Chanhassen Dinner Theatre's Nostalgic Music Man

Sometimes, staying in your lane can be a good thing. 

Photo by Rich Ryan

When you go to the theater, do you tend towards revisiting the same shows over and over again? Or do you come seeking something new, modern, or avant garde?

I find that, like with most arts consumption, there are two wildly divergent philosophies. If you're a person who annually re-reads certain books or re-watches the same films on endless loop, you're probably in the former camp. If you're like me, you probably tend toward more of the latter - a one and done-er who doesn't re-experience a text unless there's something really different about it.

When it comes to this little hobby of theater reviewing, however, my usual approach doesn't always work. Certain plays and musicals seem to come back frequently, and with an ever-shrinking geographic range and amount of time on my hands it's not always possible to do the far ranging exploration I'd like to. Or, on a very rare occasion, I want to just show up somewhere comfy and do the absolute least (so sue me).

One of my cozy once-in-a-while comfort spots is Chanhassen Dinner Theatres (CDT). I've written before about my nostalgic love for the nation's largest dinner theater (the scope of their operation is truly extraordinary for logistics-nerds like me. Over 50 million cups of coffee served! Over 12.5 million guests who have all received multi-course meals! I mean come on, how can that not impress?!), and it stands. This was the place where professional theater was first introduced to me at a production of Brigadoon when I was 8 years old. I'll never forget seeing the graceful dancers emerge from the misty air and learning how transportive live theater could be for the first time.

It turns out that Brigadoon is an apt metaphor for CDT itself. This is not a venue of surprises; CDT knows its niche and embraces it with open arms. Rather than short run, rotating seasons of the newest cutting-edge scripts, visitors will find long-term runs of shows culled from what is known as the "golden age of Broadway," the experience of which is almost like stepping straight into a TCM screening of a Gene Kelly movie.

Take their latest production of The Music Man, which opened last weekend. The story of a traveling con man-gone-good thanks to the stubborn integrity of the people in a small Iowa town is most famous for the opening scene, which features a spoken word interlude and iconic choreography imitating a bouncy train ride across the Midwest. The plot is an oversimplified romance with an easy happy ending - no surprises here. It's full of jazzy tap scenes, kitschy slang like "swell" and "gee whiz," and a clarion portrait of the quickly disappearing ethos of the lily white world that used to be identified (at least popularly) as America itself.

Photo by Rich Ryan

I say all this to help you, potential audience members, choose whether or not you'd enjoy seeing this Music Man. If you prefer experiencing well-produced shows with familiar faces, you're going to love it. CDT favorites Michael Gruber and Ann Michels are back in the lead roles of Harold Hill and Marian Paroo, respectively. Like their performance in Holiday Inn, the two share an easy chemistry and chummy rapport reminiscent of the Fred Astaire / Ginger Rogers dynamic, but with much better singing. Peggy O'Connell is delightful as Marian's mother Mrs. Paroo, with a pitch perfect Irish accent and a charming delivery that instantly won over the audience. Tony Vierling brings his signature Kelly-esque hoofing style to Marcellus Washburn, and it's fun to watch him swan through the dance scenes. John-Michael Zuerlein, Shad Olsen, Aleks Knezevich and Evan Tyler Wilson make a lovely barbershop quartet, with gorgeously harmonized voices that smoothly move the show along. Keith Rice and Michelle Barber eagerly ham it up as the bristly Mayor Shinn and his wife Eulalie Mackecknie Shinn, and it's a perfect cameo for their skill sets.

As always, the unique challenges and benefits of CDT's low-ceilinged space are maximized to the utmost by a top-notch production design team. Rich Hamson's 1910's-era costume design is detailed and danceable, pluming the actors into a perfect period setting. Most of the set is composed of floating rooftops and strategically symbolic props, constructed by a veritable army of prop masters and artisans, carpenters, painters, and other design staff, demonstrating a true team effort and the deep bench required to make such complex numbers appear effortless. Kudos to Artistic Director Michael Brindisi and Technical Director Logan Jambik, whose close attention to detail is clearly evident in every stiffly pointed toe, meticulously curled wig and puff of "dust" from a library book.

If you haven't gathered by now, this rendition of The Music Man is not a production that is going to rock the boat. There's been no modernization of this production and it remains solidly in the realm it first appeared under Meredith Wilson's vision in 1957. If you're hoping to see Harold and Marian twirling through rows of computers or Tommy and Zaneeta sneakily setting up dates through Snapchat, this ain't the one. But it will hit every peak vision of a nostalgic, sepia-toned vision of American Gothic America for the sentimental among us.

I did a lot of thinking over the weekend about my feelings on this. After all, I also just came out of a performance of My Fair Lady that totally put me off with its blatantly sexist script; why was I more comfortable at CDT? The Music Man has problematic characteristics too, and there's nothing firmly moving this production into the modern era. It's not in my top 5 or even top 10 favorite musicals.

Some of it has to do, I think, with that 8 year old that will always be inside me when I sit in CDT's close quarters. I have an inner child there that is hopelessly nostalgic and it looks like it's here to stay. A bigger part, I suspect, is that CDT has carved a specific niche for itself that I understand fully even before I attend. This is not the Guthrie or the Walker Art Center or the Jungle; CDT has a completely different business model, locally available audience, and cast willing to audition for its shows. Like most industries, theaters are enduring the challenges of rapidly evolving audience expectations juxtaposed with a tough business model; this production fully embraces what CDT knows and does best, for better or worse.

Someday I'd love to see some more diverse shows like In The Heights, The Color Purple or Dreamgirls grace this stage. I hope that day will come, and if / when it does I trust that the CDT production machine will make a dreamy, movie-worthy production for the ages that such dynamic scripts deserve. In the meantime, The Music Man was a chance for me to just enjoy a high octane musical production at face value. Like the fellows of Brigadoon, I got to float back to my past in a smashing array of tap dances, high kicks and percussive scene transitions that was as familiar as the towering chocolate cake for two, a welcome moment of sentimental rest that is all too fleeting for me these days.

Everyone approaches theater with their own context and I'm sure readers are out there who will disagree with me on either end of this review. For myself - I liked this Music Man, I know my parents will adore it, and my friends will probably never go. I'm okay with all of those choices, and I don't regret indulging for a few hours in sunny memories, warm smiles and an oversimplified plot line once in a while. It's what I needed this weekend amid the tumult of our world and I don't think I'm alone. If you like period musicals and beautiful production design, you'll want to check out The Music Man before it closes on September 5. For more information or to buy tickets, click on this link.

Chanhassen Dinner Theatre's Mamma Mia is a Merry Good Time

Who else has the muddy March blues? 

Photo Credit: Tom Wallace, 2019

I don't know a single Minnesotan who hasn't felt positively demoralized by our last six weeks of hellish winter weather. Yes, it's now 40 degrees and endlessly rainy, but what comfort is that when it feels like we will never see the sun again?!

Photo Credit: Tom Wallace, 2019

If you're like me (and everyone else it seems) and are wrestling off some heartily thriving winter blues, look no further than Chanhassen Dinner Theatre (CDT) to raise your spirits. Mamma Mia, the ultimate musical of beachy sunshine and feel good tunes, just opened and if that's not enough to put a smile on your face and a song in your heart, I don't know what is.

Photo Credit: Tom Wallace, 2019

For a quick plot recap: Mamma Mia tells the story of Sophie, a young woman about to be married, as she searches for her father. She secretly reads her mother Donna's diary for a clue of who he is and invites three possible candidates sight unseen to her wedding. All sorts of shenanigans unravel on the small Greek island Sophie and Donna call home as the guests arrive - including all three possible fathers and Sophie and Donna's best friends - and each character reconnects to their pasts and their identities. The entire score is comprised of Abba tunes seamlessly woven in between the plot lines.

Photo Credit: Tom Wallace, 2019

Let me preface this review by saying that although I've seen this show in several iterations, Mamma Mia has always felt a little overblown to me; even for a musical the plot is a little overwrought, the songs tend to be vastly over-sung, and although I enjoy Abba's music, it's never been my preferred playlist to pop on at the end of a long day.

Photo Credit: Tom Wallace, 2019

All that said, Mamma Mia is a perfect choice to feature CDT's perennially peppy cast members, and their trademark kitschy delivery is a great fit for this show. Even further, clearly there's something I don't know in feeling meh about the show overall - because Mamma Mia has been seen by more than 60 million people and grossed over $2 billion in ticket sales worldwide since it premiered 20 years ago. It was one of the first times that three women collaborated as a creative team behind a show, and its undeniable success has made a huge case for increasing the roles of women in creative and production teams across the theatrical world. That's a story I can get behind.

Photo Credit: Tom Wallace, 2019

As I mentioned, CDT's core of cheery cast members are perfect to deliver this show, and many long-term players steal the show. Kersten Rodau is flawless as Donna; she blows me away every time I see her, and I am so happy to see her front and center here in Mamma Mia. Jessica Fredrickson is blissfully peppy as Sophie and has just the right energy to lead the show, a sunny soprano to Rodau's bold contralto. The crowd literally burst into applause at the sight of Michelle Barber and Therese Walth as Donna's friends Tanya and Rosie, respectively, and it's no wonder. Barber has never looked better, clearly enjoying swanning around as the vainest character of the show. Walth always seems to be relegated to the "funny friend" roles (can we get her a lead outside of Hairspray already? She's tres fabulous), and she had the crowd absolutely roaring as the grounded and hilarious Rosie.

Photo Credit: Tom Wallace, 2019

The men take a back seat throughout the show for once (an unfortunate rarity in the musical world), except for the preponderance of washboard abs popping up all over the stage. Aleks Knezevich is his usual charming self as Sophie's fiancee sky, and I was glad to see him back. Rush Benson is a scene stealer as the flirty young Pepper, and he gives saucy Michelle Barber a run for her money in their coquettish scenes. Michael Gruber has a pleasant groundedness as "headbanger" Harry; Jay Albright brings a physical comedy to his role as Bill Austin; and John-Michael Zuerlein brings a darker perspective to his role as Donna's long-lost love Sam Carmichael. Zuerlein's portrayal, combined with Rodau's fierce Donna, brought a different kind of chemistry to Sam and Donna's partnership than I've seen in the past; I think it gave this Mamma Mia a little more gravitas than it usually has, and I really appreciated the thought they put into their roles.

Photo Credit: Tom Wallace, 2019

The stage has been painted blue to resemble those gorgeous Grecian seas for this production, and it really brightens the entire show. I always enjoy seeing how CDT manages production design on its unusual stage size, and Nayna Ramey's airy scenic design really gives the beach concept an efficient but breezy feel. Rich Hamson provides some flirty costuming, and combined with technicolor lighting design by Sue Ellen Berger it warms you up from the inside out (something we all need right now, no?). One of my favorite parts of CDT shows is always Tamara Kangas Erickson's lyrical choreography; unfortunately Mamma Mia doesn't allow for many true dance scenes, but several clever moments (such as a pseudo-tap dance done in flippers) utilize her trademark style and were crowd pleasers.

Photo Credit: Tom Wallace, 2019

In short: if you're going to see Mamma Mia (or if you enjoy it more than I always have and it's a perennial fave), CDT's perky production is the one you need to visit. They put their trademark style on this show, and the talented musical cast and sunny dispositions of their portrayals are just what I needed to brighten my winter blues. What could be better to cure your seasonal doldrums than seeing one of the most successful musicals (especially produced by and for women) in history for Women's History Month? It's a two for one surefire winning idea, and a word to the wise: get your tickets ASAP. I've heard runs of Mamma Mia are already selling out and it looks certain to be a tough ticket to nab if you don't book quickly. Click here for more information or to get your tickets.

50 Years of Chanhassen Dinner Theatre + Holiday Inn

CDT is the theatrical equivalent of a giant, comforting, cozy bowl of steaming mac and cheese, and I'm totally fine with that. 

Photo by Tom Wallace, 2018

Sometimes I see people take aim at things that are mainstream or inherently positive as if they are somehow unworthy of attention. This frustrates me.

Photo by Tom Wallace, 2018

I love avant garde theater - but I also love the mass produced, flashy shows that fill giant theaters, keep plots simple and spirit fingers wiggling. Growing up in rural small town Minnesota, places like the Orpheum or Chanhassen Dinner Theatre (CDT) were the only way I ever saw professional theater. Sure we had school and community productions, but professional spaces were a solid 360 mile round trip away, not to mention often way outside of the budget of our six person family. If we were really lucky, once a year my family got to go to CDT over the summer when they held the family ticket sale. It was so magical for me, a truly transportive experience that taught me to dream beyond my immediate reality and made a direct line to me starting this blog so I can continue to experience this art I have come to love so deeply. Those experiences at CDT are treasured memories and a big reason that I will always harbor an undying love for that space.

Photo by Tom Wallace, 2018

The thing about mass produced shows shows is that there are people (a lot of people, actually) for whom it is the only way they will access theater at all. They deserve to enjoy the arts too, and if a traveling Broadway show or a musical theater bonanza with a plated dinner is what gets them there - I'm all for it. There are hundreds of union employees who make great money year round working on these productions, and I'm happy to support them (just as I love local companies like Prime Productions or Frank Theatre or Trademark Theater, all of whom have shows running right now).

Photo by Tom Wallace, 2018

The point of all of this is that this year, CDT is celebrating 50 years of existence. For just a little context on how mind blowing this accomplishment is, check this out: since Chanhassen Dinner Theatres opened in 1968, its kitchen has served:

1. 25 million fresh baked rolls
2. 2,265,000 grilled to perfection, sirloin steaks
3. 400,000 pounds of roasted prime rib of beef
4. 4,250,000 stuffed chicken breasts
5. 500,000 pints of fresh strawberries
6. Just shy of 50,000,000 cups of coffee or enough to fill more than FIVE Olympic-sized swimming pools
7. Chanhassen Dinner Theatres is the nation’s largest professional dinner theatre company. It is one of a handful of professional status dinner theatres still in existence.
8. In its 50 years, Chanhassen Dinner Theatres has entertained just over 12.5 million guests.
9. In addition, over that time, CDT has staged a total of 237 productions on its multiple stages.

I'm so grateful that CDT has stuck around this long, weathering recessions, public taste and ownership crises, and I sure hope they stick around for another 50 years. I can't think of a better show to celebrate this milestone than Irving Berlin's Holiday Inn, which opened last night. I loved the film version growing up, which starred Bing Crosby and Fred Astaire, and was the first time audiences heard the now-classic song White Christmas. Holiday Inn is exactly what it sounds like: a musical about a man who leaves show business to run a farm in rural Connecticut. When he proves to be a failure at farming, Jim decides to flip the space into a lodge with musical performances that is only open on holidays (when everything else is closed). There are several straightforward romantic plots woven through the holiday numbers, and everyone leaves with a happy ending. It's a show that oozes nostalgia, and while its plot is a little dated, the rotation of greatest hits songs like Blue Skies, Heat Wave, Cheek to Cheek and, of course, White Christmas provides a delightful immersion in 1940s nostalgia.

Photo by Tom Wallace, 2018

Many of CDT's OG company members are in this show, so you're guaranteed to see many familiar faces. Michael Gruber plays Jim, and while he doesn't quite have Bing Crosby's velvety basso, he does have an endless aura of charm and panache that perfectly fits the 1940s setting. Ann Michels is period-perfect as Jim's love interest Linda; her voice soars through the show, and it's not hard to imagine her having a Ginger Rogers or Andrews Sisters moment if she'd been performing back then. Jessica Fredrickson plays Lila as a true Lina Lamont character, clearly reveling in playing the villainous love interest. And Tony Vierling brings his best Gene Kelly to the role Fred Astaire originated as Ted; it's one of the best things I've seen Vierling do, probably since Singin' in the Rain. Vierling is a true blue, classic Hollywood musical hoofer, and director Michael Brindisi wisely grants him several solo moments to glide across the stage and give the audience a few showstopping dance moves. The company itself is also very strong, especially in dance, and there are plenty of charming cameos you'll see throughout the show.

Photo by Tom Wallace, 2018

The thing that kept striking me throughout the performance was the attention to detail at every level. There's not a lot of whodunnit to this plot - you'll see all the major points coming - so the charm of the show lies in all of the other little things to see. The set, designed by Nayna Ramey, is the kind of shabby chic rural dream that will have any cabin lover swooning. Tamara Kangas Erickson's choreography is truly masterful, incorporating tiny touches like collective gasps with some spectacular dance scenes (a tap sequence done with jump ropes was especially fantastic) to make it clear that every moment of the show was considered. The band, directed by Andy Kust, has a big brass Count Basie feel, and Russ Haynes' sound design lets us hear everyone's lines just fine. My favorite element, however, had to be the gorgeous hair and makeup design by Paul Bigot and the delicious costumes from Rich Hamson. If you've ever drooled over a chest-width corsage or a perfectly pinned pageboy, you will not be able to stop swooning over these visuals. It's cotton candy for the eyes and even if you don't like the show, you'll find something to like about the gorgeous garb.

Photo by Tom Wallace, 2018

Is Holiday Inn the best show I've ever seen at CDT? No. But it's a perfect choice for their 50th anniversary and to cover the holiday season. Comforting, nostalgic, and flashy enough to engage anyone's interest, Holiday Inn will be a welcome surprise for fans of old Hollywood musicals who haven't seen it, and a refreshing classic for those who have loved the movie for years. I am so glad I got the chance to see it and celebrate CDT's 50th anniversary; cheers to them on 50 more. For more information or to buy tickets, click on this link.

Photo by Tom Wallace, 2018

Chanhassen Dinner Theatre's Newsies Is Timely and Terrific

Few things are more powerful than an idea whose time has come. 

Photo by RICH RYAN PHOTOGRAPHY, 2018

It's been a little over two years since I saw Broadway's rendition of Newsies at the Orpheum (read original review here). It was the first opportunity I'd had to see the show live, and I greatly enjoyed it - but what a difference two years can make.

Photo by RICH RYAN PHOTOGRAPHY, 2018

At the time I first saw Newsies, the primaries for the presidential election were just gearing up; there was no Women's March or Parkland Students or #resistance; and the seeds of our current collective discord were just beginning to be sown. I won't re-hash the intricacies of Newsies' plot - you can click here to read my initial summary for a low-down - but suffice it to say, there seems to be far more current parallels between the Chanhassen Dinner Theatre's (CDT) excellent new production of Newsies and our current state of affairs than was true in 2016. Themes of social justice, collective resistance, the David vs. Goliath battle between capitalism and the people who serve it reverberated powerfully throughout the audience, and Newsies' inspiring end led to a collective sigh of relief and gratitude by the end of the show.

Photo by RICH RYAN PHOTOGRAPHY, 2018

This new staging is perfect case of right cast in the right parts at the right time, beginning with Aleks Knezevich in his most star-turning role to-date. Knezevich is born to play the part of Jack Kelly, with an inimitable Noo Yawhk accent and a charming swagger. His gorgeous voice soars through songs like "Santa Fe" and "Something to Believe In," and he had the whole audience swooning by the end of Act I. Ruthanne Heyward makes a lively partner for Knezevich as Katherine Pullitzer, an undercover reporter who sheds light on the newsie strike. Heyward shares her trademark pluck in this role, and she and Knezevich have great chemistry. An even better vocal pairing for Knezevich is the glorious voice of Alan Bach as Davey, co-leader of the strike. I'm not sure if I just wasn't paying attention to him in past productions or what, but Bach has a terrific voice that feels made to sing these songs - especially the rousing solo in "Seize the Day."

Photo by RICH RYAN PHOTOGRAPHY, 2018

Tanner Zahn Hagen is one to watch and a CDT newbie as the young Les, and he has a bright future ahead. Kersten Rodau has a standout solo as the vaudevillian Medda Larkin, and I wish we had more of her throughout the show. Keith Rice is similarly scene-stealing in his quick cameo as Teddy Roosevelt, and Lucas Wells is fabulous as Crutchie, with a heartrending solo on "Letter From the Refuge." The rest of the ensemble features several exciting young new artists, and their electric dancing and exquisite harmonies soar through the score (my faves? The thoroughly magnetic "The World Will Know" and hum-inducing "Seize the Day").

Photo by RICH RYAN PHOTOGRAPHY, 2018

The costumes, designed by Rich Hamson, are spot-on to the time period and don't get in the way of the marvelous choreography by Tamara Kangas Erickson. I've always thought of Newsies as a more dance-heavy show and I was not disappointed; with the amount of spins and flips and grand jetés on this stage, we could almost be back at the Olympics! The scenic design from Nayna Ramey is quite understated and has the heaviest usage of projection I've seen in a CDT show, which made me simultaneously bummed out and fascinated with the series of historical photos they scrounged up to share. The sound design from Russ Haynes is a perfect blend between voice and the orchestra, beautifully directed by Andrew Bourgoin. And clever lighting design from Sue Ellen Berger allows actors to seamlessly slip in and out of the spotlight, keeping the feel of the show at a brisk pace.

Photo by RICH RYAN PHOTOGRAPHY, 2018

I can't think of a better way to kick off CDT's 50th anniversary season (yes, 50 years - such an incredible achievement!) than this beautifully rendered production. Anyone who knows me knows that I have a huge soft spot for stories like Newsies. I love to see examples of the collective power of united citizens triumphing over overwhelmingly bad odds. Strikes like the Newsboys' Strike and the March of the Mill Children, the true stories that provide the foundation for the plot of Newsies, are some of our nation's best such tales, and it's never a bad time to revisit the lessons they contain. So many of the workplace benefits we enjoy today - like 40 hour work weeks, weekends off or paid national holidays - are directly correlated to collective action and union bargaining, and it's no coincidence that we have seen workers rights trampled as the state of unions has collectively decreased. Maybe it's time for us to seize our own day and fight for more rights - if Newsies can't inspire you to harness your power as an American citizen, nothing can. The terrific Newsies runs at CDT through September 29; for more information or to buy tickets, click on this link.

Photo by RICH RYAN PHOTOGRAPHY, 2018

Sister Act is Again a Surefire Hit at Chanhassen Dinner Theatres

What a difference a few short years can make. 

Photo courtesy of Chanhassen Dinner Theatres

When Sister Act last came to the Chanhassen Dinner Theatres (CDT) it was 2015. The presidential election was just kicking into gear, Charlottesville had never happened, and Harvey Weinstein was still Hollywood's friendliest movie producer.

Oh how times change.

In that first Sister Act, the production was fun but in retrospect a little glib. I enjoyed it quite a lot (you can see my original review here) but it lacked a certain gravitas to really make it sing.

After a hugely successful run then and a couple more years of experience under their belts, most of that original cast has returned (with a few key additions) and wow - what a change. This cast is older, wiser, graver, funnier, and clicks much more soundly than they did before. I'm not going to summarize the plot in this review - again, you can always watch the inimitable Whoopi Goldberg's film original or read my previous review for that - but I do want to detail what's changed and what I really enjoyed.

Photo courtesy of Chanhassen Dinner Theatres

For starters, let's hit the cast. Regina Marie Williams is back in the title role of Deloris van Cartier and wowza what a return! I always enjoy her work (see my thoughts on the perfection that is Nina Simone: Four Women here), and she was good last time, but she really knocks it out of the park in this production. You can tell that Williams has had time to really get comfortable in Deloris's shoes, and the way Williams sashays through each line (and wallops her powerful voice through each song) left such a huge smile on my face. Williams has also clearly worked with the cast to update several of the key jokes, and there are some sly contemporary references here that had the whole audience in giggles.

Several other CDT stalwarts have returned. Norah Long is back as the inimitable Mother Superior and she is an absolute riot. Like Williams, Long is clearly much more comfortable in her role and anchors it with a steadfast gravitas that draws a firm line between her church's walls and the world of sin outside. Britta Ollmann remains fabulous as the shocking soprano Sister Mary Robert. Ollmann absolutely nailed her rendition of "The Life I Never Led" - seriously, it will give you chills, and she's a showstopper. Seri Johnson remains a fine and funky Sister Mary Lazarus, and the eternal Keith Rice is the gift that keeps on giving as a Kanye-sunglasses-clad Monsignor O'Hara.

Photo courtesy of Chanhassen Dinner Theatres

A few new additions really beef up the casts's potential and build this reprise into a towering crescendo. One of my all-time Chanhassen faves Therese Walth (aside: CDT, please, PLEASE reprise Hairspray with Therese - I would do anything to see it again) levels her trademark Nikki Blonsky comedic chops and booming voice at the heart of the role of Sister Mary Patrick, and she's a stitch. Fernando Collado is a welcome surprise as Pablo, especially after his recent lovely turn as Sonny in In The Heights (another piece I wouldn't mind seeing again). Andre Shoals is spot-on creepy as the evil Curtis. It's been a while since he was last seen at CDT, and he's a great choice for this part. Kasano Mwanza remains a scene-stealer as Curtis's nephew TJ, and once again I found myself mourning that he only had a few brief moments in which to shine.

Photo courtesy of Chanhassen Dinner Theatres

The costumes - for the most part nuns in habits, although there are a few choice show costumes sprinkled throughout - are essentially the same as before. The same is true of the set, although it drew me in more than it had circa 2015. The moment when the church's stain glassed windows turn "on" was especially poignant, and the set's economy never holds it back from letting you know exactly where we are in the story. The simplicity of all this musical's accouterments keep the focus on the cast's enormously talented vocals, a wise choice that needs no further explanation. There were a few moments that troubled me in the show, particularly the disrobing of a trans character that was used for laughs near the end of Act I; I wish and hope that the "man in a dress" trope can go away, especially as our trans family faces increasingly dangerous times. Be aware of those moments if you plan to go.

Photo courtesy of Chanhassen Dinner Theatres

I'll be honest: I was initially hoping the next show at CDT would be something I hadn't seen before, so I felt a little blue when it was announced that this was coming back. But on viewing I found myself quite moved by this production of Sister Act, bringing us full circle to the importance of societal context. To sit in my church (a darkened theater), communing with fellow patrons at the altar of a group of magnificently talented women who celebrate sisterhood; band together to protect themselves from the violence of bad men; who strive with unceasing personal sacrifice to bring more peace and beauty and faith to a world in pain - well, what message could possibly be more timely than that? I can't remember the last time I saw so many women on stage at once, and it was really inspiring to see such a critical mass; what a wonderful experience it must be for all of these actresses. There is such a pure joy to this show, which is bolstered by the clear camaraderie between these castmates, that truly served as a balm to the soul in our troubled times. We all deserve a little more peace of mind, and I can guarantee that you will find it here at Sister Act. Sister Act runs through the end of February 2018; for more information or to buy tickets, click on this link.

IVEY AWARDS: 2017 Recap

Who were you rooting for? 

I got to sit by Jill Shafer of Cherry and Spoon

The 2017 Ivey Awards wrapped up on Monday night, and as usual they involved a lot of laughs, drinks, and love for the theater. What are the top things I enjoyed about this year's show? Let me count the ways:

1. Michelle Hensley, Michelle Hensley, Michelle Hensley: Could there be a more deserving winner for the Lifetime Achievement Award? Absolutely not. Many of us were bummed out when Hensley announced her retirement from the legendary Ten Thousand Things theater company that she founded earlier this year. She will be irreplaceable and highly missed, but in the meantime it was wonderful to see the life changing work she has instituted honored by a room of her peers. Hensley is literally the definition of leading by example and putting your money where your mouth is. If you don't know much about Ten Thousand Things, check out more by clicking on this link - and then promptly run to buy tickets for their new season. I'm not kidding around: this company will revolutionize the way you think about theater and change your life. We owe Michelle a whole, whole lot, and I sure hope she has something else up her sleeve. Her acceptance speech is the most moving I've heard to date; you can find a good selection on my Instagram account here or One Girl Two Cities, here.

2. Meghan Kreidler for Best Emerging Artist: This is the only annual award outside of the one for Lifetime Achievement. A past list of winners includes luminaries like Tyler Michaels King, Trevor Bowen, Mikell Sapp, Ricardo Vázquez, and Isabel Nelson. This year the honor was bestowed on Meghan Kreidler, who has quickly become one of my absolute favorite local actresses. She starred in my first MUST SEE performance this year in Vietgone (more here) and is currently starring in the truly excellent performance of Man of La Mancha from Theater Latte Da (more here). Kreidler is a powerhouse to watch, and she's got a spectacular future ahead of her. 

3. Vietgone was the First Award Winner: As mentioned above, Vietgone was one of my absolute favorite shows of this year (and ever, honestly). I was so thrilled to see this excellent work recognized right away, as well as reprise a performance from the show during the Ivey's ceremony. I'd love to see this again; wondering why I loved it so much? Revisit my review here and learn more.

4. The Production was Tight as a Drum: Despite starting the show very late this year, everyone was in and out in well under two hours. Theaters, take note: if we can get through celebrating an entire year's worth of performances, an in memoriam, and 8 variety show performance numbers this quickly, your shows don't have to run as long as they typically do. I promise. It can be done.

5. Thomasina Petrus: I have loved Regina Marie Williams' work over the last couple of years as a host, but switching things up can be a good thing too. It was great to see Thomasina Petrus co-hosting the show this year, and her lovely, lyrical voice added a lot to the musical performances. Thomasina has long been an artist I admire locally, so I really enjoyed seeing her get in front of a big event.

6. Much Love for Volunteer Work: The Ivey Awards celebrate the best of the best in Twin Cities theater scene. Evaluations are completed by more than 150 volunteers, who comb theaters all over the Twin Cities for the best of the best. This might not sound like much, but it's a daunting task; last year, the evaluators saw more than 1,100 shows between September 2016 and August 2017 (aka three shows PER DAY in order to cover it all). It's a pretty incredible feat, and major kudos go to the awesome people putting time in to keep the awards running and to see all those shows!

7. Kasano Mwanza in "Beauty School Dropout:" I was pleasantly surprised by how much I enjoyed Grease earlier this year at the Chanhassen Dinner Theaters. Know what really knocks that show out of the park? Kasano Mwanza, who singlehandedly brings down the house with his ripping rendition of "Beauty School Dropout." Talk about someone who knows how to steal the show (it's literally his only appearance, and it's the first thing you remember months after leaving). Mwanza opened the Iveys this year, and his tour de force performance had the audience engaged from the first note. He's a star, full stop.

For a full list of winners, see as follows: 

• Ensemble, Vietgone, Mixed Blood Theatre - Sun Mee Chomet, David Huynh, Meghan Kreidler, Flordelino Lagundino and Sherwin Resurreccion
• Production Design & Execution, Six Degrees of Separation, Theater Latté Da, 
Abbee Warmboe, Barry Browning, Sean Healey, Kate Sutton- Johnson, Bethany Reinfeld and Alice Fredrickson
• Concept & Execution, Safe at Home, Mixed Blood Theatre
• Actor, Nilaja Sun, Pike St., Pillsbury House + Theatre
• Director, Noël Raymond, The Children, Pillsbury House + Theatre
• Emotional Impact, Wit, Artistry
• Actor, Steven Epp, Fiddler on the Roof, Ten Thousand Things
• Actors, Sun Mee Chomet & Sherwin Resurreccion, The Two Kids That Blow Shit Up, Theater Mu
• Overall Excellence, Ragtime, Theater Latté Da
• Emerging Artist, Meghan Kreidler
• Lifetime Achievement, Michelle Hensley

What did you think of this year's winners? Who missed out? I'd love to hear your thoughts! 

A Walk on the Dark Side: An Interview with Jonathan Weir/Jafar in Disney's Aladdin Tour

What is it like to play the villain? 

Photo courtesy of Hennepin Theatre Trust

I think many people stereotypically assume that the best part to play in any script is the role of the hero. I mean, who doesn't want to be admired and spout pithy quotes and swashbuckle their way to a glorious ending? It's great, right?

Speaking from experience (and the success of shows like Wicked that flip the villain's script), I can say that this is not always the case. The role of the villain is often one of complexity, range, depth, challenge, and, dare I say it? Fun! After all, it takes a lot more work to make an audience respect, or especially to like, a character full of nefarious deeds and sinister subplots.

Jonathan Weir, who is starring as Jafar in the touring production of Aladdin (coming to Hennepin Theatre Trust next week!) is no stranger to loving to play the villain. Having served in the role of Scar in The Lion King on and off for 13 years, he has worked all over the country and survived more than 30 years in the business, which is no mean feat. I sat down with him to chat about his work on Aladdin, his illustrious career, and much more. Read on to learn more about the ins and outs of working on a Broadway touring show!

1. You have over 30 years in this business! That's a long time in any career, and Broadway can be notoriously grueling. What keeps you going? 

The majority of my 30 years in the business has been based in Chicago. I’ve been fortunate to have worked on Broadway three times in the past 2 years doing The Lion King and I’ve done a few national tours of The Lion King, Jersey Boys and now Aladdin.  The business of acting can be trying, challenging and grueling wherever you’re geographically based. I’d say what has kept me going is the Chicago theater community. I’ve grown enormously as an actor and I continue to be challenged and inspired by my fellow actors, directors and designers here in Chicago.

2. Having had such a long, legacy relationship with The Lion King, you clearly have an interest in Disney and these stories that are now considered children's classics. What drew you to Aladdin after such a long time in The Lion King world? Have you noticed any specific differences between each experience? 

I have had a unique relationship with Disney.  I did the second national tour of The Lion King which started in Chicago back in 2003. I was a Scar/Pumbaa standby and left after a year.  However, every few years Disney would call me to come standby on the tours and eventually on Broadway. I never dreamed that I’d do The Lion King on and off for 13 years. As an actor I have an interest in working in all kinds of plays. There was a lot that drew me to auditioning for Aladdin but foremost was that Disney does it right. They spare no expense in bringing a story to stage and they take exceptional care of the cast and crew. That was my experience on The Lion King and it has held true for Aladdin as well.

3. You've played Scar and now Jafar, and I read that you would love to play Ursula as well - do you have a special penchant for playing villains? What appeals to you about embracing the "dark side”?

The ideal of playing Ursula was said partly in jest. She’s one of the iconic Disney villains and she has a special flair. However, given the state of female roles in theater, playing that role is best left to any of the phenomenally capable actresses out there. I seem to have found a niche in playing the Disney villains. I think it’s always fun to play the antagonist, to play a character that has a strong point of view. For the record I have played some nice guys in my career too.

4. Playing such iconic characters must be a little difficult sometimes, as people have preconceived ideas of them from the movies. How much of yourself are you able to bring to these roles? Do you find the familiarity of the story challenging? 

During rehearsals we were encouraged to bring ourselves to our roles. To not just imitate or recreate what was done in the animated feature or on Broadway. As an actor it’s vital to bring yourself to any role and to own it. Jonathan Freeman, who was the voice of Jafar in the animated feature and who plays the role on Broadway, created a rich road map and many iconic moments. However, we are not only different actors but have had different life experiences, and those experiences inform our individual takes on the role.

5. What is the most special part about Aladdin to you - sets, costumes, cast and crew, etc.? 

It’s the people. I love being in a theater. Not just on stage but in the building itself. I love interacting with all the different departments, stage crew, props, wardrobe, makeup, orchestra etc. Being in a building that holds that much talent means endless creativity.  I’m fortunate to have made a living doing what I love.

6. What is it like to be a touring actor for a Broadway show? The schedule and travel must be intense. How does it differ (aside from the obvious) from other productions that don't tour? 

First off, maintaining and keeping a long-running show fresh is a challenge but rewarding. I always say getting the job is one thing, but maintaining and giving an audience a fresh show nightly is craft. Touring is a different beast. I was fortunate to be in Chicago rehearsing and running Aladdin for 22 weeks at home. The perks of touring are that you get to explore a variety of cities and come in contact with a wide array of people in the business. I love to travel. The downside is that you’re away from family and friends.

7. How long did it take between casting to get to performances for this show? What is the rehearsal process like? 

My initial audition and callback was in NYC in September 2016. I was cast later that month. We started rehearsals in Chicago on February 27, 2017, so I had about 5 months between casting and starting rehearsals. In those 5 months I had several costume fittings in NYC. We rehearsed for about 5 weeks, had 2 weeks of tech, previewed for a week and opened in Chicago in mid-April of this year. The rehearsal process was truly a joy. Everyone in the cast was supportive, caring and encouraging of the work that was being done in the rehearsal room. This is one of the most generous, talented and loving casts I’ve worked with.

8. How do you keep a semblance of normalcy on a tour like this? What kinds of self-care do you practice? 

That’s a good question. Keeping a sense of normalcy or routine is key while on the road. The cast becomes close knit and having that “family” helps. Doing Aladdin nightly requires a great deal of energy. I do a few things to maintain my physical health. I work out several times a week at the gym, I get massages, I stretch and warm-up before the show.  

9. What is your favorite theater experience as a performer (most fun to be a part of)? 

Boy, that’s always a tough one to answer.  I’ve had so many favorite experiences as a performer. Most recently, last summer I played Malvolio in Shakespeare’s Twelfth Night for Chicago Shakespeare’s summer parks tour. We performed outdoors in 19 Chicago parks. It’s free to the public and going into so many diverse neighborhoods and connecting with audiences like that was very satisfying. We had little kids excited about Shakespeare! And anytime you can turn someone on to live theater it’s a good day at work.

10. Conversely, what is your favorite experience as an audience member (best show you've seen)? 

Back in 1989 I attended a final run through of Steppenwolf Theatres The Grapes of Wrath directed by Frank Gallati. It was a final run through in the rehearsal hall with rehearsal props, and a few costume pieces. It was right before they went to Broadway with the show. It was one of the most moving, exhilarating and inspiring theater experiences I’ve had.

11. What are your hopes for future projects? Anyone other than Ursula you'd love to play? Do you see yourself leaving the Disney universe? 

I will do this tour then I imagine return home to Chicago. It’s my home base. As for future roles…one never knows. I’d like to do more Shakespeare and I enjoy doing new works.

12. I read that you had a great teacher in high school that inspired you to get involved in drama. How important is education and outreach to you? Do you consider that part of the job? What are ways you give back?

I am a big advocate for training and education. I had some very influential teachers and mentors along the way. One of them taught us that once you start acting you’re a student for life, both in your on stage life and off stage. I believe the two are intrinsically connected. I am an adjunct professor in theater in the Department of Fine and Performing Arts at Loyola University Chicago. I love teaching. To help a student find a way into a character and grow is very fulfilling.

13. What advice would you have to young performers who are hoping to enter this field? 

How much time do you have? I believe that the journey to becoming a performer happens differently for every individual. That being said, I believe there are some absolutes. A few words of advice:

1. Read. Know history, know about the world both the past and present. As actors we’re called on to not only engage our imaginations but our intellect. The more you know the more you have to bring into the rehearsal room and to the role.  
2. Be the solution. In an audition situation I like to think that there are two things you can control; your preparation and your attitude. Everything else is out of your control. Once you understand that it’s an empowering feeling. Coupled with that is the idea that they have a problem, they need to cast the role. The auditors want you to be good and be the one for the job. Right before I go in to audition I say the little mantra: “be the solution.” 

Before you go... did you like this post? Would you like to see more interviews? It's been a while since I regularly conducted interviews but I'd love to mix it up if you are interested. Let me know in the comments! 

And don't forget to enter the drawing for four free tickets to see Grease at Chanhassen Dinner Theatres to celebrate Compendium's fifth birthday! It's so easy to enter and you can win a full table of tickets for free - you don't want to miss out. 

Compendium is Turning Five! And Grease Ticket Giveaway

Let me tell you a little story.

Five years in and stronger than ever - happy birthday Compendium!

The date is September 2012. I'm one year past college graduation and have been supplementing my full time job, where I'm relatively bored, with writing on the side for Metro Magazine. As a journalism major I am really hoping to step into that world full-time and feel like I'm on track to at least be a regular columnist and maybe editor someday when BAM! I find out the magazine is closing in a week.

Although the writing had probably been on the wall for some time, I was absolutely devastated. I felt like I was finally hitting my stride; I had just run my first major print piece (which I still have a copy of today!), an interview with the new incoming director of the Minnesota Opera. It felt like all of the hard work I'd done over the last year+ was flying straight out the window. Worse, as 90% of my work was online, I knew it would be lost to the wind if I didn't do something quickly to save it.

Thus, Compendium was born. I created this blog initially as a place to store my work for Metro and to keep it alive online. I took a little hiatus from the media world but then realized: this site didn't have to be static storage space to hold old articles. Why wait for a publication to pick me up? Why not start my own blog, share my own thoughts, and build the kind of coverage I always wanted to see but had to pass through gatekeepers before? I decided to re-up my work with my local media contacts and began slowly building a brand, a process that continues to this day.

It's been a long road to here, but I can safely say that five years later, building and running Compendium is one of the most fun, rewarding challenges I could imagine. I've had the opportunity to connect with so many amazing readers - YOU! Tens of thousands of you! - and I'm so grateful for the opportunity. If I hadn't started Compendium I would have missed out on so many amazing projects, performances, and people. I would never have met the incredible folks of the Twin Cities Theater Bloggers, who blow me away every day with their ingenuity and compassion. And I wouldn't have the ability to keep planning for the future, for more performances, ways to give back, and a few really cool new business ideas up my sleeve that I hope to share in coming years.

As a token of my gratitude to all my readers for five years of incredible theater and blogging, I want to give back to you for a chance to show my appreciation for following me on this journey. Chanhassen Dinner Theatres (CDT) has graciously agreed to give me four tickets to give away to a lucky reader (or two!) to enjoy Grease (review here), currently showing and the best selling show in CDT's history. 

CDT has always held an extremely special place in my heart for a few reasons. One is that it was the first theater I ever attended outside of the small town I grew up in up north. My younger sister and I were taken to a production of Brigadoon by my parents, and I will never forget the magic of seeing one of our favorite movie musicals come to vibrant life on stage. For kids whose biggest travel adventure was camping at state parks a short drive away, it was an unfathomably luxurious and inspiring experience. I also adore CDT's strong community outreach. They have been excellent partners with local school programs and are always working to make their shows more accessible, be it through ticket promotions (make sure to check for family discounts as they always do series where children's tickets are included free with adult ticket purchases) or bringing their performances outside of Chanhassen for others to enjoy.

Here's how to enter the giveaway: 

1. Make sure you are following Compendium on Facebook (you can also follow me on Instagram and Twitter!)

2. Comment on this post either in the blog comments below or on the Facebook post. Let me know: what is your favorite show you have ever seen? Who do you want to take to see Grease and why? Bonus points if you can also tell me what you're most looking forward to seeing in the new 2017 - 2018 theater seasons! 

3. I will draw a winner from those names on Friday, September 15, 2018. Winners can book their tickets anytime with Chanhassen Dinner Theatres. 

Thank you so much to all readers for an incredible five years. Cheers to five more! 

Realish Housewives of Edina 2 Packs a Punch

There are two kinds of people in this world: those who love reality television, and those who hate it. 

© 2017 George Byron Griffiths http://www.gbgphotography.com

And I can see arguments on both sides of the aisle on this issue. Reality TV certainly isn't the next Shakespeare. It doesn't have the panache of an opera or some other form of "high art." It's hardly the sort of thing you can see future generations re-watching hundreds of years from today. 

But that doesn't mean that it's easy to make or doesn't have a place in our entertainment pantheon. It takes a certain kind of person to excel at reality television, particularly to be able to hold society's attention for more than a fleeting season or two, and the tawdriness of most reality television provides an uncomfortable magnifying glass of our society's obsessions. Love or hate Kim Kardashian (the master of the genre), but you can't deny: something about her keeps people wanting more. Kimmy mastered the concept of entertainment capitalism, and it's fascinating to watch. 

© 2017 George Byron Griffiths http://www.gbgphotography.com

So it's no wonder that localities are starting to pick up on the reality trend in live shows. This was wonderfully seen at the New Century Theater in 2015's The Realish Housewives of Edina, a deliciously Minnesotan spoof on the reality television show Real Housewives of [Insert Metropolis Here]. Realish Houswives did so well (the New Century's best-selling show to-date, in fact) that it is now back for round two, and it couldn't be better timed. 

© 2017 George Byron Griffiths http://www.gbgphotography.com

For this sequel, four of the five ladies have returned after Desiree perished on the Spoon and Cherry after her FroYo addiction was discovered; Desiree's twin sister Delilah, a brain surgeon and wannabe neck model, joins the cast as their new fifth member. Gwen has been released from prison and is making her way through the rich old bachelor rolodex of Edina (as well as embezzling funds from local city government); Brooke is going stir crazy as a new super-mommy taking a break from her kitschy, high powered entrepreneurial ideas; Claudia-Louise is listless and randy as a stay-at-home scorned homemaker; and Ravonka is unrecognizable after a severe set of plastic surgery in an attempt to jump start her life. Each of these ladies' personal plot threads wends through the show, crashing into each other as they sensationalize their problems (and their shame) for public consumption. There are plenty of jokes and droll insights provided by Randy (an Andy Cohen postulant) and the silent but sarcastic stagehand as they lead us through the absurdities of housewives with too much money and time on their hands. 

© 2017 George Byron Griffiths http://www.gbgphotography.com

The cast is much more familiar with each other this time around and provide a clique-y chemistry that really works for this show. Katherine Kupiecki brings a disarming sincerity to her role as white collar thief Gwen, and despite her nefarious actions she is really charming. Ditto for Anna Hickey as Brooke, the only character who doesn't lose much between both shows. Brooke's complete destruction of her friends' lives should be despicable, but something about Hickey's cocky portrayal can't help but make you admire Brooke's plucky determination. 

Quinn Shadko is fervent as Claudia-Louise and addresses the audience with a wide eyed interest; she comes off as an ingénue despite having two children and a set of personal baggage the size of Lake Calhoun. Karissa Lade is deceptively Barbie-esque as Deliliah and flips the bimbo script. Delilah's occupation as a brain surgeon is an inspired choice and makes the absurdity of the housewives' arbitrary wealth that much more obvious. Sierra Schermerhorn is thoroughly Orange County as the only cast member not reprising her role (she plays Ravonka). Schermerhorn fits right in with the crowd and brings a coastal vibe to her character; she seems straight out of the television show and her faux everything is hilarious. 

Adan Varela alternates between exhaustion and exuberance as host Randy, and it's not hard to see why - wouldn't you be wiped out chasing after so many divas all day? Varela's best parts, however, are playing assorted male characters encountered by the housewives, particularly a bewildered brain surgery patient. His presence really balances the cast. 

© 2017 George Byron Griffiths http://www.gbgphotography.com

Staging design is kept relatively simple  by set designer Theresa Akers, props designer Sarah Salisbury and costume designer Suzanna Schneider; the main set features several simple vignettes of couches, high top tables and various gifts and alcohols, and each lady prances around in well tailored sheaths and high heeled accessories. It is great to note that most of the production team (which also includes sound designer Nate Hessburg, stage manager Shannon Hessburg and lighting designer Monica DeRee) is female; I always love to see diverse teams working backstage, particularly on shows with lots of women front of house. 

And that focus on women is once again my favorite thing about the Realish Housewives. Is it silly? Yes. Is it a hard-elbow-jab to suburban life? For sure. But the best part of the show was being able to sit back after a long work week and enjoy a simple, entertaining piece made by, for and about women. Even if trite at times it was a nice escape from real-world problems, and isn't that what reality shows are all about anyway? Women aren't always Disney princesses who are perfect and kind; sometimes they are flawed, messy and just plain annoying. The Realish Housewives of Edina series allows an all-female cast to plumb the depths of backstabbing bitchery, and I can only imagine that it's a rocking good time for them. 

It may not be the Kardashians, but the Realish Housewives of Edina 2 provides a just-relatable-enough fantasy that will keep you chucking through your cosmopolitans. This show is definitely best for a ladies night out and some escape from the kids - bring a group to check it out. Realish Housewives of Edina 2 runs at the New Century Theater through April 15. For more information and to buy tickets, click on this link.