The Guthrie is About to Get Cheaper!

“Those we serve,” said Haj, “we serve extremely well, but we are not serving enough people. There are entire populations that are left out.”

Photo linked from the City Pages; credit to Mark Vancleave.

Or at least the Dowling Studio is about to get cheaper, as announced by City Pages in an awesome new article and interview with new Guthrie Artistic Director Joseph Haj about the initiative.

"“We are very conscious,” emphasized Haj, “that price is not the only barrier to entry. For some, it’s second, third, fourth on the list of barriers. There’s [the question of] relevance, and there’s the psychological barrier of just coming into our building. Price is a barrier to some — and a meaningful barrier. We’re going to see a different demographic by virtue of [the nine-dollar] price point.”"

The new program, thanks to a $1 million grant, is going to help subsidize ticket prices in the Dowling Studio and make the space more readily available for of-the-moment art. This philosophy will hopefully make the space more accessible to the community and also encourage the Guthrie to become more of a hub and incubator for innovative local theater.

"Haj acknowledged the oft-stated fact that the Guthrie, like any large organization, is a “big ship” that takes a long time to change course. Planning for these “happenings,” he said, is a way to build organizational capacity to more quickly respond to developing events. “Why can’t we have three Zodiacs on board so that we can zip out and come back to our aircraft carrier?” asked Haj, extending the nautical metaphor.

When something like a “Ferguson moment” arises, said Haj by way of example, the Guthrie could host a spoken-word event or otherwise participate in an ongoing conversation. With the Level Nine Initiative, “we can have some resources on the shelf to be responsive,” Haj said."

The Guthrie is an institution that placed the Minneapolis theater scene on the international map, and for that we should be grateful. In recent years, however, it has begun to feel a little stale and certainly not as progressive as some of the other innovative companies and art spaces in the Twin Cities. It seems that Joseph Haj is truly breathing new wind into the sails at the Guthrie now; one can only hope that this continues. I'd love to see the Guthrie as a vital, accessible space, especially to our communities of color.

For more information, check out the excellent City Pages article by clicking on this link.

Blogging Business Moment: Branding Advice from The Skinny Confidential

Amazing branding advice from Video Influencers and The Skinny Confidential

Sometimes the best tips come from unexpected places, and this featured video is one of them.

I've been following the Skinny Confidential for a while. I couldn't tell you how I stumbled upon the blog, but something about it completely struck me - Lauren's voice is really authentic, and she has a lot of good business advice buried in between the fluffier posts.

If you're looking to build a brand (be it online or otherwise), or to refresh your current brand, it would be a great idea to take 30 minutes and watch this video. Lauren and Michael's tips may seem like common sense, but too many businesses - and let's be honest, people too, because every person is their own brand now in our social media age - ignore them. Anyone can use a refresh on these principles and it's a fun piece to boot. I know I learned a lot and will be picking up some of these tips as I continue to work with Compendium.

Like this? Want more business posts? Let me know in the comments and I'll expand this idea!

Buying In to Buyer and Cellar

Is there anything more Broadway than Barbra Streisand? 

Photo courtesy of Hennepin Theatre Trust. 

Let's be honest: there's not.

So it's a good thing that Barbra came to Broadway via Minneapolis, in the form of Buyer and Cellar, the new show at the New Century Theater. Buyer and Cellar springs from the real book authored by Barbra Streisand called My Passion for Design. The book details Barbra's immaculate eye for the tiniest of details in (everything, honestly, but especially) decorating her own home. A real part of that home is an exquisitely re-created antique shopping mall in Barbra's real basement, which is where Buyer and Cellar takes root.

Photo courtesy of Hennepin Theatre Trust.

The play follows Alex, a struggling L.A. actor who finally finds work as the only "employee" of the stores in Barbra's basement. Although he thinks it strange at first, Alex finds unexpected fulfillment working in the "shops" and getting to know Barbra. Buyer and Cellar follows Alex's thought process through his hiring, working and quitting the basement shops, and shows a fascinating imagination into what it is really like to be Barbra Streisand.

Photo courtesy of Hennepin Theatre Trust.

This is a one man show and may sound a little dry, but it holds up surprisingly well. Much of this is due to the inexhaustible Sasha Andreev, who plays each of his many characters with aplomb. Andreev was the perfect choice to play Alex; he has that sunny L.A. tan, the sashay-Shantay of a broke, gay L.A. actor, and the clear passion for his subject matter to hold our interest. Andreev describes Barbra with a startling clarity and makes Alex and Barbra seem like our long time friends.

Photo courtesy of Hennepin Theatre Trust.

The set is very minimal, using only intermittent projections to place us in the basement, in Alex's apartment, or the few other possible settings. Costuming is equally minimal, as is the rest of the production design. This was a wise choice, as it leaves us space to concentrate fully on Alex and the fantastic tale he describes. As a note: there is no intermission in this show, so make sure to plan accordingly.

The best thing about Buyer and Cellar is the finely dotted line between reality and make believe. The show is a fiction, of course, but one has to wonder: how much of it is truly made up? Streisand is notoriously eccentric, and many of the scenarios imagined here can be seen as real-life possibilities. It really stirs the imagination and provides a fun exercise in picturing how the 1% really lives.

Photo courtesy of Hennepin Theatre Trust.

Buyer and Cellar is a perfect show for our TMI era. It provides a Kardashian-level privacy invasion into who Barbra Streisand may really be, and that holds enormous cultural appeal. Andreev creates a magnetic one man performance, and it's worth a visit. The show runs through April 24; click on this link for more information or to buy tickets.

A Jiffy "Joseph"

It's the Bible if it were covered in sequins and served with a double gin and tonic

Photo courtesy of Hennepin Theatre Trust.

And isn't that always a good thing?

If your understanding of the Good Book could use a refresh but you find the typical Old Testament sermons a little dry, look no further than Joseph and the Amazing Technicolor Dreamcoat, currently showing at the Orpheum.

Photo courtesy of Hennepin Theatre Trust.

One of Andrew Lloyd Webber's first and best known musicals, Joseph follows the story of the man whose obvious position as his father Jacob's favorite was too much for his 11 jealous brothers. Through a series of attempted fratricide, almost-rape and skill at dream interpretation, Joseph lands himself a plum position in Pharoah's court, where his brothers eventually come in repentance and are forgiven for their devious actions.

It's likely to be a familiar story to many of us, and the technicolor wash over this production manages to hide the insanely dark subject matter (I mean how many of us would attempt to kill a sibling and then lie about NOT doing it to our parents? And things get weirder somehow...). This company in particular keeps things moving, with the entire show including intermission clocking in at under two hours - the perfect amount of time for most shows, I believe.

Photo courtesy of Hennepin Theatre Trust.

This clippiness is partly due to the stylings of the excellent Narrator Laura Helm. Helm truly steers the ship of Joseph straight through murky waters and towards its end goal. Her lithe voice shimmys through the story and injects it with the energy it needs to really shine. She is key to this musical's success, and she does a great job.

Also enjoyable is JC McCann as Joseph. McCann tends to stray from his natural abilities - sorry sir, but Christina Aguilara you are not - but he still possesses a lovely voice that suits the part of Joseph quite well. In particular, McCann nails the classic "Close Every Door," ushering the first act towards a heady close.

Photo courtesy of Hennepin Theatre Trust.

The ensemble is appropriately enthusiastic, and they sell their costumes like nobody's business. I've not ever been a huge fan of the production design in general for Joseph - I usually find it a little too Age of Aquarius for my taste - but there is some definite eye candy among the ensemble cast and that helps soothe the soul here. They also make excellent use of scrims and projections, adding an oddly comforting cartoonish aspect to the design that modernizes it and makes it feel homey.

Photo courtesy of Hennepin Theatre Trust.

Joseph has never been a huge favorite of mine, but this production really brings a fresh take to an age-old story. It's especially appropriate following Easter (if you're into that) and a reminder that although we have our differences, we are all brothers. It's a good thing to keep in mind as we mourn Jamar Clark and find a way to heal our community together.

For more information or to buy tickets, click on this link. Joseph runs through April 3.

Tosca is Quintessential Opera

Pavorotti would have loved this production

Photo courtesy of the MN Opera.

In fact, I'm pretty sure that Dominick Chenes, who plays Mario Cavaradossi, stole his playbook straight from under Pavorotti's nose. His powerhouse tenor rips through the role and shatters every glass in the house, without even sounding breathless.

Photo courtesy of the MN Opera.

But I'm getting ahead of myself. Tosca, like many operas, is a tragic love story. The difference here is that although Tosca (the lover of painter Mario Cavaradossi) believes he is seeing another woman, she is mistaken; he is helping a former friend to escape from prison. For revenge, Tosca turns Cavaradossi in, only to find that he is innocent of cheating on her.

Photo courtesy of the MN Opera.

The source of all the confusion is the villain Scarpia, who abuses his position of power to try to ensnare Tosca to be his own lover. Tosca's passion for Cavaradossi outweighs her disgust with Scarpia, and she agrees to spend a night with him if she will free her lover. However, Scarpia backs out of his promise after their foiled night together and kills Cavaradossi after all.

Photo courtesy of the MN Opera.

As always, Puccini provides an entertaining opera, and  it is hard not to feel involved in Tosca and Cavaradossi's drama. This is often thanks to Chenes, but Alexandra LoBianco provides quite the foil as Tosca herself. LoBianco is a worldwide primadonna and shows herself as such in her duets with Chenes. Mark Walters clearly relishes his role as the villain Scarpia, and swaggers around in nefarious opulence throughout the show.

Photo courtesy of the MN Opera.

As always, the MN Opera production team has proven they are some of the most talented around with a knockout set, particularly the golden features of a church in the first act. It is absolutely stunning, particularly when surrounded by the ensemble swathed in period appropriate clothing from the Catholic Church. There's nothing like Italian decadence to feast the eyes on, and Tosca has that in spades.

There always seems to be a fear with comprehension of opera that inhibits people from attending. This really bums me out, because at their core, most operas are no different from your average romantic comedy or soap opera; AKA, you've seen this before and have nothing to fear. The MN Opera is determined to help combat your opera phobias, and they have provided an amazing set of resources on their website and in the program that includes historical facts, biographies, plot synopsis, YouTube clips, Pinterest boards and more (click here to go to their resource section for Tosca). Even if you're not attending the show, it's a fabulous compendium of information; it's worth a perusal.

Photo courtesy of the MN Opera.

This production runs for one more week and Puccini is always fun to watch; make sure you get your tickets now by clicking on this link.

MUST SEE: Nina Simone: Four Women

I can't rave enough about this. 

Photo courtesy of Park Square Theatre.

I'll just dive right in: Nina Simone: Four Women, the new show at Park Square Theatre, has everything you could want in a play, and they go all the way with it. It is a must see; forget even reading this review and run to buy your tickets now!

Nina follows a day in the life of singer Nina Simone, a once-forgotten vanguard of the Civil Rights movement who is having something of a renaissance moment these days (Netflix did an awesome documentary of her and a much contested biopic is scheduled for release later this year). Simone travels to the southern Baptist church where four young girls are killed in a bombing in 1963. There, she attempts to finish her song "Mississippi Goddamn," one of her most famous hits.

Photo courtesy of Park Square Theatre.

As the show progresses three more women successively enter the church: Sarah/Auntie, a member of the church and a local maid; Saffronia, a local volunteer with Martin Luther King Jr.'s organization; and Sweet Thing, a pregnant prostitute and childhood acquaintance of Saffronia. Each woman shares a deep pain or social struggle, and each finds healing through the connections they make with each other. This show is tense, fraught with all sorts of drawn lines: lines of color, lines of class, lines of sexuality, lines of geography; but as the women come together, it demonstrates how much power we have when we decide to stop standing alone and find community.

Photo courtesy of Park Square Theatre.

Nina is locally written (by Christina Ham, who has two more shows being produced in the Twin Cities this spring) and absolutely profound. The script would be excellent on its own, but several of Simone's songs are woven into it and the musical punch they pack is intense. In particular, a gorgeous rendition of "Sinnerman" and the final piece that influenced the entire writing of the show, "Four Women," are deliriously beautiful. The show's strength is also it's only weakness - we need more songs! This cast is so talented, and I would gladly watch them sing anything they wanted. 

Photo courtesy of Park Square Theatre.

Park Square found an inimitable group of women for this performance. Regina Marie Williams is born to play Nina Simone; she has the deep, throaty tone, the anxious tick, the toothy speech mannerisms, and she brings the stage alive. Williams is able to shepherd the audience through deep, sometimes terrifying understanding of the dangerous world the characters inhabit (which sadly isn't much different today). Sarah, played by the equally gifted Aimee K. Bryant, has a spine tingling gospel voice that shatters through the theater every time she sings. Bryant shines through Sarah's learned servile restraint and brings heartaching warmth to her performance. She is a strong, strong partner with Williams, and they anchor the show.

Photo courtesy of Park Square Theatre.

Thomasina Petrus brings a robust soprano and unique perspective to the show as Saffronia, the "high yellow" who is also the only flag-planting civil rights activist. Saffronia's presence displays the deep fission of hurt within the black community regarding traditions such as the paper bag test; her presence exposes the raw emotions felt around politics and privilege, and Petrus helps Saffronia to stand tall. Traci Allen Shannon is much darker than we've seen her before (last seen as Dorothy in the Wizard of Oz) here as Sweet Thing, and her youth and enterprising nature bring the story a more modern feel.

Photo courtesy of Park Square Theatre.

Nina Simone: Four Women is an absolute must see. I can think of no better way to celebrate Women's History Month than to view this female written, female produced, expertly acted and goosebumps beautiful knockout of a show featuring four exquisite women of color. If Nina can't move you, nothing will. And Park Square: please bring these ladies back for a concert!! They sing together so beautifully, and we would love to hear more.

Nina Simone: Four Women runs through March 26; find more information and buy tickets by clicking on this link.

Finding New Magic in Beauty and the Beast

The Chanhassen's latest is unexpectedly timely 

Photo courtesy of Chanhassen Dinner Theatre.

I have a confession: when I found out Chanhassen Dinner Theatres (CDT) was doing Beauty and the Beast, I was disappointed.

No matter that it's been 10 years since the last time they performed this show; I felt like I'd seen it enough to not have to see it again. But I guess I had to discover that it's amazing what fresh eyes will do to a familiar piece.

Photo courtesy of Chanhassen Dinner Theatre.

I found myself unexpectedly nostalgic as I watched the same story I've been watching since I was a little girl, and found the show to be unexpectedly timely. I'll assume that most readers are familiar with this plot, so I don't need to repeat it. The themes, however, struck me anew and seemed eerily timely for our current political climate: narcissistic, violent villain who will take everything he wants at all costs? Check. A gentle soul and good ruler hidden in ugly beast's clothing? Check. A heroine who is whip-crackingly smart and stands for justice at all costs (and is also gravely underestimated)? Check. A general population of people who are easily stirred to violence and prejudice? Check, check, check.

The Chanhassen hired a ringer cast for this show, and they sell it hook, line and sinker. In fact, it's impossible not to imagine the possibilities of further shows they could do with this cast - Phantom of the Opera and Les Miserables please? Think about it CDT.

Photo courtesy of Chanhassen Dinner Theatre.

Ruthanne Heyward shines as Belle, with the perfect Disney spring to her step and some unbelievably animated hair. Her finest moments moments occur in the second act, with "A Change in Me" and "Is This Home," both of which are gorgeously sung. Robert O. Berdahl is a perfect match for Heyward as the Beast. Berdahl makes the Beast incredibly human despite very heavy makeup, and his lyrical baritone anchors the show. All of Berdahl's solos are wonderful, and unexpectedly moving. This is a different pair than we're used to - Belle is much more confident and brandishes her intelligence like a weapon, while the Beast is far more tender and less confident in himself. It adds new depth to the story and is greatly enjoyable.

Photo courtesy of Chanhassen Dinner Theatre.

The standout star (how could it not be?) is Aleks Knezevich as Gaston. Knezevich hams it up at absolutely every opportunity and clearly relishes his silly yet sinister role. The best number of the show (unexpectedly "Maison des Lunes" with Lefou (Daniel Hines) and Monsieur D'Arque (David Brinkley)) belongs to him, as his beautiful voice but evil words slithers out of his handsome face. This is a darker Gaston than I'm used to seeing, but he is still very funny - Knezevich knocks his role out of the park, and the similarities between his lines and some of the statements from current presidential candidates will have you giving a double take. Make sure you pay attention to them.

Photo courtesy of Chanhassen Dinner Theatre.

There is such a wealth of great character parts in this show, and they're all well performed here. Ann Michaels (Babette), Emily Skinner (Madame de la Grande Bouche), Mark King (Lumiere), Keith Rice (Maurice) and Scott Blackburn (Cogsworth) all lend great charm to their parts. Susan Hofflander is remarkable as Mrs. Potts and delivers a ringing rendition of "Beauty and the Beast," causing you to forget all thoughts of Angela Lansbury. It's her finest work yet at CDT and will give you chills.

Photo courtesy of Chanhassen Dinner Theatre.

A special shout out also has to go to Rich Hamson (costume designer), Susan Magnuson (hair/makeup designer) and Michael Brindisi (artistic director). The Chanhassen is a unique theater space and always has to reinvent what we're used to seeing in Broadway shows when they perform these classics. They have absolutely knocked it out of the park with this staging. The set is simple with very few moving parts, but it gives a sublime feeling of the castle and makes it clear exactly where you are in each scene. The costumes are amazing, and baffling; I honestly can't figure out how the performers get such complicated pieces on and off so quickly, nor where they store them. It's a feat of stage direction, and hats off to this team for some incredible work.

Photo courtesy of Chanhassen Dinner Theatre.

Sometimes it's easy to forget that children's stories (and children themselves, for that matter) aren't stupid or simple things. They have so very much to offer us and a lot of reminders, especially about behavior, that any grownup could stand to bear every now and then. Kids will love this show, and you should take them - but grownups, make sure that you don't miss the message Belle is trying to send you. It's okay to be smart, it's okay to stand up to bullies, and fighting for good things and better lives for the general population is never wasted time. Beauty and the Beast runs through the summer, so you have plenty of time to check it out. For more information and to buy tickets, click on this link.