. The Music Man continues through August 23, but get your tickets soon before they sell out.


*The Guthrie offers backstage tours, in which you can visit the bowels of the Guthrie and see how the stage mechanics work, as well as tour the rehearsal spaces and costume and set shops.

"La Cage aux Folles" at Bloomington Civic Theatre

The best of times is now.
What's left of summer but a faded rose?
The best of times is now.
As for tomorrow, well, who knows?
So hold this moment fast,
And live and love as hard as you know how,
And make this moment last,
Because the best of times is now.*

La Cage aux Folles is such a heart-warming show. Despite all the glitz and glamour of the drag nightclub in which it is set, at its core it's a simple story about love, family, and having the courage to be who you are. Bloomington Civic Theatre plays up both sides of this show, with big production numbers featuring men (and a few women) in drag with glitzy costumes and sets, but a really sweet heart beating underneath it. As my companion stated, it's "sheer joy."

If you've seen the 1996 movie The Birdcage starring Nathan Lane and Robin Williams you're familiar with the story, which began as a 1973 French play called La Cage aux Folles, and then became a 1983 Broadway musical written by Harvey Fierstein (book) and Jerry Herman (music and lyrics). La Cage tells the story of gay couple Georges and Albin. Georges runs the nightclub where Albin is the star, performing as his alter ego ZaZa. Georges' son Jean-Michel, whom Albin has helped raise, comes home to announce that he's engaged to Anne, the daughter of a conservative politician who wants to shut down all drag entertainment. The in-laws are coming to town, and Jean-Michel asks Albin to leave for the evening, instead inviting his birth mother to pretend that they're a "normal" family. Albin is understandably hurt that the man he considers his son is ashamed to introduce him to his fiance. He can't stay away, and poses first as "Uncle Al," and then, in drag, as Jean-Michel's mother. Of course the deception doesn't last, but they're able to convince Anne's father to give his consent with some good old-fashioned blackmail. Jean-Michel realizes what a mistake he made and tells Albin he thinks of him as his mother. And they live happily ever after, for "the best of times is now."

Georges and Albin
(Jim Pounds and Rich Hamson)

At the heart of this piece is the relationship between Albin and Georges, and BCT has found two perfect actors to portray them. Acclaimed costume designer Rich Hamson has come out of the costume shop and onto the stage in a glorious and heartfelt performance. Perhaps it's appropriate for a costume designer to play a role involving so many varied and fabulous costumes, but his performance is about so much more than just the costumes. It's a beautifully real and tender-hearted portrayal of a parent, lover, and performer who just wants to be who he is ("I Am What I Am") and love his family. As Georges, Jim Pounds has never looked or sounded more suave, and the two men have wonderful chemistry and portray such a beautiful and real relationship of an old married couple who still love each other despite, or because of, their eccentricities. Everyone in the supporting cast is great, especially Michael Terrell Brown who is delightfully over-the-top as Albin's butler, er... maid.

Joe Chvala directs this fabulous ensemble cast and choreographed the Cagelles' fantastic dance numbers. And the Cagelles are all stunning. In the exaggerated make-up common to drag performance (which they each apply themselves), it's difficult to tell the experienced drag performers from the men who are donning heels and a wig for the first time or the women who are thrown in just to keep the audience guessing. Benjamin Olsen's sets are big, bold, and colorful. Ed Gleeman has designed the over-the-top nightclub costumes, as well as some fabulous '70s street wear that includes bell-bottoms, super wide lapels, hippie dresses, and one stunning orange/green/gold jumpsuit that I covet.

With the recent passage of marriage equality in Minnesota, and increasingly, across the country, it's timely to see a show that's about two men who have created a long-lasting, loving, stable family. A family that may be a bit more flamboyant than most, but one that's a model of love, support, commitment, and acceptance. La Cage aux Folles is a lot of fun, it's really sweet, and it has a great message - a message of acceptance of all kinds of family, and of being proud to be who you are. Playing now through February 15, BCT shows have a tendency to sell out, so get your tickets now (a few discount tickets remain on Goldstar).


*This sentiment can also be stated as "No day but today," from Jonathan Larson's beautiful creation RENT, which was on my mind because I happened to see this show on the 19th anniversary of his death.


This article also appears on Broadway World Minneapolis.

"A Christmas Carol" at the Guthrie Theater and Lyric Arts

Charles Dickens' novella A Christmas Carol has become a staple of holiday traditions. It shouldn't be surprising, then, that this classic story can currently be seen on multiple stages* in the Twin Cities. The biggest of these is the Guthrie Theater; this is the 40th year that the Guthrie has produced A Christmas Carol (I have seen one quarter of those productions). I think it's safe to say this is one of their most popular shows every year, with many families incorporating it into their annual traditions. Lyric Arts is also producing the show on their Main Street Stage in Anoka. I was lucky enough to see these two different interpretations of this classic story on back-to-back nights. And while I do have a clear favorite between the two, it's really unfair to compare them too closely. Both are entertaining and creative interpretations of Charles Dickens' heartwarming story about the rich-in-money poor-in-friends businessman who learns through the visitation of four ghosts that it's better to be kind than rich.

The Guthrie Theater

If you've seen the Guthrie's A Christmas Carol in the last few years, it's pretty much the same show. But that's not a bad thing. It's familiar, warm, and comforting, like your favorite holiday dish shared with your family. Joe Chvala returns as director and choreographer, which means there are many fun dance scenes, including one of my favorites - the Fezziwig party scene. Also returning are Mathew J. LeVebre's gorgeous Victorian costumes, Walt Spangler's elaborate moving set, and lovely renditions of traditional Christmas carols. It all looks and feels like a traditional Victorian Christmas card come to life before your very eyes.

Even though it's basically the same show every year, there are a few tweaks and cast changes to keep it interesting. One of my friends asked me what's new with the show this year, and I responded: Tyler Michaels. The My Fair Lady scene stealer makes his Christmas Carol debut in a few small but fun roles. Joel Liestman is also a newcomer to the show as the Ghost of Christmas Present, with a big booming voice both laughing and singing. Making their welcome Guthrie debuts are the charismatic Bear Brummel as Scrooge's nephew and an appealing Zach Keenan as young Scrooge. Peggy O'Connell returns to the show after a long absence as Mrs. Fezziwig, with an impish grin and sprightly spirit. Most of the rest of the cast will be familiar to those of us who've seen the show recently, which is actually a very good thing. I love seeing this beloved stage filled with so many familiar and beloved faces. There's J.C Cutler as Scrooge, making a delightful and believable transformation from grumpy to giddy; Kris L. Nelson as his beleaguered clerk Bob Cratchit, who still manages to find interesting and surprising moments after many years of playing the role; Virginia S. Burke as his devoted wife and mother to a passel of children; Angela Timberman, hilarious as ever as the drunken Merriweather; Jay Albright hamming it up in the best possible way as Mr. Fezziwig; and Tracey Maloney floating across the stage in a swirl of skirts as the Ghost of Christmas Past. This is the first time I recall young Marley and ghost Marley being played by the same actor, which is kind of genius, especially when you have a versatile actor like Robert O. Berdahl who can play the creepy ghost version as well as the living but still disagreeable version. The rest of the big Guthrie stage is filled with children and adults in all kinds of roles, over 40 people passing through that stage - so much going on and so much fun to watch.

After 40 years, the Guthrie has A Christmas Carol down to a science, with many intricate pieces - sets, costumes, music, dance, and story - all working together flawlessly. In short, if this doesn't warm the cockles of your heart, then you really are a Scrooge. It's truly the feel-goodiest of feel-good shows, and who doesn't need that at this busy and stressful time of year? Head to the big blue building on the Mississippi between now and December 28 to experience this holiday goodness.

Lyric Arts

Unlike the Guthrie, Lyric Arts does not have a 40-year tradition of producing A Christmas Carol, but this year is producing a steampunk version of the classic. What is steampunk you might ask? It seems to involve a lot of gears and machinery and clockwork. And it makes for a darker, grittier, more sinister Dickensian world (although with some silly humorous moments that don't quite match the overall tone). Working from an adaptation by Michael Wilson that focuses more on the ghost aspect of the story, director Daniel Ellis and his team have created a version of A Christmas Carol that's spooky, wacky, and fun to look at, but not as warm-hearted as other versions.

There are some familiar things about this version, including a crotchety Ebeneezer Scrooge (an effective Richard Brandt) and a chorus of children, although they're a little dirtier and more ragged in this version. The Ghosts of Christmas Past, Present, and Future are played by the same actors as play people Scrooge encounters in his waking life, people who owe him money, which makes the ghostly visitations seem more like a dream (like Dorothy dreaming that the farmhands are the Scarecrow, the Tin Man, and the Cowardly Lion). The ghosts all have elements of steampunk, particularly the Ghost of Christmas Past - a life-size windup mechanical doll (Christy Nix does a great job with the mechanical movements). The steampunk element is also brought in with the silent chorus of three women and a man in top hat who dance across the stage in a mechanical robot sort of way (choreography by Hannah Weinberg). The set and costumes are really quite cool and pull off the steampunk look in a way that's fun and interesting to look at (set by Sadie Ward and costumes by Stephanie Mueller).

Lyric Arts' A Christmas Carol is a little bizarre and unexpected, especially seen right after the Guthrie's familiar version. It feels a little like that nightmare you might have from a bit of undigested beef or uncooked potato. But the steampunk ghost angle is an interesting one, and this story is so rich there's room for many versions (playing weekends through December 21).

So there you have it - two very different versions of this beloved classic story. One traditional and heart-warming, the other new and steampunk. Take your pick.


*In addition to the above two productions, versions of A Christmas Carol can also be seen at East Ridge High School in Woodbury and Chaska High School. If you know of any other local productions, please comment below.


This article also appears on Broadway World Minneapolis.

"Inside the Beat" by Mu Daiko at Mixed Blood Theatre

I've seen Mu Daiko perform about a half dozen times, and it never ceases to be an absolutely thrilling experience. Minnesota's own taiko drumming ensemble, under the umbrella of Mu Performing Arts, always gives a passionate, spirited, emotional, and thoroughly entertaining performance. I was reminded of the lovely little folk music festival I attended this fall, where one of the musicians gave a profound campfire speech about how everything is made of vibrations, including and especially music. Those big drums create some big vibrations, that literally move the ground beneath your feet and the chair you're sitting on. Perhaps all music is like this, but it's more evident with drums that music is not something you just listen to with your ears, the vibrations of the music can be felt within and throughout the entire body. The insane rhythms created by Mu Daiko move right through you.

Now in their 18th season, Mu Daiko's fall concert was held at Mixed Blood this weekend. The concert includes about a dozen pieces, most composed and/or arranged by Mu Daiko founder Rick Shiomi, current director Jennifer Weir (who performs with a fierce joy), and ensemble member Heather Jeche. They call the show Inside the Beat, and create that experience for the audience with drums on all four sides of the seating in Mixed Blood's black box theater. You can hear and feel the rhythms literally surrounding you. In addition to the drums, some pieces include flute song, or traditional stringed instruments, or singing, including a lovely piece that harkens back to the songs of childhood. Another piece incorporates theater, as masked figures act out a sweet story. Jennifer worked with choreographer Joe Chvala, a natural fit with his percussive dance style, on a piece called "Stepping Up." Joe's foot-stomping hand-slapping choreography combines with the drumming to create something fun and playful.

I brought a friend with me who had never seen Mu Daiko before, and it was so fun to watch her reaction and remember the first time I saw them. It's really indescribable and must be experienced firsthand. Taiko is a beautiful and unique art form that combines athleticism, strength, musicality, spirituality, dance, theater, and grace. It's beautiful to watch the movement and thrilling to hear and feel the rhythms. There's something raw and primal about it.

Only one more performance of Inside the Beat remains, and it's sold out. Check out their website for information on upcoming concerts and taiko workshops and classes.

"Alice in Wonderland" by Flying Foot Forum at the Lehr Theater

Like the rabbit in Lewis Carroll's beloved novel Alice in Wonderland, I ran to the theater last night thinking "I'm late! I'm late!" A combination of forgetting I needed to get gas, construction that caused me to miss my exit, a determination to get my last IceCrema of the summer, and the theater entrance not being where I thought it was caused me to finally arrive where I was supposed to be at just after 7:30. But fortunately, Flying Foot Forum's adaptation of Alice in Wonderland is not your typical theater performance, with everyone sitting quietly in their assigned seat well before the curtain goes up, so I was actually right on time. The show begins not in the Lehr Theater but in the lobby (tip: do not go to the entrance under the marquee on 5th street, but rather the entrance around the corner on St. Peter), where a group of crazily costumed actor/singer/dancers lead you down the rabbit hole into this delightfully mad world.

Like the original, this Alice in Wonderland doesn't make a whole lot of sense and doesn't really have a throughline plot, other than Alice leaving her home in search of something more. Rather it is comprised of a series of odd vignettes with the various characters she meets down that rabbit hole and through the tiny door. From the lobby, we do eventually make our way to the Lehr Theater (named for the incomparable Wendy Lehr), which has been transformed into a Wonderland with colorful cartoonish sets (by Peter Baker, Robin McIntyre, and Joe Chvala) on all sides of the theater. There are just a few chairs for those who need them, otherwise take a seat on the floor or stand in the back, and be prepared to move around. Warning: this show, billed as "a new immersive musical event" is participatory; you will be asked to stand up and dance. And if you're like me, you might not find this amusing, but rather awkward and uncomfortable as you count the seconds until the lights go back down. But I appreciate the spirit of it all, and others seemed to be enjoying it, so consider yourself forewarned and prepare to either jump in with both feet, or find a quiet corner from which to observe the action.

All of our favorite characters are here, the White Rabbit (Ed Williams, Jr., an appealing host and guide), the Cheshire Cat (an incredibly agile Brian Evans who throws himself around the space with irrepressible energy), the Queen of Hearts (a completely unrecognizable Jake Endres), the Dormouse (an adorably sweet and simple Charles Robison), the Duchess (a deliciously creepy baby-tossing Bryan Porter), and of course, Alice herself, represented by the golden voice and childlike wonder of Laurel Armstrong (who is sharing the role with Courtney Miner on alternate dates). The energetic ensemble, who gamely throw themselves into this bizarre world, includes students from the St. Paul Conservatory for the Arts (in which the theater is located) and a rotating cast from area high schools. All are dressed in colorful and wacky costumes (by Mary Anna Culligan, Cindy Forsgren, and Joe Chvala) and outrageous make-up.

Creator/director/choreographer Joe Chvala (who also appears as Tweedle Dum and others) brings his signature "flying foot" percussive style of dance to some rousing group numbers, from a dance-off at the door of Wonderland to the falling pack of cards. In addition to the aforementioned audience participation, volunteers take part in a dance competition for the queen. All of this is accompanied by fantastic music performed by the band and cast, including the unmistakable vocals of Natalie Nowytski, lending an Eastern European flair to the music.

Flying Foot Forum's Alice in Wonderland is a wonderfully inventive adaptation of  a beloved story. If you've got little ones, bring them along, they seem to love it. Part of the fun was watching the kids watch the show, including a toddler in a leopard print skirt and red polka dot rain boots who was about the cutest thing ever, laying on the step with her chin resting on the stage, complete enraptured. Head to downtown St. Paul to experience this delightfully mad world, playing now through October 12.

"My Fair Lady" at the Guthrie Theater

There's a reason My Fair Lady is one of the most beloved musicals of all time. Not only does it feature a bunch of wonderful songs by Lerner and Loewe that have become classics (including "Wouldn't it be Loverly," "Get Me to the Church on Time," and "I Could've Danced All Night"), but it's based on the George Bernard Shaw play Pygmalion that deals with issues of class, gender, societal expectations, and the intersection of wealth and power. It's a musical that has style and substance. The Guthrie's gorgeous new production does well by this classic. The show is perfectly cast, the familiar music sounds great, the choreography is fantastic, and the sets and costumes are luscious. This hugely entertaining show is definitely a must-see summer blockbuster musical.

I'm not sure the obligatory plot summary is necessary here; even if you think you aren't familiar with the story, you probably know it. It's been retold many times, from the original Shaw play (which was in turn based on a Greek myth) to the Julia Roberts movie Pretty Woman. A gentleman takes a lower class woman and transforms her into a "lady." In this case, the gentleman is Professor Henry Higgins, who studies phonetics and is intrigued by flower girl Eliza's poor accent, and makes a bet with his colleague Colonel Pickering that he can transform her into a lady in six months time. Eliza does indeed learn to be a "lady," but retains her spirit and even teaches 'Enry 'Iggins a bit about being a human being in the process.

Higgins, Eliza, and Pickering celebrating their success
(Jeff McCarthy, Helen Anker, and Tony Sheldon,
photo by Joan Marcus)

Most of the lead roles are played by non-local actors from around the country and the world, and even though I'm biased towards our wonderful local community of theater artists, they're all fabulous. Helen Anker, from England, is so charming and spirited as Eliza, and believable in the transformation from Cockney flower girl to sophisticated lady. Jeff McCarthy is the perfect Henry Higgins - even though he's thoughtless, selfish, prideful, and kind of a jerk, there's something so appealing and charming about him that you love him even as he annoys you with the stupid things he says. I just wish that this was more of a singing role, because unlike the original Higgins, it sounds like this guy can really sing. Rounding out the trio is Aussie Tony Sheldon as a delightfully amusing Pickering. And of course, we can't forget about Eliza's pop, a charming rogue as played by Donald Corren.

The large ensemble is full of too many familiar faces to mention, all of whom are great fun to watch. And they create some full and gorgeous harmonies (e.g., the "Loverly Quartet") under Andrew Cooke's musical direction, accompanied by his six-piece just barely off-stage band. Featured roles played by some of our local favorites include Robert O. Berdahl as the hair-flipping Hungarian, Angela Timberman (who can still crack me up with a single look) as Higgins' loyal yet exasperated housekeeper, and Melissa Hart as Higgins' mother, the only one who truly has his number. And then there's Tyler Michaels. His rendition of on "On the Street Where You Live" is a definite highlight of the show; I wanted to reach for the remote and rewind so I could watch it again! (Luckily he comes back for a brief reprise in the second act.) Not only does Tyler have a great voice, but he brings a unique physicality to every role he plays, including this one. Freddy has an awkward grace, he's a bit of a clutz around Eliza, but the love he feels for her flows out of every pore. I've never seen this song performed so comically and physically before - leaping across the stage, standing on top of props, dancing with bicycles and flowers and whomever wanders into the scene. It's truly joyous.

Joe Chvala's flying foot choreography, well performed by the ensemble, shines in the elaborate and busy group numbers. He incorporates percussive slapping and clapping, as well as the use of props from brooms to parasols. The prim and proper ladies and gentleman at the races create some beautiful images as they move delicately and gracefully across the stage. In contrast, the entire street comes boisterously alive in the audience's favorite scene (judging by the applause that continued for several minutes), "Get Me to the Church on Time." Fabio Tobloni's costumes are gorgeous as expected (the extravagant hats! the spats!), and the set by Walt Spangler is truly impressive, with three massive moving pieces that turn to reveal different facades, including Higgins' two-story library with spiral staircase. All of these pieces come together beautifully under Joe Dowling's direction to create a feast for the eyes and ears.

My Fair Lady continues through the end of August. It's sure to be a big hit, and deservedly so. The show is so full of life and energy and dance and music, it's almost impossible to take it all in in one sitting. Lucky for me I get to see it again with my season ticket, so I'll have a chance to relive the many wonderful moments.


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.