Sunday, September 22, 2024
"Scotland, PA" by Theatre Latte Da at the Ritz Theater
Sunday, November 26, 2023
"Christmas at the Local" by Theater Latte Da at the Ritz Theater
Sunday, June 11, 2023
"Next to Normal" at Theater Latte Da at the Ritz Theater
Saturday, December 3, 2022
"Christmas at the Local" by Theater Latte Da at the Ritz Theater
Tuesday, June 14, 2022
"Twelve Angry Men" by Theater Latte Da at the Ritz Theater
Sunday, April 24, 2022
"Memphis" by Artistry at Bloomington Center for the Arts
"All rock 'n' roll is, is Negro blues sped up." This quote from the 2010 Tony-winning best musical Memphis, currently playing at Artistry in Bloomington, sums up the premise of the story - the way that White rock 'n' roll artists of the 1950s borrowed, or stole, from Black R&B artists. This cultural appropriation is something we're even more aware of in 2022 than we were 12 years ago, as noted by director Aimee K. Bryant in the program: "the show appropriates the story of the birth of rock 'n' roll, just like the music industry appropriates Black music and culture. It credits Huey Calhoun with the success of the genre, instead of crediting Felicia Farrell and her brother Delray with Huey's success." Well said, and this production is fully aware of that, and much of the spotlight is given to the Black artists and music that fueled the rock 'n' roll movement. Artistry has assembled a cast that is truly an embarrassment of riches to bring us the regional premiere of the Tony-winning musical.
Tuesday, November 16, 2021
"Puttin' on the Ritz" by Theater Latte Da at the Ritz Theater
Monday, May 25, 2020
I Listen to Podcasts Now!
Thursday, February 7, 2019
"Flowers for the Room" at Yellow Tree Theatre
Sunday, September 16, 2018
"Once" by Theater Latte Da at Ritz Theater
Tuesday, September 19, 2017
"Man of La Mancha" by Theater Latte Da at the Ritz Theater
Monday, May 1, 2017
"Sweet Land, the Musical" at History Theatre
Every person has their time
Every tale has an ending
Don't know yours
Don't know mine
Every end has a beginning
All beginnings have an end
In between come all the hours
We can barely comprehend
And we hope what came before us
Was a story born of love
Trust the earth
Trust the sun
Trust in god above
Tuesday, January 6, 2015
Nautilus Music-Theater's Rough Cuts: Excerpts from "Sweet Land"
Last night in Nautilus' Lowertown studio (and tonight at the Walker Community Church in Minneapolis), two of the creators were on hand with five talented singer/actors and musical director Matt Riehle to present eight songs from the show, including two new ones, and get audience feedback. As brought to life by the one and only Ann Michels as Inge, Dieter Bierbrauer as Olaf (if you're going to replace Robert Berdahl, Dieter is a great choice, just don't make me choose between them!), Bradley Greenwald as Frandsen, Tod Peterson as the pastor, and Keri Rodau in the ensemble, the music sounds gorgeous and only makes me long to see the full piece again! Fortunately another full reading is coming this spring, with a larger cast and band, and the addition of movement by Brian Sostek and Megan McClellan*. Check out the Sweet Land the Musical website or become a fan on Facebook to find out more about when and where you can see what I called the most promising new work of 2014. You can also read more of my thoughts on the movie and musical here.
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Ann Michels, Keri Rodau, Tod Peterson, Dieter Bierbrauer, and Bradley Greenwald |
*You can see more Brian and Megan's inventive and delightful dance storytelling in their show Trick Boxing later this month at Park Square Theatre.
Sunday, December 21, 2014
"Jonah and the Whale" by 7th House Theater at the Guthrie Theater
This Jonah and the Whale is a loose and modernized interpretation of the story of Jonah, set somewhere along the Mississippi River sometime in the last century. Jonah is a well-liked happy man, expecting a child with his beloved wife, and fixing anything that's broken in his small close-knit community, including the town clock. An unspeakable tragedy causes Jonah to run away from his life in search of something - peace, healing, answers, a reason to live. He joins the crew of a riverboat and seems to be making progress, until a storm tosses him overboard. The whale is never explicitly named, but Jonah ends up inside something, where he experiences the culmination of his personal crisis, a revelation, and decides to come home. A simple story really, but profound in its telling.
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Jonah with Susan always behind him (David Darrow and Kendall Anne Thompson, photo by Heidi Bohnenkamp) |
In just over six months playwright Tyler Mills, along with composer/lyricists* Blake Thomas (a gifted singer/songwriter, check out his music on iTunes) and David Darrow (who gave us a glimpse of his songwriting skills at the Fringe a few years ago) have written what feels like a full and complete musical. The clever, funny, and poignant book has light-hearted homey moments, with plenty of small details added that add color to the characters, as well as intense and personal drama. The score is in the style of "old timey folk/Americana music" (which just happens to be my favorite genre) and includes a gospel chorus, a revival tent song, a bar song, plaintive ballads, and a recurring wordless tune that ties the whole thing together. I'm crossing my fingers that they record a soundtrack; this is music I could listen to endlessly. In addition to the music, there are constant wonderfully inventive sound effects that illuminate the world of Jonah, many created by Mary Fox on various percussive instruments and objects.**
This is definitely the most elaborate set that 7th House has had. The black box theater that is the Dowling Studio is arranged in the frequent proscenium style, with the back of the stage area filled with ladders, barrels, crates, and a moving doorway, creating that early 20th century Americana feel. The simple costumes are also of that Americana dust bowl sort of style, with homespun dresses for the women and worker's coveralls for Jonah (set by Kate Sutton-Johnson, costumes by Mandi Johnson).
Jonah and the Whale is less than 90 minutes long but it feels epic, full and complete and layered, like you've gone on the journey along with Jonah and returned home changed. It's one of those experiences where time stands still and what's happening on stage is the only reality. This is a truly unique and special creation, with so much work and heart put into it by the cast and creative team. It makes my heart glad for the future of theater. I could not be prouder of or happier for the kids at 7th House for their continued success and growth as a company. Go check them out in this show if you can (two shows have been added and limited seats remain), and keep your eye on them in the future.
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Jonah (David Darrow, photo by Heidi Bohnenkamp) |
*Listen to Blake and David talk about writing the song "Wondering Wandering" on an episode of Twin Cities Song Story, hosted by Mark Sweeney.
**Mary and Blake have experience creating wonderful, whimsical, innovative sounds on Take it With You, their monthly radio show, recorded live in Duluth, which you can listen to here.
This article also appears on Broadway World Minneapolis.
Wednesday, September 10, 2014
Musical Mondays at Hell's Kitchen, September 2014
This month's theme was rock musicals, and so of course the music director/ accompanist was Jason Hansen, the go-to guy for rock musicals. When I think rock musical, I think Hair (the original rock musical), RENT, Next to Normal*, Spring Awakening, etc. But Musical Mondays doesn't usually serve up the expected; they dig a little deeper and often choose newer hipper selections rather than classics. So sadly there was no Hair or RENT, but instead we heard Heathers, Bonnie and Clyde, and 35MM. The full set list is available on Musical Mondays' Facebook page; I'll just share a few highlights here.
- Two songs from Footloose? Come on guys, you know that's not a real musical, right? But I'll allow it, because Suzie Juul singing "Let's Hear It For the Boy" was about the cutest thing I've ever seen. She never stops being adorable, and not only that, she has a killer voice with impeccable control, that she seemingly effortlessly transforms to fit whatever she's singing.
- Once is a rock musical? Folk-rock, I guess. Either way, any chance I get to hear the brilliant music of my favorite musician Glen Hansard, I'll take it. Despite never having seen the musical or the lovely little movie upon which it was based, Randy Schmeling sang a beautiful rendition of the song "Leave." It's such a great song, gritty and raw and emotional, with the rough edges smoothed out by Randy's pretty voice.
- It should be noted that Philip Matthews was the only performer who got up on stage with no sheet music. He had all these songs, and one suspects, many more, in his head. Rather than doing a song from the rock musical he starred in this summer, he sang a selection of quirky songs, with great power, emotion, and charm.
- There was a time when Zoe Pappas was in everything, but after playing the title role in Theater Latte Da's Evita four years ago, she disappeared. I wondered where she went, and now I know the answer: Hawaii. She was briefly back in town, and it was great to see and her hear again. She did a couple duets with the boys, and beautifully and emotionally performed a Jason Robert Brown song "I'm Not Afraid."
- The talented young Ryan London Levin sang a couple of songs from musicals I'm not familiar with: "Raise a Little Hell" from Bonnie and Clyde, and "The Streets of Dublin" from A Man of No Importance. He's got a great voice and I'm looking forward to watching him grow as a performer.
- I've saved the best for last: Erin Schwab. This woman is so crazy talented - hilarious, with a powerhouse voice that can make you cry as well as laugh, and just all around entertaining. On Monday night she cracked me up just with the way she took the stage, and then brought me to tears with a lovely rendition of "Wicked Little Town" from Hedwig and the Angry Inch. She also brought the house down with "Love Will Stand when All Else Fails" from Memphis. I need to see her cabaret show sometime, because I'm certain it would be fantastic.
In the meantime, mark your calendar for Monday October 6, when Musical Mondays will return to Hell's Kitchen with another bunch of talented performers singing about things that scare them. (Dare I hope for some Sweeney Todd?)
Tuesday, May 27, 2014
"Sweet Land" Presented by Buffalo Gal Productions and Cardinal Theatricals at Art House North
If you've never seen the 2005 movie Sweet Land, you should go directly to Netflix or Blockbuster or however you get your movies and watch it! Filmed near Montevideo, MN and including cameos by local actors (including the Stephens D'Ambrose, Pelinski, and Yoakam), it's the quintessential Minnesota story of Norwegian and German immigrants forging a life on the farm, with all the difficulties and rewards that entails. In this particular story, Norwegian immigrant Olaf Torvik needs a wife, so his family in Norway send him one. When Inge arrives, Olaf is surprised to find out that she is actually German, which is not well accepted by the community so soon after WWI - Germans are the enemy and she could could be a spy. The pastor refuses to marry the couple, and Inge is forced to stay at the neighbors farm with Frandsen, his wife Brownie, and their many children. It doesn't take long for Inge to get fed up with this crowded living arrangement and long for a space of her own, so she makes her way across the field to Olaf's farm and take up residence there, helping him with the farm. Despite the fact that Olaf sleeps in the barn, this arrangement is frowned upon and the couple is shunned by the community, until their hard work, perseverance, and generosity slowly win everyone over. They are accepted and allowed to live their life together as man and wife and an important part of the community.
The creators of the musical have stayed true to the plot of the movie, with many of my favorite moments and lines represented or even turned into song. The good-natured Frandsen calls Inge "ducky" and she doesn't quite understand, which has been turned into a fun light-hearted song. At the end of the movie, after living and working together for so long, Inge declares that she and Olaf are already married without any ceremony or legal documents necessary, which has become a beautifully moving ballad. The moment when Olaf first really looks at Inge through the camera lens, the auction, Olaf's declaration that "farming and banking don't mix," the threshing scenes, Inge's rebellious bath, all of these are songs. They really did take all of the best and most memorable moments in the movie and turn them into songs, which is really the best way to make a musical. The music is all wonderfully Americana, with a couple of guitars, a fiddle, an upright bass, and an accordion in the band (directed by Matt Riehle). The intention for the full production is for the band members to double as ensemble members, playing some of the smaller roles and joining in on the singing. This is similar to the new musical Once, also an adaptation of a sweet and simple but lovely movie, in which the musicians are also the ensemble; perhaps this multiple Tony winner has defined and allowed for a new type of musical. A musical like this one in which there is no differentiation between actor, singer, and musician, with a style of music that strays far from "Broadway" into territories of folk, country, and Americana.
With only about twenty hours of rehearsal, this amazing cast, directed by Andrew Rasmussen, has managed to bring this piece and these characters and songs to life in such a way that it's not difficult to imagine a full production. Ann Michels is the perfect Inge, with the spark and strength and humor of the character, while also showing her vulnerable longing side. Robert Berdahl is also wonderful as Olaf, a typical Norwegian farmer hiding his feelings deep down inside but allowing them to come to the surface at pivotal moments. As Frandsen and his wife Brownie, Bradley Greenwald and Tinia Moulder bring heart and humor. Rounding out the ensemble are Tod Peterson as the pastor and Cat Brindisi and Brian Sostek as all other characters. This is truly a top-notch cast and I hope they all continue in future productions of this piece.
Sweet Land is such a special little movie, a small story but one that's so moving and timeless and beautiful. It's a piece of our history as Minnesotans, one that I, as a descendant of German immigrant farmers, feel a special connection to. The musical is everything I hoped it would be, retaining what was so special about the movie and its wistful, funny, romantic tone, and only adding to it with the wonderful new original music of the Americana style that I love so well. I am confident we will see this again. Visit the Sweet Land musical website or become a fan of their Facebook page for more information about the piece, future productions, and how you can help with the next phase of development.
Tuesday, June 25, 2013
"Hair" by 7th House Theater Collective at 514 Studios
Hair is light on plot, but you don't need a complicated plot to have a story to tell and a truth to convey. Hair is about a "tribe" of young people living, loving, and protesting war on the streets of NYC. We follow Claude's journey as he receives his draft notice in the mail and processes it with the help of his friends (and a drug-aided hallucination), and makes a decision that affects everyone's lives. The novelty of this production is that it's done in the round in a small warehouse* in Minneapolis, with audience members sitting on couches and pillows, sometimes invited to take part. As you enter through the open garage door, actors are milling with the audience (and on a Monday night with many theater peeps in attendance, including Joseph and several of his brothers and a couple residents of Urinetown, it was difficult to tell the cast from the audience). They're dressed in modern clothes in the first act, which I was OK with, until they changed to period hippie clothes in the second act, which just felt right. The only set pieces are a couple of ladders rolled in and out as needed. The lighting is really cool, at times throwing shadows of dancing hippies up on the brick wall and huge flag, and creating a circle of light from which Claude cannot escape.
Listening to the 2009 revival cast album today, I realized they cut out a few songs and bits, and rearranged some things. But it works, there's a nice flow to the loopy ramblings of the tribe. The first act ends with the infamous nudity (tastefully and subtlety done, if there is such a thing a subtle nudity), and Claude is given a hallucinogenic drug just as the lights go down prior to intermission. The second act opens with everyone in the same position, now dressed in period hippie clothing. It's almost as if the play begins in modern times, and then they shed that modernity (literally) and everyone is transported back to the 60s in the second act with Claude's trip. Lots of bizarre things happen like in a crazy dream, including a brutal war sequence that's repeated and rewound several times, flowing through to Claude's decision to fulfill his duty.
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this flyer for the Be-In looks suspiciously similar to the one handed out during the 2009 Broadway production |
The heart of this piece for me is the love triangle between Claude, Berger, and Sheila, with the strongest love being between best friends Claude and Berger. The trio of Matt Riehle, David Darrow, and Cat Brindisi play it well and believably. Matt is charismatic and playful with the audience, as Berger should be, at times a lovable and loyal friend, at other times a jerk. As much as I love Gavin Creel from the 2009 Broadway revival (so much so that I made a special trip to NYC to see him and the rest of the tribe before they took the show to London, and waited outside in the freezing cold of January to meet him after the show), David's version of "The Flesh Failures" is something I've never heard before. He turns the song into a desperate cry of confusion, terror, and despair, literally beating his chest as he tries to make sense of it all. He took this song that I've heard hundreds of times before and made me hear it in a whole different way. "Silence tells me secretly... everything" gave me chills. Finally, I had this thought while I was sitting there - someday when Cat Brindisi wins her first Tony Award, I'll be sitting at home on my couch cheering her on and remembering the day I heard her sing "Easy to be Hard" in a sweaty little garage space in Minneapolis.
My first experience with Hair, the Americal Tribal Love-Rock Musical (besides that one episode of the early 90s sitcom Head of the Class), was the 2004 Michael Brindisi directed production at the Pantages, starring a hugely talented cast that are still among my favorite actors working today. Now almost ten years later, this feels like the next generation of that production. The future looks bright, and I look forward to seeing what these young artists do in the next ten years. A few tickets remain for this weekend's final performances (did I mention they're free?). Get 'em while you can.