"Sisters of Peace" at History Theatre

In the second of a three-show HERstory spring, the History Theatre is telling the true story of four local sisters and Sisters who actively work for peace and justice. The aptly named Sisters of Peace brings these four amazing women to life on stage (who, by the way, are still alive and continuing their work in their 80s and 90s). I was so moved and inspired by these courageous and determined women who ceaselessly work to create a better world, that I was often moved to tears, amidst the laughter of their lives. These women fight not with weapons, but with kindness, music, love, and laughter. We would all be better people if we lived by the mantra, "what would the McDonald sisters do?" Sisters of Peace is not only a truly feel-good piece, but also a call to action to live more authentic lives and consider our fellow beings on this planet.

"Harvey" at the Guthrie Theater

"I've wrestled with reality for over 40 years, and I'm happy to report that I finally won out over it." So says Elwood Dowd, he who sees the imaginary six-foot tall white rabbit, in the 1944 play Harvey by Mary Cole. That's an attitude I can fully get behind, because sometimes reality sucks. And I think that's part of the reason for my love of going to the theater - because I can forget the sometimes depressing reality of the world for a few hours and immerse myself in the world of the play. Harvey is just such a play. So maybe it's 70 years old, and is nothing ground-breaking or particularly illuminating about the society we live in today, but the Guthrie's new production of this classic is wonderful escapist entertainment that also provides some still relevant commentary on people, society, and relationships. The world might be a happier place if we all had our own Harvey to focus on rather than dwell on the harshness of the world around us.

"The Cocoanuts" at the Guthrie Theater

Not being familiar with the Marx Brothers, I didn't know what to expect from The Cocoanuts. In fact, when the Guthrie announced their season this spring, I didn't even know what it was (It's a musical? But I've never heard of it!). Turns out it's a little before my time. The 1925 Broadway musical was written for the Marx Brothers by George S. Kaufman, with music and lyrics by one of the best American songwriters, Irving Berlin. The musical was adapted into one of the first "talkies" in 1929, but has never been revived on Broadway, so I guess I can be forgiven for having never heard of it. Last year the Oregon Shakespeare Festival premiered a new adaptation of this 90-year-old musical (what the Marx Brothers have to do with Shakespeare, I don't know), and that's the production that opened at the Guthrie last weekend. The Guthrie's production features the same actors playing the three most famous Marx Brothers (but with our fabulous local actors taking over most of the rest of the roles), much of the same creative team, and a book that's been slightly tweaked to add in some Minnesota references. The result is a delightfully and ridiculously fun show that pulls out all the comedic stops to entertain the audience, the cast, and even the ushers. A good time was most definitely had by all.

"God Girl" at the History Theatre

We all know that during the Women's Rights Movement of the '60s and '70s, women fought for equality on all fronts. But one such front that may be a bit lesser known is the ministry. One would think that institutions that are supposedly dedicated to faith and community might be more accepting of the idea of equality. As it turns out, not so much. In fact, religious institutions seem to be some of the last remaining bastions of male power. Minnesotan Kristine Holmgren was among the first wave of women to attend seminary in the '70s, and became one of Minnesota's first Presbyterian pastors. But it was not an easy road; she faced much discrimination and sexual harassment on her path. Lucky for us, she's also a playwright, and has turned her experiences into the new play God Girl, premiering at St. Paul's History Theatre. Her story makes for a compelling, engaging, inspiring, and relatable (judging by the extremely responsive audience) stage play.

The play begins with an introduction from Kristine's mother (a delightful Peggy O'Connell), who serves as a narrator and sounding board for Kristine (an extremely likeable Summer Hagen, portraying a character who's complex and real) throughout the play. She tells us that Kristine was always curious and loved the church, and never wanted anything other than to work in the ministry. The play mostly takes place during Kristine's first semester at an unnamed Ivy league seminary. She and her fellow female students, including Southern belle Cathy (Hannah Benedict) and sensible Unitarian Debi (Meagan Kedrowski) face daily harassment from their male classmates and belittlement from their professors. Kristine is excited to start her field internship with the well-known pastor McGovern (Sean Dooley, whose charm soon turns to creepy). At first he seems quite supportive and helpful, until it eventually becomes obvious that the attention is inappropriate from a married mentor and pastor. But Kristine and her friends "hang on for the blessing;" she endures what she shouldn't have to endure, completes her education, and begins the career she always dreamed of, paving the way for the women behind her.

the God Girls (Meagen Kedrowski,
Hannah Benedict, and Summer
Hagen, photo by Scott Pakudaitis)

Even though it takes place in the '70s, this play is not dated. It's so important to remember what this first generation of feminists went through. I attended college and received a degree in math (also a male-dominated field) a mere 20 years after this play takes place, but I faced none of the discrimination and harassment that Kristine and her classmates did. In fact the idea of women being told not to ask questions in class, or receiving multiple proposals from their male classmates, or being propositioned by their professors, is almost unthinkable today. Not to say that it doesn't happen, perhaps in more subtle ways, or that we don't still have work to do, but the world really has changed for women over the past 40 years. And it's thanks to the brave and determined women like Kristine.

But the play isn't all serious, there are some light-hearted moments and the always popular Minnesota and Unitarian jokes (a la Garrison Keillor). And the '70s setting means fun costumes - bell bottoms and flowered dresses mixed with conservative minister attire (by Kelsey Glasener), and a groovy soundtrack, complete with dancing scene changes, contrasting with Rick Polenek's stately church-like set.

I was lucky enough to attend the show on a day when there was a post-show discussion with the playwright and a few experts. She's so smart, thoughtful, and articulate that it gives me hope for the world, that women like Kristine Holmgren continue to lead the way towards a more egalitarian future. Bring your daughters (and sons) to the History Theatre to see God Girl, the all too true story of a real pioneer (as her mother rightly called her).

Pastor Kristine (Summer Hagen, photo by Scott Pakudaitis)

"Broadway Songbook: Comden and Green" at the Ordway Center

"Make someone happy, make just one someone happy." What makes this someone happy is an entertaining and informative lesson on musical theater history from James Rocco, Artistic Director of the Ordway and genial host of the Broadway Songbook series. The final show in this third season of the series focuses on lyricist team Betty Comden and Adolph Green, famous for such classic musicals as On the Town, Wonderful Town, Bells are Ringing, and Will Rogers Follies, not to mention such films as Singin' in the Rain. Along with talented local singer/actors Elena Glass, Amasia Gordon, Reid Harmsen, Peggy O'Connell, Carl Shoenborn, Erin Schwab, and Kirby Trymucha-Duresky, and a three-piece band led by pianist and Musical Director Raymond Berg, James presents yet another fun show celebrating musical theater history. There's really no better way to spend a rainy afternoon.

James describes the typical Comden and Green song as "short, sassy, happy, and a little impudent." Lyrics are often fast and clever, and occasionally sad and poignant. Highlights of the show include:

• The company presents a selection of songs from Comden and Green's first musical, the 1944 classic about three sailors on leave for one short day in NYC, On the Town. Songs include the most famous song from the show, "New York, New York," with Reid, Carl, and James playing the sailors, "I Can Cook Too," with Kirby stepping in at the last minute for an ill Regina Marie Williams, "Carried Away," a very funny duet by Reid and Elena, and the poignant final song, "Some Other Time."
• The quite fabulous Peggy O’Connell* sings a funny and sad rendition of "The Story of My Life" from Wonderful Town, as well as a hilarious Carol Channing-esque version of "I’m Going Back" from Bells are Ringing.
• High school student Amasia, whom James "discovered" in an audition for this year's holiday show A Christmas Story, impresses with a couple of solos – "Hallelujah Baby" and "Being Good."
• Kirby and Erin duet on "Ohio," in which Erin filled in for Regina and cracked her cast-members up, as well as the audience. She's also quite funny in the super-fast "If."
• Carl gives the villian's perspective in "Captain Hook's Walz," with the cast and audience cheering him on.
• The choreography is quite impressive; they don't just stand there and sing. Of particular note is the terriffic tap-dancing by Reid and Elena in "Comes Once In A Lifetime" and the fast and fancy red and blue-gloved hand motion for "Our Favorite Song."

If you're a musical theater fan, the Ordway's Broadway Songbook series should be required viewing. I love musical theater more than anything but there's so much I don't know about it, and this series helps fill in the gaps in my knowledge. The show takes place entirely on the stage of the Ordway's main theater, meaning the audience sits on stage too, which is a unique perspective. Broadway Songbook: Comden and Green runs this weekend only so act fast. Or plan ahead for the next installment, The First 100 Years, which unfortunately falls right in the middle of the Minnesota Fringe Festival (although on second thought I may be the only person in the intersection of Broadway Songbook and Fringe Fest).

*I don't believe I've ever seen Peggy on stage but she seemed familiar to me, and I realized why when I read that she had a recurring role on my favorite TV show of all time, Northern Exposure.