Celebrating the Sea

The Little Mermaid lights up the Orpheum

Photo courtesy of the Hennepin Theatre Trust.

It's great to see some fresh Disney grace the stage. As beloved as classics like The Lion King and Beauty and the Beast are, they come so often that it's easy to forget what an awesome, deep catalog of shows Disney has to offer. The Little Mermaid is just such a show, bringing the natural world magic of The Lion King with a princess story worthy of Tangled to the stage. 

I will assume that most readers are familiar with the story, so I won't repeat the plot, but please take note: Alan Menken (who wrote the music for the film version of The Little Mermaid) added in a plethora of new songs for this stage adaptation, so things will be a little different than you might expect. Some of the new songs are the best of the bunch, including "She's In Love" and the gorgeous four voice harmonies of "If Only." The classics are here in full display as well, including beautiful performances of "Part of Your World" and "Poor Unfortunate Souls." "Under the Sea" has an explosion of vibrant seafaring costumes, including a spectacular pair of jellyfish; the kids will adore it.

Photo courtesy of the Hennepin Theatre Trust.

This production features a starry cast of Disney veterans. Alison Woods is not only Ariel; she also provided the animation reference for the Rapunzel character in Tangled. Woods is Disney through and through, with the wide eyed wonder and freshly expressive voice that clearly denotes Ariel's innocence and charm.

Jamie Torcellini (who I did not have the pleasure of seeing as Scuttle) served various roles in Tarzan, Pocahontas and Aladdin. Ennis O'Bannion was a decent sub in for Scuttle, but it was clear he didn't have the effortless delivery of a regular.

Photo courtesy of Hennepin Theatre Trust.

The star power doesn't stop there. Melvin Abston, who plays a plucky Sebastian, has a strong resume of Broadway and television roles; hunky Eric Kunze (playing Prince Eric) could literally have stepped straight out of the cartoon, and Jennifer Allen (a visceral Ursula) have equally strong Broadway resumes; and on and on it goes. If you're looking for star power, this is definitely the show to find it.

Standout characters go to the "bit parts": Adam Garst is delightful as Flounder, bringing a pouty, punky Green Day vibe to the beloved fish. Jeff Skowron is riotously funny as Chef Louis in "Les Poissons," one of my favorite pieces of the show and a performance to watch for.

Photo courtesy of Hennepin Theatre Trust

The set is definitely a highlight of the show, utilizing gorgeous scrims, effervescent bubble pieces and a heavy amount of "flying" to lend the actors an underwater effect. The illusion is relatively seamless and set changes are lighting quick, so keep a close eye if you like to track transitions.

I will say for those who saw the Chanhassen rendition a couple of years ago: that innovative production was really on par with this. This Little Mermaid isn't a must see, but it's still a fine version of the original, and will be a lot of fun for kids and grownups alike. The Little Mermaid runs through October 18; for more information or to purchase tickets, please click here.

Edina Becomes Reality

Reality television gets local in The Realish Housewives of Edina

Photo courtesy of the Hennepin Theatre Trust

Come on, admit it: You love reality television.

Who doesn't? Reality shows like The Real Housewives of [insert here], Keeping Up With the Kardashians and 19 Kids and Counting may have started as the laughingstock of the entertainment world, but that is true no longer. With Kim passing Beyonce* as the most watched person on the web and the million (and extremely profitable) spin-offs that have followed these shows, no one is laughing any more - unless it's on the way to the bank.

Or if, in this case, you're attending the most local iteration of the Housewives franchise. Thanks to some spiffy writing from the folks at Second City in Chicago**, there are some new Housewives on the block - from Edina.

Photo courtesy of Hennepin Theatre Trust

The show is cleverly tailored to long circulating urban jokes about the suburbs***, for this show the heavily gentrified area of 50th and France. There are tiny dogs, big purses, bloody mary fountains, and sequins galore. Like the reality show itself, there's not much of a plot or a set, just concentric rings of trifling interpersonal conflict set on a couch whilst drowning in champagne. But no matter. Not all of our entertainment can be serious, nor should it be: sometimes it's nice to drink too many martinis thinking about someone else's made-up problems.

It's also nice to see a show flipping the usual casting and featuring almost entirely female actors. Each actress approaches her role with ferocity, best evidenced by the absolutely hilarious performance of Kim Kivens as Ravonka. Kivens carries the show with rude comments made in a pitch-perfect "Eastern European" accent, and it is delightful to watch her snipe at the rest of the cast.

New Century veterans Karissa Lade (Desiree), Quinn Shadko (Claudia-Louise), and and Adan Varela (Randy) are all familiar with the up-close-and-personal style of the theater, which is arranged as a comedy club for this performance. They have a great time as they weave through the audience and cajole each other, and their chemistry is great.

Photo courtesy of Hennepin Theatre Trust

Anna Hickey is another standout as Brooke, the butt-writing businesswoman who brings gravity to the housewives and provides Ravonka with an excellent foil. The director, Matthew Miller, is also of note. With a hit web series and a hot new television show about to debut on TV Land, Minneapolis is lucky we snagged him for this.

The Realish Housewives of Edina is a perfectly candy-coated show, great for a blitzy happy hour with girlfriends****, clocking in at under two hours including intermission. It's an affordable, entertaining microcosm of the insane state of entertainment today boiled into a relatable***** format. It has a long run (through November 15), so make sure to get your tickets by clicking this link.

*Yes, THAT Beyonce
**Which has spawned the careers of giants such as Stephen Colbert and Chris Farley, among many others.
***Admit it: you do that, too.
****Although my boyfriend did enjoy it.
*****Geographically, at least.

A Charming Cinderella

Roger and Hammerstein's beloved version gets classy treatment in the new production at the Orpheum

Photo courtesy of Hennepin Theater Trust

With its illustrious history, it's surprising that Roger and Hammerstein's Cinderella seems to often fall in the back of the minds of musical fans. Originated on television by a then-unknown Julie Andrews in 1957 on CBS, and repeated in a much beloved 1997 ABC television broadcast (with a spectacular cast that included Brandy, Whitney Houston, Whoopi Goldberg and Bernadette Peters), it hasn't seen much stage time.

Thanks to Minnesota native Laura Osnes, that has all changed. Osnes revived the role on Broadway to critical acclaim two years ago, and the show is now traveling (alas, without Osnes or her successor Keke Palmer in the title role) around the country.

It's a good thing, too. This Cinderella is not the Disney cartoon most of us remember from our childhoods. There are modern, witty jokes; Cinderella is not only determined and intelligent, but political; and the special effects have been upgraded. This is particularly noted in a series of spectacular costume changes for Cinderella, in which she twirls on-stage and her costume magically becomes something else. I've seen a lot of theater, but I have no idea how they do it. The trick never gets old and is a special draw for the show.

Photo courtesy of Hennepin Theater Trust

The cast is solid, but can be a bit disappointing for those who are fans of the earlier televised versions. It would be nice to see a little more diversity among the cast; with such loaded political lyrics, it would certainly add a depth of subtext to the script.

That being said, the main cast has excellent voices. Paige Faure is winningly winsome as Ella (aka Cinderella), and moves with a fairy tale grace. Andy Huntington Jones has a beautiful voice as Topher the Prince, although I wish he had the dance training to match Faure; he moved a little too stiffly for such a dance-heavy show. Kaitlyn Davidson is equal parts hilarious and heartwinning as Ella's good stepsister Gabrielle. In fact, Davidson is the show's brightest comedic star; I wish we had a little more of her.

The sets are gorgeous, evoking Disney's iconic hand-painted film without being too literal. They are also surprisingly nimble, considering they include a three sided house, full forest and palace staircases. Sets and stunts are some of the main draws of this show, so make sure to take note of them.

Photo courtesy of Hennepin Theater Trust

It's wonderful to see this charming show brought back to life. It's not one of Rogers and Hammerstein's best, but it is a classic. With a little modern magic, this pumpkin turns into a golden carriage - and it won't change back at midnight. Make sure to stop by, especially if you have kids. It's good to show them that there is more to fairy tales than the Disney version. Cinderella runs at the Orpheum theater through September 13. Click here to get your tickets.

Kreatively Kinky Boots

Cyndi Lauper's musical sashays its way into Minneapolis

Photo courtesy of the Hennepin Theater Trust

With the rise of Caitlin Jenner and passage of landmark LGBT legislation in the last few months, Kinky Boots couldn't be touring at a better cultural moment.

Kinky Boots tells the story of a man named Charlie who takes over the operation of a failing shoe factory after his father, the owner, dies. Charlie is at a loss for ideas to save the factory and the jobs it helps support, until he stumbled into a drag queen club. After learning from Lola, the club's manager, that the women's shoes the Queens purchase aren't sturdy enough to support their male frames, Charlie decides to convert the factory to supply their niche needs.

There are many bumps along the way, but the shoes are a smash hit at a final showing in Milan where international buyers are floored by their unique qualities. The show is slow to start, but if you can make it past the first 20 minutes or so you'll be drawn in by Lola, who changes the shoe factory and Charlie's life for good and provides the moral compass of the show.

Photo courtesy of Hennepin Theater Trust

There is no doubt that as Lola, Kyle Taylor Parker carries Kinky Boots to its steely stiletto heights. Parker's incredibly flexible voice alternately hits the flexible styles of Mary J. Blige, Lionel Richie, and Cyndi Lauper, and his expressive delivery infuses the music with magic. It's clear too that Parker inspires his fellow Queens, and the energy and cohesive harmonies they bring are keys to making the show click.

Photo courtesy of Hennepin Theater Trust

Lindsay Nicole Chambers is a cast standout as Lauren, who is hilariously in love with Charlie. Her wholesome portrayal grounds the show and provides an anchor for the rest of the drama to float around. Joe Coots is equally hilarious as the clearly hetero Don, who added a heartwarming element of true change of heart to the show.

The pit was fabulous, and any fans of Stevie Wonder/Daft Punk style bass lines will find themselves grooving in their seats. Sets were minimal, essentially comprising the interior of  the factory, but were fully utilized with interlocking "rooms" changing the audience's perspective. And costumes were drab, with the exception of Lola and her crew, who pranced around in togs worthy of Queen Bey herself.

There are lots of great 'moral moments' in this show, and its message of true acceptance is a timely one. We live in an age of intense political conflict and starkly drawn lines of belief, and we could all use a little more of Lola's favorite challenge: Accept someone for who they truly are. You don't have to like it, or agree with it - but accepting them as a human being worth value and your interest is the least you can do.

Photo courtesy of Hennepin Theater Trust

My only criticism of the book is that it could learn a little from its own message. Kinky Boots has a more diverse cast than most shows (although that is thankfully changing), but it is certainly true that the diverse members of the cast tend to be pigeonholed into specific kinds of roles (read: gay, drag queens, poor/marginalized members of society, etc. etc. etc.). I don't say this to knock the performance of Lola and her queens - they were fabulous and did an amazing job, and the show wouldn't have been the same without them - but to simply ask, were those the only roles they could have been offered? Why couldn't Charlie, his girlfriend, or a factory worker also been cast with a non-white actor? Food for thought.

Kinky Boots runs at the Orpheum through August 2; to buy tickets, click this link.

"Once" Worth Revisiting

One of Broadway's most compelling love stories returns to the State Theater

Photo courtesy of Hennepin Theater Trust

It's always nice to have too much of a good thing.

A perfect example of this is Once, which is in the middle of a return tour to Minneapolis. It's a beautiful show, and it retains all (if not more) of its charm the second time around.

Once is based on the movie of the same name, an Oscar winning story of almost-requited love. A Guy and a Girl, both facing hardships in their own lives, come together to record an album and help each other heal from their past wounds. While they don't quite move forward in a future together, they do make progress with their emotional lives, and each leaves the relationship with something beautiful to learn from and treasure in the future.

Most of the cast from previous tours is returning here, and they haven't lost anything over time. Musical standouts include the ethereal "If You Want Me," raucously fun "Ej, Pada, Pada, Rosicka," and a gorgeous a capella rendition of "Gold" from the ensemble. The entire ensemble is strong, playing instruments themselves (there is no pit orchestra for Once) as they sing and dance. It's a lot harder than it looks, and they do an amazing job.

Photo courtesy of Hennepin Theater Trust

It is worth mentioning that leads Stuart Ward (Guy) and Dani de Waal (Girl) seem to find this material as fresh as their first performance. Both have kick ass voices that never waver, and their unrequited yearning for each other is evident in every breath they display on stage. It's a rare chemistry, and carries the show to believability.

The innovative choreography and set use remains here as well, incorporating a vertically split stage and the heavy use of mirrors. It's a subtle element, but a special one; the mirrors lend a multi-camera perspective to the audience, allowing new views of the performers faces and instrument-playing, giving a feel of being "inside" the action. It's easy to overlook, but pay attention: the mixed perspective is really worth it.

Photo courtesy of Hennepin Theater Trust

Once is such a refreshing love story, avoiding the stereotypical happy ending for a more realistic, if brokenhearted, view of relationships. The gorgeous soundtrack and this solidly awesome cast are always worth revisiting. If you go, make sure you get in line to stand on stage before the show and grab a beer. It's an unusual chance to see a set up close firsthand, and the instruments each character plays.

For more information and for tickets, please click this link.

Lots of Laughs at Damn Yankees!

A pleasantly modernized Damn Yankees! hits the stage at the Ordway 

Photo courtesy of the Ordway.

It's always nice to see stories evolve.

In the musical world, it can be easy to get stuck in the 'golden age' of Hollywood, where everything was squeaky clean and hunky dory, and the messier sides of life in America were swept neatly behind the figurative overstuffed davenport.

Thankfully, the new production of rarely performed  Damn Yankees! at the Ordway does not fall prey to such a trap. While the story retains its wholesome plotline, innovative casting and a cast clearly enjoying themselves sweep the dust off.

For those uninitiated, Damn Yankees! follows a middle aged man named Joe who is the biggest fan of the Washington Senators. Disappointed with their poor performance and consistent losses to the Yankees, he makes a deal with Mr. Applegate, the devil's right hand man, to be transformed into a the world's best baseball player in order to lead his team to victory.

Photo courtesy of the Ordway.

The only problem is that he misses his wife and home - a lot. Too much. Joe succeeds in helping the Senators win the pennant, but resists all temptation (including a tailor made temptress named Lola) of fame and the trappings that go with it to return to his wife and cozy home.

Lawrence Clayton and Thay Floyd are excellent as the old and young Joe, respectively. They are eerily well paired physically and sonically, and both feature gorgeous voices with a great range of expression. They're Broadway transplants, and it shows; I wish they were sticking around for more local productions.

The rest of the cast is less excellent but holds their own. Ann Morrison is sweet as Joe's lonely wife Meg; Kersten Rodau brings her signature spunk to reporter Gloria Thorpe; Allen Fitzpatrick is loveably gruff as the Senator's coach Van Buren; and Monte Riegel Wheeler is delightfully flamboyant as the devious Mr. Applegate.

Photo courtesy of the Ordway.

It's worth noting here that subtle casting choices can make a break or show; they certainly elevated this one. It was refreshing to see Meg and Joe's relationship be interracial (more of that please!), and Mr. Applegate portrayed with a more complex sexuality than a 1950's audience would have preferred. Small details like this made the show feel modern, and certainly strayed from St. Paul's stiff-upper-lip, white class reputation. I'd love to see this continue in future productions.

Photo courtesy of the Ordway.

Damn Yankees! is no Bernstein masterpiece, but it's a fun show all the same. It's nice to see it getting some attention, and to see the casting choices reflect modern life. More productions could stand to cast the best people for their roles, instead of the most "historical" choice. Damn Yankees! runs through June 28, 2015; make sure you check it out if you get a chance!

Reviewed in Brief: Jersey Boys

The crowd went wild for Franki Valli and his crew

For those who love popular music, there are few bigger hits than Franki Valli. Although many today would have trouble recalling a photo of one of pop's most consistent heavy hitters, it's likely that almost everyone in America knows at least some of the words to one of his tunes, or at the very least his unbelievably high voice. Among the hits are:

• Big Girls Don't Cry
• Walk Like a Man
• Sherry
• Rag Doll
• I've Got You Under My Skin
• C'mon Marianne
• December 1963 (Oh What a Night)
• Who Loves You

So it's natural that a Broadway show about Valli and the band that made him famous, The Four Seasons, is a hit parade. Audiences have loved it for years, including a film version released by Clint Eastwood last summer.

Unfortunately, this Jersey Boys read more like a Wikipedia entry than the groovy concert I was hoping for. Much of this is likely due to the insanely difficult nature of Valli's role (played with mixed success by Hayden Milanes); his vocals are so deceptively hard, often beginning out of pure silence, that I imagine it would be nearly impossible to find someone to play the role consistently if it played more like a cover concert, especially in the grueling environment of a touring show.

Still, there was a lot of fun to be found in this show, and the audience adored it. The fellow Four Seasons (Drew Seeley, Matthew Dailey and Keith Hines)  were a pleasure to listen to and had great chemistry, and the action moved smoothly throughout the spare set. If you can manage it, make sure to get a ticket; you won't regret it.