Showing posts with label Rachel Weber. Show all posts
Showing posts with label Rachel Weber. Show all posts

Thursday, September 24, 2015

"Dancing at Lughnasa" at Yellow Tree Theatre

Irish playwright Brian Friel's Dancing at Lughnasa is a perfectly lovely play, and a wonderful choice for the perfectly lovely Yellow Tree Theatre. The eight-person cast is actually on the large side for their cozy and intimate space nestled inside an Osseo strip mall, but the warm, humorous, and melancholic tone is a perfect fit. It's a beautiful play and a beautiful cast, and will leave you with a warm and wistful feeling.

Despite being a fan of all things Irish, I don't believe I'd ever seen a Brian Friel play, other than his adaptation of Checkhov's Uncle Vanya at the Guthrie a few years ago. In his story of the five Mundy sisters living together in a small farmhouse in County Donegal in 1936, he has captured the mix of joy, sadness, music, and family that is uniquely Irish. The sisters are a loyal and devoted family, yet are all individuals searching for something, something they never quite find. It's a bittersweet joy to watch their struggles towards a better life.

the sisters dancing
Dancing at Lughnasa is a memory play in the spirit of The Glass Menagerie. Michael, the son of youngest sister Christina, narrates the story as his adult self, while his 7-year-old 1936 self is never seen but is often talked to and about by the Mundy women, who obviously dote on the fatherless child. Or rather, the child of a father who's never around except for occasional visits, including during the events of the play. Gerry stirs up all of the women, especially Chris, with a hope that can never be fulfilled. Also throwing their world into disarray is the return of their older brother, the "leper priest" Jack, from 25 years of serving in Uganda, where he became a bit too enamored of the native ways for the Church's liking. These two events, along with developmentally disabled sister Rose's possible romance, the closing of the knitting factory where she and Agnes work, and the family's new wireless, create a moment in time that Michael remembers as one of the last happy times in the family, soon to be followed by work, sadness, and tragedy. The play is a lovely and bittersweet exploration of this family and their relationships in a changing world.

the cast of Dancing at Lughnasa
Under the direction of Jon Cranney, this wonderful cast feels like a family, with all the love, connection, and annoyance that goes along with it. Katherine Ferrand, Jessica Lind Peterson, Carolyn Trapskin, Rachel Weber, and Melanie Wehrmacher play these five very different sisters, and throughout the course of the play we get to know and love each of them, despite their shortcomings. Jason Ballweber's Michael is a warm and likeable guide through the story, Michael Lee is the charming absent father, and Patrick O'Brien is appropriately befuddled as the newly returned Father Jack. The ninth character in this play is Jeffrey Petersen's set, which somehow transforms the small thrust stage at Yellow Tree into the Mundy's entire world - the warm and rustic farmhouse and the rich green of the Irish countryside.

Dancing at Lughnasa is a great beginning for Yellow Tree Theatre's 8th season, which continues with a remount of last year's holiday hit A Hunting Shack Christmas, the smart and funny Raisin in the Sun follow-up Clybourne Park (last seen at the Guthrie), and one of my favorite musicals - Violet. It's a good time to go to Osseo!


This article also appears on Broadway World Minneapolis.

Monday, October 27, 2014

"New Jerusalem" by Minnesota Jewish Theatre Company at Hillcrest Center Theater

Minnesota Jewish Theatre Company has introduced me to a fascinating man in New Jerusalem. I'd never heard of 17th century Portuguese-Dutch-Jewish philosopher Baruch De Spinoza before, but his thoughts on God, Nature, religion, science, and society, as expressed through one historical incident in his life, feel so familiar it's as if I did already know him. This play by David Ives focuses on Spinoza's expulsion from the Jewish community, called cherem, in 1656. The interrogation plays out before the audience, who plays the part of the congregation. Spinoza tries to explain his beliefs to his friends, family, and rabbi, but is unsuccessful in convincing them he is not a heretic. It's a dense play, with much to digest and contemplate, brought to vivid life by the cast.

The mid-17th century was a time of persecution of Jews (not unlike most times in European history). Amsterdam was relevantly tolerant, but as is stated in the play, there are limits to this tolerance. Meaning no public worship and no talking about religious matters with Christians, sort of a "don't ask, don't tell" policy. Which is a problem for Spinoza, because there's nothing he likes better than discussing religion, God, nature, science, and philosophy with anyone who will listen, including his friend Simon and the (Christian) woman he loves, Clara. This lands him in hot water with the city as well as Rabbi Mortera, his beloved teacher and father figure. He is called to the synagogue to answer for his crimes, where he is interrogated by Jewish and Christian officials, and his opinionated sister. The house lights come up, as we the audience are meant to play the role of the congregation, listening to Spinoza's arguments and eventually passing judgement on him. As history tells us, he is expelled, and that's where the play leaves us. But I wasn't quite able to let him go, so I went to Wikipedia to find out the rest of the story. He continued to philosophize for another 20 years but never joined another religion, becoming "the first secular Jew of modern Europe."

Spinoza was an early advocate of the separation of church and state, the idea upon which this country was founded (although some people like to forget that if it suits their particular religion or belief). In the play, he is quoted as saying, "a state without religion is the only state in which religion can flourish." He also speaks of the unity of God, nature, and all things, "nothing is not God," which sounds like a Unitarian to me (no wonder I found myself agreeing with much of what he says). He often talks of the French philosopher and mathematician Descartes and the interrelatedness of science and religion, which seems to coincide with my personal belief that science and religion are flip sides of the same coin, and the laws of science and math can help inform and explain our understanding of the spiritual world. Or as Galileo said, much more elegantly that me, "mathematics is the language with which God has written the universe." Sorry for the digression, but this is the kind of thinking and discussion and philosophizing that this play engenders.

James Ramlet, George Muellner, Michael Torsch, and Rachel Weber
(photo by Sarah Whiting)
Under able the direction of Kurt Schweickhardt, the cast does a great job with this heavy material, injecting life and humor into it. Michael Torsch plays Spinoza as a wide-eyed idealist and a dreamer, and makes Spinoza's words and ideas make sense in an appealing way. As his friends, Briana Patnode and Alex Brightwell showcase the human side of Spinoza. Rachel Weber is a spitfire as his sister Rebekah, barging into the proceedings and letting her opinion be known. James Ramlet and Skyler Nowinski play Spinoza's interrogators, at times frustrated, angered, bewildered, and silenced by his answers to their questions. Last but not least, George Muellner gives a sympathetic performance as the rabbi torn between this young man he thinks of as a son and his lifelong beliefs.

New Jerusalem continues through November 9 at St. Paul's Hillcrest Center Theater (construction appears to be nearly complete and the parking lot on Ford is open again). I highly recommend it if you enjoy thought-provoking discussions about God, Nature, science, religion, philosophy, and everything in between. I will warn you that it's long, nearly three hours, so take a nap or have some coffee before the show, especially if you go to an 8 pm performance. As fascinating as it is, it's a challenge to stay engaged in a philosophical discussion for that long, but it's well worth the effort.

Sunday, August 17, 2014

"Guys and Dolls" at Bloomington Civic Theatre

I love a big old-fashioned classic musical* at Bloomington Civic Theatre, and Guys and Dolls is definitely that. This 1955 musical with a well-known score by Frank Loesser is one of the most beloved musicals of the last century. As per usual, it gets fine treatment by BCT, with fantastic choreography and direction by Matthew Michael Ferrell, Anita Ruth's always wonderful pit orchestra, a huge and energetic ensemble, bright and beautiful period costumes, and fine performances by the leads. If you're a lover of classic musicals of the '50s - this is it.

Guys and Dolls centers around the underground gambling business in NYC and a mission trying to save the sinners. Nathan Detroit runs the big craps game in town and is always looking for a place to hold it, while trying to hide it from Adelaide, Hot Box dancer and his fiance of 14 years. To get the money to secure a location for the game, Nathan bets big-time gambler Sky Masterson that he cannot convince pious mission worker Sarah to go to Havana with him. Sky wins the bet, but it's not quite that simple. To win Sarah's heart, he bets against the guys' souls to get them to come to a meeting and save the mission. And everyone lives happily ever after.

Highlights of the show include:
  • The music. The score includes such favorites as "Bushel and a Peck," "Adelaide's Lament," "If I Were a Bell," "Luck Be a Lady," and "Sit Down, You're Rockin' the Boat," all played and sung beautifully be the orchestra and cast.
  • Michael Matthew Ferrell's choreography. The group numbers are so much fun to watch, from the opening number, creating perfect tableaux of city life, to the Hot Box Girls performances, to the smooth swinging Havana scene, to the crapshooters sharp dance. And these guys and dolls can dance.
  • Ed Gleeman's costumes. Men in rainbow-colored suits, two-toned shoes, and hats used as props in dances - what's not to love about that? The women look pretty smashing too.
  • Bill Rolon and Rachel Weber. Perfectly cast as Nathan and Adelaide, they absolutely sparkle and crackle on stage, individually (Nathan working the guys, Adelaide's charming lament and leading the Hot Box Girls) but especially together ("Sue Me" is a highlight, funny and tender). They even look the part; somehow the height difference (in Adelaide's favor) only makes them more perfect for each other. This is a relationship you can understand and root for, despite the overly long engagement.
  • The voices of Holli Richgels and Joshua Paul Smith. I always find the Sky/Sarah romance less appealing than Nathan/Adelaide, but these two sound lovely together.
  • The charming trio of Lamar Jefferson, A.J. Longabaugh, and Andrew Newman. They're almost like narrators of the show, singing the opening number and the title song in enthusiastic harmony. And Lamar is pitch perfect as Nicely-Nicely, singing the crowd-pleasing "Sit Down, You're Rockin' the Boat."
This faithful and fun production of a beloved musical theater classic continues through September 14. You might want to get your tickets sooner rather than later, as this one is sure to be popular (Goldstar tickets are currently sold out but check back in case more dates are added).



*As much as Guys and Dolls is a quintessential example of a classic piece of musical theater that BCT does well, their next show is a great example of a new and modern rock musical, Next to Normal. I'm excited to see BCT step out of their comfort zone a bit with this devastatingly brilliant Pulitzer Prize winning musical that features a small six-person cast and typically onstage rock band rather than a traditional pit orchestra.

Saturday, May 31, 2014

"Shrek: The Musical" at Children's Theatre Company

I don't go to the Children's Theatre often, but when I do I always have a great time watching the show as well as watching the children in the audience watch the show. For a seasoned (one might say obsessive) theater-goer like me, it's a different dynamic when there are so many little ones in the audience. They're so present and vocal about their reactions, whether it's joy or surprise or laughter. Such is the case with Shrek: The Musical. This is a blockbuster-movie-turned-musical done well, with book and lyrics by playwright David Lindsay-Abaire (Rabbit Hole, Good People, Fuddy Meers) and music by composer Jeanine Tesori (who also wrote one of my favorite musicals Violet, now playing on Broadway). I liked it more than I expected to when I saw it on tour a few years ago. For this local production, the Children's Theatre Company has put together a dream team that includes the Theater Latte Da trio of director Peter Rothstein, music director Denise Prosek, and choreographer Michael Matthew Ferrell, as well as a top-notch cast of adults and children. Shrek is a funny and heart-warming story that turns the traditional fairy tale on its head - "true love" is not only for pretty and proper princesses and their handsome knights, but can be just as strong and beautiful between two crass and flatulent ogres. True beauty is simply being yourself.

After being kicked out by his parents at age 7, as is the ogre way, Shrek is living a solo life on his swamp, telling himself he's happy away from the "Big, Bright, Beautiful World." The swamp is soon invaded by a bunch of fairy tale characters, from Pinocchio to the Big Bad Wolf, who were banished from the city of Duloc by the evil Lord Farquaad. Shrek heads to Duloc to try to remedy the situation, and picks up Donkey along the way, his new best friend and a constant source of annoyance. The vertically challenged Farquaad takes the opportunity to send Shrek on a task that he's unwilling to do himself - rescue Princess Fiona from her tower so that he can marry her and become King. Fiona has been waiting all her life for a knight to rescue her, just like in the fairy tales. She's somewhat disappointed when her rescuer is an ogre, but is reassured when they tell her they're taking her to a Lord in a castle. Along the way something unexpected happens - Shrek and Fiona realize they have a lot in common, from their unhappy childhoods (leading to the charming song "I Think I Got You Beat") to their talent in making bodily noises. But secrets, miscommunication, and expectations lead Fiona to go through with the wedding, until Shrek comes to stop it by telling her the truth about his feelings for her and the man she's about to marry. And these two crazy ogres and their wonderfully freakish friends live happily ever after.

Fiona and Shrek (Autumn Ness and Reed Sigmund)
This fantastic cast is led by Reed Sigmund as Shrek and Autumn Ness as Fiona, both so funny and full of life, with great chemistry (not surprising since they're married in real life). Ansa Akyea is gleefully charming as Donkey, and Adam Qualls is deliciously evil as Lord Farquaad. One of my favorite characters in this piece is the dragon, who becomes a sympathetic character through the powerful voice of Lauren Davis as she laments that no one has ever come to rescue her, raised high on some magnificent contraption with huge flowing wings. Which brings me to the other star of this show - the costumes by Rich Hamson (who is also responsible for the delightful under-the-sea world at the Chanhassen). The costumes are ridiculous in a good way - bright and colorful and fantastical, and there are a lot of them. I could not get over the fast and frequent costume changes by the ensemble members; for example, Rachel Weber goes from a villager to a Little Pig to a tap-dancing Duloc guard to part of the dragon to a blind mouse to ogre Fiona and back again. These many crazy costumes and the warm green world with set pieces and flowers rising from holes in the floor are a feast for the eyes (set design by Kate Sutton-Johnson).

Shrek: The Musical is great good fun for cast and audience, adults and children. Check it out before it closes on June 15.

Monday, August 26, 2013

"Singin' in the Rain" at Bloomington Civic Theatre

For the first musical of its 2013-2014 season, Bloomington Civic Theatre chose Singin' in the Rain, based on one of the most popular movie musicals of all time. Having never seen the movie (I'm a theater geek, not a movie geek), I was less excited about this one than the rest of their season, which includes the epic Les Miserables, the adorably hilarious 25th Annual Putnum County Spelling, and the stage classic Gypsy. But I really enjoyed Singin' in the Rain, which bodes well for the rest of the season. Director and choreographer Michael Matthew Ferrel incorporates some tricky technical elements into the story about the end of silent films and the beginning of "talkies," and, as expected, provides some wonderful choreography that is energetically performed by the young and talented cast. The classic movie musical may not be my favorite kind of musical, but this one is a lot of fun and well done.

Let's start with the choreography. There is of course the iconic title number, in which Hollywood actor Don dances in the rain and doesn't mind because he's in love with his new co-star Kathy. Real water pours out of a spout on the side of the stage, while confetti falls from the ceiling and looks like rain as it catches the light. It's a magical and delightful scene. The "Broadway Melody" montage is also a highlight (even if it has nothing to do with the musical or musical-within-a-musical plot), with lots of tap dancing. The dancing is so great it continues into the longest curtain call ever!

a scene from the movie

Second, the technical elements. Since the plot centers around silent film actors transitioning to talking film actors (with varying degrees of success), it's important to see those films, and we do. Previously filmed material is shown on a screen onstage, with Music Director Anita Ruth playing along live just like they did in the olden days of movies. We see a complete (short) silent film cut together with title cards, and later a talking film with purposely bad sound. They're very well done and entertaining, and essential to the storytelling.

Third, the cast is fantastic, beginning with the four leads (and remember I have no strong impressions of the film so I'm not comparing them to anybody). BCT vet C. Ryan Shipley, as our hero Don, sounds beautiful on the love songs and dances the title number with infectious joy. His Kathy is played by Holli Richgels, a recent college 
Jeffrey C. Nelson, Holli Richgels, and C. Ryan Shipley
graduate and welcome newcomer to the Twin Cities theater scene. With her gorgeous voice, dancing talent, and likeable stage presence, I have a feeling we'll be seeing a lot more of her on Twin Cities stages in the near future. For comic relief we have the delightful Rachel Weber as Lina, the silent film star with the unbearable voice (but don't let her fool you, she has a lovely voice of her own). Is it wrong that I found myself rooting for Lina? "What's wrong with me?" Nothing, indeed! Last but not least is Jeffrey C. Nelson, who is perfectly cast as the clownish sidekick Cosmo. He has a rubber face and body and knows how to "Make 'em Laugh."

Lastly, I can't write about a BCT show without mentioning the fantastic full (20+ piece) pit orchestra led by Anita Ruth, which warms my former-pit-player heart. Makes a girl wish she had never given up the clarinet.

BCT always puts on a good quality show, and Singin' in the Rain is no exception. Next up: Les Miserables, starring one of my favorite local actors Dieter Bierbrauer as Jean Valjean. But before that, I'm going to my first play at the BCT Black Box Theater, my second favorite math play Proof.

Tuesday, May 7, 2013

"On the Town" at Bloomington Civic Theatre

"New York, New York, it's a hell of a town!" How could I not love a show that includes that lyric? The 1944 Bernstein/Comden&Green/Robbins musical On the Town is a love letter to NYC as much as anything else. Three sailors on leave have a mere 24 hours in which to enjoy all the city has to offer, and they do their best. It's a light and happy musical, but it's also about enjoying the short time you're given (or as some might say, "no day but today"). As director Wendy Lehr notes in the playbill, "There is an underlying poignancy in all the high jinx." This is my second time seeing On the Town (Skylark Opera did it a few years ago), and already being familiar with the plot and music, I was really able to appreciate the funny and clever lyrics, crisply drawn characters, and of course, the amazing musical composition by Leonard Bernstein. I could definitely hear similarities to that other great Robbins/Bernstein collaboration. On the Town a great piece, a classic in musical theater history, and as usual, Bloomington Civic Theatre does a smashing job bringing it to life.

A quick plot review in case you've never seen the show (or have only seen the movie, which has significant changes of plot and music, as if one could improve on Bernstein!): Our three sailor heroes are the fun-loving skirt-chasing Ozzie, the organized and determined sightseer Chip, and the good guy Gabey, who only wants to find that one special girl. Find her he does, when he falls in love with a poster of Ivy Smith, Miss Turnstiles, on the subway. His two friends agree to give up their goals for the day (girls and sightseeing) to help their pal Gabey find Ivy. Since this is a musical, of course he does find her, but not without complications. In the end, a good time is had by all, and the boys get back on the ship, as a new batch of sailors land to spend their golden 24 hours in New York - a hell of a town.

A few highlights:

  • The three sailors are all charming and energetic, great dancers and singers. AJ Longabaugh is all youthful energy as Ozzie, Andrew Newman is funny and adorable as Chip, and C. Ryan Shipley brings the appropriate love and longing to Gabey.
  • I love the women in this show - they're strong and confident, they know what they want, and they go after it, whether it's a man or a career. They're that specific 1940s type of broad, when women did "men's work" because the men were off at war, and did it well and proudly. Colleen Somerville, Rachel Weber, and Alyssa Seifert all fill their roles perfectly.
  • The show is directed by the incomparable Wendy Lehr, winner of the 2010 Ivey Lifetime Achievement Award, and choreographed by Michael Matthew Ferrell (frequent collaborator with Theater Latte Da). As always his choreography is fresh, fast, and fantastic.
  • The huge ensemble delightfully plays many roles, all sorts of characters that you see on the New York City streets, and perform the dance numbers with aplomb. Standouts include Neal Beckman, who makes the most of every role and minute he has the stage, and dancer and assistant choreographer Krysti Wiita.
  • As a rule I don't usually like the "dream ballet," a popular convention in 1940s and 50s musicals that I'm glad has gone out of fashion. They're usually just a silly diversion from the main action. But I like it here (when the original choreographer is Jerome Robbins, that great storyteller through movement, it makes sense to add some prolonged dancing sequences). I especially love the one takes place on a subway, that great microcosm of humanity, with passengers slowly waving to the motion of the train. There are several scenes where story is told simply through dance and music, with no spoken or sung words, making On the Town part dance show, part musical.
  • I love a pit orchestra, and no one does it better than Anita Ruth and Bloomington Civic Theatre. Hearing the music of Leonard Bernstein come to life with a 20+ piece orchestra is a dream.
  • Favorite numbers are any of the male/female duets ("A Taxicab," "Carried Away," "I Can Cook Too") and the fun friendship song "You Got Me."
  • The set is simple but interesting, influenced by the artwork of David Klein, who created posters for TWA, and the costumes create that 1940s period look.

BCT has recently made the transition from community theater to professional theater, which makes sense because they've been providing professional-level entertainment for years. They attract top professional talent (e.g., the aforementioned Wendy Lehr and Michael Matther Ferrel), added to the talent-in-residence of the always great Anita Ruth and Robin McIntyre's set design. Most of the actors have day jobs, but it's clear from their performances and from comments at post-show talk-backs that they love what they do. They bring that passion and joy to the stage and give it all to the audience. On the Town concludes the 2012-2013 musical theater season, with an exciting 2013-2014 season coming up that includes Singin' in the Rain, Les Miserables (for which they've hired two "professional" actors, William Gilness and one of my favorites, Dieter Bierbrauer, to lead the cast), 25th Annual Putnam County Spelling Bee, and Gypsy. (I think it's time to renew my season tickets!) If you're a musical theater fan who lives in the Southern Metro, you have no excuse not to go see a show at BCT. And if, like me, it's a bit of a drive to get all the way out to Bloomington, trust me - it's worth it. (On the Town playing now through May 26.)

sailors on leave (C. Ryan Shipley, Andrew Newman, and AJ Longabaugh)

Monday, May 14, 2012

"My Fair Lady" at Bloomington Civic Theatre

Wouldn't it be loverly? Just you wait, 'Enry 'Iggins! The rain in Spain stays mainly in the plain. I could have danced all night! On the street where you live. Get me to the church on time! I've grown accustomed to her face.

I'd forgotten how many familiar and endlessly singable songs are in the classic Lerner and Loewe musical My Fair Lady until I saw it again yesterday, at the Bloomington Civic Theatre. I've actually only seen it on stage once, well, not so much on stage as in a rehearsal room at the MN Opera Center in a beautifully sparse production by Ten Thousand Things. But that's not a fair comparison, because what Ten Thousand Things does is incomparable. The current production at BCT is the first fully staged production of this classic musical that I've seen, and they do a wonderful job with it - from the full pit orchestra conducted by Anita Ruth, to the delightful costumes and set, to the talented and spirited cast. Yes, it's a little long, with some songs going on and on, and then coming back for more, but it's thoroughly enjoyable.

I'm sure everyone's familiar with the story. And even if you think you aren't, you know it. It's been retold many times, from the original Shaw play Pygmalion, 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 Higgens, 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 'Iggens a bit about being a human being in the process.


A few highlights of the show:

  • Jim Pounds is everything you want Higgins to be - elegant, curmudgeonly, sophisticated, exasperated, stubborn, with a heart hiding somewhere deep inside.
  • Rachel Weber plays Eliza with such energy and spirit, she fairly leaps off the stage! At times proud and strong, at times weepy and needy, she's a real heroine with a lovely voice to match her spunk.
  • Michael Fischetti is also good as Colonel Pickering, with a wonderfully silly laugh.
  • Fred Mackaman provides the comic relief as Eliza's father in the songs "Get Me to the Church on Time" and "With a Little Bit of Luck."
  • Mary Kay Fortier-Spalding is a bit of a scene-stealer as the Professor's sophisticated mother who grows to love this young woman, who seems to be the only one who can teach her son a lesson or two.
  • Eric Heimsoth doesn't have much to do as Freddy, other than sing the most beautiful song in the show, "On the Street Where You Live," and he does it justice.
  • The scene at the races is a feast for the eyes. The women are decked out in elaborate period dresses in various patterns of black and white, the men in tails and top hats (costumes by Ed Gleeman), all holding themselves primly still until Eliza shouts out "move your bloomin' arse!" And watching Eliza put on her act while telling stories about her drunken aunt is hilarious.
  • This may be the most elaborate set I've seen at BCT, with the walls of Higgins' stately home rolling in and out (sets by Robin McIntyre).
  • The large and capable ensemble performs several group dance numbers, choreographed by Lewis E Whitlock III, who also directs.

Eliza Doolittle (Rachel Weber) sells flowers to
Professor Henry Higgins (Jim Pounds)

BCT's musical line-up for next season looks like another good one, featuring the tap-dancing extravaganza 42nd Street, a Sondheim show I've been dying to see - Sunday in the Park with George, one of my favorite musicals - Cabaret, and Leonard Bernstein's On the Town. I think that's going to be worth the drive across town.