Unsung Heroes: Stagehands, Costumers, Set Designers, and More

It is a truth that ought to be universally acknowledged that without the efforts of those we do not see, stage magic would not exist at all. 

Photo courtesy of Hennepin Theatre Trust.

Much like the dishwasher is the most important employee in any professional kitchen (ask any chef, it's true), the most important players in a theatrical production aren't the actors or the directors or the musicians. They're the people you never see - lighting designers, set designers, stagehands, and most important of all, stage managers.

The Star Tribune is currently running an excellent piece about Dave Marietta, the mastermind who engineers most of the spectacular productions we lucky Minnesotans attend regularly. A jack of all trades, Marietta is indispensable to the running of the theater, and the man we should thank for the Orpheum's continued success as a bastion of the performance arts in the United States.

I highly recommend all readers check out the article - you can find it by clicking on this link - to learn more about how those fun special effects are made and who does their making.

I also want to thank all the countless unnamed technicians, managers, designers and more who work behind the scenes to provide the amazing productions we get to see. I could never name them all, but they know who they are. Fly on guys.

A Celestial Sister Act

Bless us, oh Lord, for these Thy gifts which we are about to receive. And yea, though I walk through the valley of the shadow of no food, I will fear no hunger. We want you to give us this day, our daily bread. And to the republic for which it stands, and by the power invested in me, I pronounce us ready to eat. Amen.

Photo courtesy of Chanhassen Dinner Theatre. 

It's a good time to be Catholic thanks to a fun production of Sister Act at the Chanhassen Dinner Theatre.

If you haven't seen the excellent film version starring Whoopi Goldberg (for shame! It's awesome, make sure you watch it ASAP), here's what goes down: A worldly woman named Deloris accidentally witnesses her boyfriend Curtis killing someone. To keep Deloris quiet, Curtis tries to kill her, but she manages to escape to a witness protection program. Thinking it the least likely place Curtis will look, the police hide Deloris in a convent until the she can testify at the trial. Never a wallflower, Deloris proceeds to reinvigorate the church from top to bottom by bringing its lackluster choir into the disco soul era. Religious witticisms fly all over the place, Deloris gets too famous for her own good, and everything turns out well in the end.

Photo courtesy of Chanhassen Dinner Theatre

Sister Act is a little slow to start, but once it picks up, you'll be swept away. The second act packs a big musical punch with some beautiful solos, including a powerful rendition of "The Life I Never Led" by Britta Ollmann as Sister Mary Robert, and an emotional performance of "Sister Act" by Regina Marie Williams.

Photo courtesy of Chanhassen Dinner Theatre.

This production suffers from some minor miscasting, in particular the relegation of the excellent Kasano Mwanza to the proverbial corner as the quiet cousin TJ. Mwanza's gorgeous voice and comedic tendencies would be better served in a more central role, perhaps the hidden gem of policeman Lt. Eddie Souther. Reginald Haney has a more Barry White-esque voice and does a serviceable job in the role, but it would really shine with Mwanza's charm.

Some casting, however, is spot-on, such as Regina Marie Williams in the title role as Deloris Van Cartier. Williams always shines and this is no exception. Her emotional range fits beautifully into the subtle changes Deloris undergoes the longer she remains in the convent, and her beautiful voice fits the songs well as long as she doesn't try too hard to over-sing. Keith Rice, a perennial favorite, is hilarious as the Monsignor.

Photo courtesy of Chanhassen Dinner Theatre.

It's a pleasure to see a rare production featuring a cast of almost all women, and for that reason alone Sister Act holds a special place in the theatrical pantheon. This ensemble clicks well, hitting every nun stereotype you could expect. The hip hop nun (Seri Johnson) and Hairspray-ed soul sister (Therese Walth) performances are probably the standouts, but each actress does a fine job.

Photo courtesy of Chanhassen Dinner Theatre.

Sister Act is a family friendly show that reminds us all that, rather than complain about the state of the world outside our walls, we would be best served by channeling our energy into making the world outside a better place. We are always best served when connecting positively with others and embracing them with true empathy. It's a lovely lesson as we enter the holiday season, and one we can all do best to keep in the front of our minds.

Sister Act runs at the Chanhassen Dinner Theatre through February 27. Click here for tickets or more information. 

Reviewed in Brief: The Jungle Book

Photo courtesy of the Children's Theatre

Good news for kids: the Jungle Book has been extended for a second time at the Children's Theatre.

The beloved classic gets a new musical treatment in this production, which stars one of the most diverse casts I've ever seen. Each actor plays multiple roles, with nimble costume changes switching between different animal characteristics. The set is also gorgeous, evoking a jungle but allowing the actors high mobility and visibility.

I hate to admit I was a little disappointed with this... but I was. Due to the necessity of having each actor portray multiple characters, there was little in the way of elaborate makeup and costuming that I was hoping for. I was also looking for some of that Disney flair, which is obviously not present here. Still, the kids in the theater didn't seem to mind, and the fresh faced actors made the show more accessible and a little less scary to them than it would otherwise have been.

Fans of the Disney film may be disappointed if they attend this show expecting the same, but lovers of good children's productions and creative production design will enjoy this greatly. For more information about the show or to buy tickets, click on this link.

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.