"Pippin" is Full of Magic

The beloved musical gives audiences a taste of theater at both extremes

Photo Courtesy of Hennepin Theater Trust

I don't know about you, but when I see live theater (especially musical theater), I want to be blown away by magic.

There's something about watching Mary Poppins "fly" over an audience, or a Beast change into a Prince before your eyes, that brings a little more wonder into the world, and it's something we could all use more of.

Pippin delivers plenty of wonder, told through the story of a boy finding his way in the world. Pippin fights in the crusades, murders his father and wanders the earth, desperately searching for the key to happiness. What will bring Pippin satisfaction? It's not lust, war, or glory; instead, contentment is found in a life of working with one's hands, caring for others, and otherwise focusing on simple things. By making light of extraordinarily dark subject matter (crusades? patricide? elitism?), Pippin gently guides us an actual happy ending; it may not be what we expected, but it's better for that.

The number of spectacular effects to be found in Pippin is too large to list here; instead I can say that although this story sounds ordinary, the cast goes out of its way to bring (literal) magic to us all. Pippin is also remarkable for allowing audiences a glimpse behind the masque; the show ends with the illusion of theater being stripped away, and all we see is a theaterfull of possibility.

Photo Courtesy of Hennepin Theater Trust

There are some spectacular voices among the cast members, in particular Sasha Allen (a former competitor on The Voice). Allen could carry any show, but her lithely acrobatic singing really pushes Pippin forward; she is of a rare caliber and beyond worth going to see. Her work in "Glory" and "On the Right Track" is chilling in the best way.

Another standout is Minnesota native Kristine Reese (formerly seen here on stage in Wicked). Reese has a surprising voice, and lends charm to a role that otherwise could be relatively uninteresting.

Priscilla Lopez is an audience favorite as Pippin's grandmother Berthe. The sneakiest star, however, is John Rubinstein as King Charles; not only is he fabulous in the role of the powerful king, but he is also the original Pippin from the show's first run in 1972. He's wonderful and I only wish he were a more present part of the second act.

Costumes and sets strike a balance between a Holy Grail and burlesque circus show vibe. It shouldn't work, but it does; there is so much to look at, so much surprising detail that you can't help but get caught up in it all. I would recommend trying to get seats in the center of the theater if you can so you can see all of the action, but it's a spectacular show either way.

Photo Courtesy of Hennepin Theater Trust

A little Monty Python, a little Gilbert and Sullivan, a little Cirque du Soleil, and a whole lot of heart, Pippin is a spectacular revival and I highly recommend it. People of any age can enjoy it, but I think it's especially fit for those who have lost their wonder and need a little help with inspiration. Click here for more information about the show and buying tickets.

An Outstanding "Oliver!"

The classic musical retains its magic and message in a new production through Hennepin Theater Trust's 'Broadway Re-Imagined' Series

Orphans in the Work House
Photo courtesy of Hennepin Theater Trust

It is often said that the way to define a truly classic piece of art is to see how well it stands the test of time.

By that standard, most art is relatively temporal; movie stars fade and die, albums are forgotten, Pulitzer winners crumble to dust in long forgotten bookshelf corners.

It is lucky for us that the work of Charles Dickens was not destined to fail the time-test.

Over a hundred years after publication, Oliver Twist proves as relevant a tale as ever, and this is clearly evident in the excellent new production of the Broadway musical Oliver! at the Pantages Theater in downtown Minneapolis.

Oliver Twist is an orphan in 1860's London, caught in between the budding schemes of imperialism,

The Artful Dodger and Oliver Twist
Photo Courtesy of Hennepin Theater Trust

industrialism, child labor laws and the socialist revolution. He has a horrifically unfortunate life (involving, among other things, a child labor workhouse and funeral parlor) until he meets a friendly thief named Artful Dodger, who brings him to relative safety. The trouble is, Dodger works for another thief (Fagin), who is equal parts philanthropist (taking in the city's numerous orphans and feeding/sheltering/clothing them) and pimp (training the children as thieves and whores to earn their keep).

Oliver eventually makes his way to the home of a rich man, and the rest of the story entails the struggle between rich and poor, Fagin fighting to reclaim Oliver from his luxurious new home, Fagin's lackeys (including the beautifully sorrowful prostitute Nancy) caught in between, and the eventual triumph of good (and money) over evil.

Peter Rothstein went all out with this cast; orphans are played by the Minnesota boys choir, Nate Turcotte is a winsome Oliver, and Lauren Davis lends a new sheen to Nancy.

A few actors, however, made the show and are a great reminder that any 'old' material can be made fresh. Alec Fisher is slyly fabulous as the Artful Dodger, with more than enough spunk for the entire gang of thieves. James Ramlet unveils a spectacular bass voice as Mr. Bumble, and his appearances are a consistent delight. And Bradley Greenwald is a revelation as Fagin, lending his signature sarcastic charm and versatile voice to a part that deserves his swagger. Greenwald also performs several special 'magical' stage effects in his role; kids and grownups alike are sure to enjoy it.

Bradley Greenwald as Fagin
Photo Courtesy of Hennepin Theater Trust

Oliver!  is an enduring tale, especially in an age when class, race, and politics are so fraught with conflict. The value in Oliver! is its existence in the gray space between these tensions, showing what happens to those who are caught in the spoke of an onward moving society. It's a morality tale packaged in a sprightly musical, and it's a great show for people of any age. This production has the benefit of being locally grown and running for a while; click on this link to make sure to get your tickets now. 

Artist of the Week: Miwa Matreyek

Just take a look at this: 

It's astonishingly beautiful, and a still of one of the most interesting visual displays I've seen in a long time.

Miwa Matreyek is currently performing her unique blend of animation, collage and live silhouette choreography at the Walker, and it's gorgeous. I'm not quite as on-board with her films thematically (Expanding the Frame is supposed to tell the history and evolution of the earth and its environment - love the concept, but felt pretty 'meh' about the execution), but there is no denying that they are spectacularly beautiful. Just check out some of the images - and a sample of her film, shown at a TED conference - below.

Reviewed in Brief: RED-EYE to HAVRE de GRACE with "Out There"

Do you like creepy things? Can't get enough of ghosts and insanity and the dank books of the 19th century? 

If so, then Red-Eye to Havre de Grace, the Walker Art Center's current "Out There" performance, is most definitely for you. Following the last five (and heavily eccentric) years of Edgar Allen Poe's life, Red-Eye weaves together dance, stilts, optical illusions, park rangers, poetry, and a gaggle of instrumental backdrops (seriously, it's strange - clarinet, bassoon, two pianos played with at least four different techniques, etc.) to bring Poe back to life.

Red-Eye is by far the most traditional, narrative piece I've seen at an "Out There" performance, and for the most part it's a hodgepodge that works. Most Americans have at least heard of Poe at some point, and the masterfully constructed introduction to the show is invaluable in helping understand the narrative (in other words: don't be late! It's the best part of the entire production, and absolutely hilarious. It's about time someone "roasted" Poe). However, Red-Eye is just a little too long for the subject matter to keep your interest (90 minutes), and to be entirely honest, isn't fully engaging if you're not super into Edgar Allen Poe. There are things to enjoy, but it can feel too scattered.

This is the last of the "Out There" performances, and it ends this weekend - catch it while you can! Learn more by clicking on this link. 

A Lively Lucy

Desi steals Lucy's thunder in this sweet new show about the brazen comedienne

Photo Courtesy of Hennepin Theater Trust

It's always tricky to do a performance about a beloved character.

This can apply to any kind of person - screen sirens (Marilyn), royalty (QEII), etc. - but it's especially difficult in the comedy world, where great performances are already hard to pull off. Trying to emulate the success of something that became famous for it's unpredictability to start with can be a nightmare.

Successfully retaining the spontaneity of great humor while keeping it true to form AND fresh and funny is exactly the struggle of I Love Lucy: Live on Stage, a new pastiche portraying the eternally beloved I Love Lucy show as it is being filmed. Fans of the television show will pick it up quickly, but they may be hesitant to get into it - and in the beginning, that's fine. It takes a while for this Lucy to kick off.

Photo Courtesy of Hennepin Theater Trust

After it hits its stride, though, it can be a mighty fun ride, in particular in Act II. Unlike the original television show, the Desi in this Lucy is by far the star - Euriamis Losada is fabulous as Lucy's lisping paramour - and he gets much more 'screen time' as the show moves on. He carries most of the comedic timing, but the real standout is his incredible singing voice. This is not a musical, but I found myself wishing it were for the benefit of hearing more of Losada's luxurious voice. He's lovely, and worth the show alone.

Thea Brooks does a fine job as Lucy Ricardo; she's no Lucille Ball, but let's be honest: who could be?! Brooks brings her own swagger to the character, and once one forgets the original television cast, it works just fine.

The costumes are unequivocally true to period and gorgeous. (ModCloth could make *a lot* of money capitalizing on those designs!) The set, unfortunately, does not keep pace and provides a relatively drab backdrop for the otherwise lively action on stage.

The show runs without intermission (a welcome surprise), and time passes quickly; make sure you stop by before it's done running! Learn more and buy tickets by clicking on this link.

Reviewed in Brief: CAMPO "Still Standing You" with Walker's 'Out There' Series

Is this the post-modern gladiator?

I've said it before, and I'll say it again: the Walker Art Center's annual "Out There" series is primed to make you think.

Take, for example, "Still Standing You," the second piece in this year's series. This show had everything you didn't know you needed. Witty, informal exposition? Check. Contortions and physical tricks? Check. Male nudity? Check. Males playing with each others foreskins? Check and check.

(And yes, you did read that last line right - there was a solid 5 minute sequence which the fully nude players spent crawling and contorting around each other in various positions without ever letting go of each other's *ahem* 'sheaths.' Don't go with your mom.)

Despite the off-putting nature of some of this interaction, I couldn't help but feel that "Still Standing You" was really an exercise in absolute relaxation: what happens when people fully let go of their societal constraints, allowing themselves to use their bodies as toys and with completely open minded exploration?

Viewed from that perspective, this show was a masterpiece in pure creativity. There is a little bit of every emotion to be found here; primal noises, violence, spoofs and humor, love, comfort, safety, and danger. If nothing else, it was a very different portrayal of male sexuality and friendship than I'm used to, and a refreshing one; if this is what social evolution means, I'm all for it.

As always, the Walker's "Out There" series is perfect for anyone who needs a jolt out of their comfortable artistic routine. Find more information about the series (which has several events left) by following this link.

A Creme de la Christmas Story

The classic holiday film gets a surprisingly great musical makeover

Photo courtesy of the Ordway

"My kid brother looked like a tick about to pop."

"He looks like a demented Easter bunny."

"My father worked in profanity the way other great artists worked in paints or clays."

Photo courtesy of the Ordway

Recognize any of these lines? They're among the many, many gems to be found in perennial TBS Christmas Eve 24-hour special A Christmas Story.

One of the most beloved holiday films ever, A Christmas Story is a delightfully narrated tale of one

boy's (Ralphie's) quest to get a Red Rider BB Gun for Christmas in his idyllic yet modest 1940 childhood. Woven in are fabulously funny side stories, including the beating up of a bully, sticking of a tongue to a flagpole, a drunk Santa with demented elves, and the infamous leg lamp (or as Ralphie's father puts it "Major Award").

This live-on-stage musical version, then, was a tricky bet; it's always difficult to transition a good film into a good show, and adding music could have been a mess. Thankfully, it wasn't.

A Christmas Story has its hiccups, but on the whole this was a funny, heartwarming rendition. It follows the movie very closely, and has plenty of fun in the process. The songs are not only fine, but some are terrific; "Ralphie to the Rescue" was a particularly enchanting spoof on classic "western" phrases heard in the likes of Aaron Copland scores and John Wayne/Clint Eastwood films.

Photo courtesy of the Ordway

The cast has solid musical chops. Jake Goodman shines as Ralphie, and his fantastic voice (seriously, this kid can't be more than 12, and he's got Idina Menzel's vocal swagger down pat) carries the show. This might be the Achilles heel of A Christmas Story; I can't imagine the show being quite as enjoyable with a lesser talent playing Ralphie.

Photo courtesy of the Ordway

Another shining star is Billie Wildrick as Ralphie's mother; she has terrific moments on "Just Like That" and "What a Mother Does." The ensemble of children, as well as Dieter Bierbrauer as Ralphie's Old Man, are solid as well. And although lacking some of the snap of the narrator in the film, Gary Briggle is warm and inviting as the narrator Jean Shepherd, whisking us through the story in a comfortably husky tone.

The set is of note as a period appropriate, festive piece. It snows, has a shiny Olds, sepia-ed gifts, itchy sweaters - the whole package, in other words. There are even live dogs to play the Bumpus Hounds, who cavort across the stage in highly entertaining fashion.

A Christmas Story on stage is just as enchanting as it is on film. It's funny, warm, heartening, and absolutely worth a visit. It's also appropriate for all family members. Take a break from the holiday madness and sit for a few hours in Ralphie's world; I promise you won't regret it.

And, because I can't help it at all, here's a mashup of the songs (I really did love them!!):

For more information on tickets and the show, click here.