Six is a Divine Experience

Six puts the spotlight back where it belongs: on the women who made the man.

Photo courtesy of the Ordway

True story: I have always been a history buff, for my whole life. Even in elementary school, I sought out books about the days of yore, imagining what it might be like to wear a ruff or practice a harpsichord or cross the ocean on a great ship.

I never thought about it at the time, but in retrospect I always made a point of seeking books about women first. Queens were my favorite. I had a book about 10 of the most powerful queens in Europe (many of whom, such as Eleanor of Aquitaine or Catherine the Great, are still sadly neglected in history studies) that I read so many times I nearly had it memorized. I bought all of the Dear America series (RIP), read American Girl books as soon as I got my hands on them, and was obsessed with the Royal Diaries series, which introduced me to queens like Nzingha and Kaiulani who were never covered in my textbooks.

It says a lot, however, that the above series were about the limit of what I was able to find about women in history when I was growing up. And they weren't easy to access - in my small town the libraries didn't carry most of these books, so I had to scrimp and save my allowance to buy them at book fairs (they weren't cheap), or borrow from friends who got them as gifts.

So imagine the joy of elementary school age me when it was announced that Six was coming to the Ordway. Six is a rock concert style show that tells the story of the six wives of Henry VIII (the first Queen Elizabeth's father, if you're not sure who he was). Each wife gets the chance to sing her story to the audience in a competition to determine which had it worst. By the end, however, they realize that they've been given short shrift; they aren't famous because they were the wives of a king - their king was famous because he had so many colorful wives. Instead of competing, they band together to re-define their stories and leave on their own terms.

Photo courtesy of the Ordway

It should be no surprise that I LOVE this concept. It helps that the team of queens performing is terrifically talented and more than give these historical figures their due. As there's not much of a plot beyond what I just described, let me break down the characters for you to give you a better idea of what goes down:

1. Catherine of Aragon: Henry's first and longest-lasting wife, Catherine of Aragon, was never intended to marry him. Sent from Spain at the age of 16, she was intended for Henry's older brother Arthur. When Arthur died shortly after their marriage she instead married Henry and bore him a daughter, Mary. Catherine was older than Henry and struggled to have more children, and a rift grew between them as he cheated more and more frequently. Henry went to extraordinary lengths to divorce Catherine, including leaving the Catholic Church and founding the protestant Church of England (which ushered in an era of violent religious instability in the U.K. for centuries). Catherine is played with spunk and charisma by Adrianna Hicks. I appreciated her no-holds-barred attitude, perfectly befitting what I imagine to be the inner dialogue of a queen who was constantly overlooked and passed around without her will throughout her life. 
2. Anne Boleyn: Anne Boleyn has been thoroughly castigated in history as a seductive, husband-stealing, six-fingered witch. I have always thought she got short shrift and am thankful that her story is finally being re-written by historians. Anne was the woman Henry incurred his first divorce to marry. She mothered the indisputably great Queen Elizabeth 1 and was known for being plain spoken and willful. I love her backbone and that she was one of the few people to publicly fight against Henry in his time, and she was accomplished - fighting to pass a bill helping the poor and homeless and writing the now-famous song Greensleeves. Anne was tragically beheaded after being successfully accused of adultery, but she went down swinging. Her fuck you attitude is delightfully rendered here by Andrea Macasaet in a wry, pointed performance that had me in stitches. I dare you to leave Macasaet's performance without at least changing your mind about Anne Boleyn, if not loving her a little more than the others.
3. Jane Seymour: Allegedly the only wife Henry VIII ever loved, Jane is also the only wife who bore him a son. She was quickly (and for her I'm sure, terrifyingly) betrothed to him only the day after Anne Boleyn was violently beheaded, and died shortly after birthing Edward VI. Jane is a little more boring than the others on the surface, but her real life had some tragic elements. Her character in Six is therefore the most ballad-oriented, and her solo was beautifully sung by understudy Mallory Maedke. Maedke puts some dynamism it what could have been a snoozy role for me, and she was a few audience members' clear favorite by the end of the night. 
4. Anna of Cleves: Anna was the luckiest of Henry VIII's wives and it happened completely by accident. Needing a wife after Jane's tragic death, Henry VIII solicited portraits of eligible ladies from around Europe and selected Anna's (a wealthy German royal) after determining it was the prettiest. The trouble was that her real-life appearance and demeanor did not match the glow-up given in her portrait, and Henry VIII was totally turned off after actually meeting her in person. They were briefly married but quickly divorced so Henry VIII could seek greener pastures, meaning Anna was left to enjoy a single life of great wealth in not one but two palaces with the freedom to do however she chose. I saw understudy Nicole Kyoung-Mi Lambert play Anna in Six. While I think she was the weakest vocally of the crew, she was indisputably the comedic highlight. I loved watching her confidently strut around the stage and gain the ultimate life of a royal wife, which felt like a much deserved win for at least one of these ladies. 
5. Katherine Howard: Katherine is perhaps the most-forgotten of Henry VIII's wives. A cousin of Anne Boleyn's, Katherine married Henry VIII at the ripe old age of 17 (he was 49, hmmmmm) in the same year he divorced Anna of Cleves. Unfortunately she met the same ill fate as her cousin: successfully accused of adultery and beheaded for it. Katherine always seemed to have the least amount of choice in her fate of all of Henry VIII's wives, and her fury at that lack of agency is wonderfully portrayed by Samantha Pauly. Pauly has all the attitude of a 10 Things I Hate About You's Julia Styles, and her solo really hits home how little choice the women of the Tudor era had to control their own fates. 
6. Catherine Parr: The only wife to outlive Henry VIII in their marriage, Catherine Parr had a long life outside of her relationship to the king. She was highly educated and a political force, publishing books, creating educational programs for women, and generally leading a rich and interesting life. Catherine is played brilliantly by Anna Uzele in what was undoubtedly the musical highlight of the entire show. As I recently saw so wisely stated on Instagram, "There are people who can sing, and there are people who can sang." Uzele is firmly in the all-caps SANG camp, whipping out a dynamic voice that is supple as a knife and powerful as a hurricane. Time stopped during her solo and I can't wait to see her career explode; she has all the potential of an Audra McDonald, a true vocal star. 

All the ladies sing beautifully in complex six part harmonies throughout the show. They are backed up by a kickass all-female band (appropriately dubbed the "Ladies in Waiting") comprised of Julia Schade conducting on keys, Michelle Osbourne anchoring on bass, Kimi Hayes shredding on guitar, and Elena Bonomo killing it on the drums. It warmed my heart to see a stage filled with 100% badass lady musicians, and these girls more than hold their own on the instrumental front.

Because the story is told as a concert, there's no moving set pieces - just a compelling staging that you could easily place at a Coachella-style festival, designed by Emma Bailey. Dynamic lighting from Tim Deiling enhances that effect, and the choreography by Carrie-Anne Ingrouille reflects your favorite girl groups on stage. Far and away my favorite part of the production design were the clever costumes designed by Gabriella Slade. Each queen wears a modernized riff on Tudor wear, with gowns slashed to mini-skirt length, leathery leggings, and tough accents like spiked crowns and studded boots (which, mercifully, were not sky high heels for once, allowing the actresses to actually dance and move on stage. More costume design by women for women please!!). I would happily wear any of those outfits as a Halloween costume or frankly just on a date night - let's hope it inspires some creative designer-to-commercial releases.

If there's only one thing I can be grateful to Hamilton for (and there are many), it's that its wild success has completely demolished the idea that history is boring and people don't care about it. History is filled with fascinating stories, especially of groups like women and people of color that are so often erased in textbooks, and those stories deserve their time on stage. Six was a delightful flip of the historical script, finally putting the focus where it was always due: on the extraordinary women who had to survive and thrive in an era where they had very few options to do so. This staging is beautifully executed and had the normally staid Ordway audience out of their seats, on their feet and totally committed to enjoying this concert. It also challenges the lie that these shows have to be long to be good; Six clocks in at barely 90 minutes and was very well received. Six is a little part Spice Girls, a little part Chicago, a little part Hamilton, and 100% fantastic. It's going to be a huge success once it hits Broadway, so make sure to see it right here at home before it's expensive and hard to do so. Click here to nab tickets before Six closes at the Ordway on December 22.

"The Hollow" is Anything But

I know it didn't work out this time, but can we have a little Ichabod Crane again later?  

Photo courtesy of Trademark Theater

Sometimes I think my mind exists in a vortex and I'll never catch up.

Let me explain: in my busy day to day of late, I seem to be missing basic facts. Or themes. Or just really missing the point of what I'm supposed to be doing.

For example, I had the pleasure of attending the achingly lovely original piece The Hollow by Trademark Theater last weekend. It's a nifty, 75-minute long exploration of many things; the program lists themes including "nature, mysticism, death and rebirth, coupleship, abandonment, repair and perseverance." A symbiotic pairing of contemporary dance and a Sleater Kinney-meets-First Aid Kit rock album (don't ask how I got there, just trust that it's true), The Hollow would be fully at home in the Walker Art Center's Out There series (hey Walker, give Trademark a call!). There's not really more plot than that - just a pure aesthetic, auditory experience for the sake of itself.

Somewhere along the line I had caught that The Hollow was supposed to be a modernization of The Legend of Sleepy Hollow; another glance at the program says I'm not insane and that was the initial point, but this The Hollow is so far removed from Washington Irving's 1820 novel that I can't believe the original concept was still rattling around my head somewhere. I still think it would be immensely cool to have Ichabod Crane hit the stage sometime soon and I hope someone else picks up the original project, but in the meantime - back to the scheduled programming.

The visual focus of The Hollow is on Reach (Emily Michaels King) and Resist (Tyler Michaels King). Based purely on appearances, one could be forgiven for assuming The Hollow details the story of a fraught romantic relationship. These two are superb dancers, and their lithe choreography is like a poem in bodily form. It's a good thing they're married because this performance is extremely intimate, and you can feel their kinetic energy radiating from the stage. Their contemporary, abstract costumes, designed by Sarah Bahr, add interesting shapes to their performances too; some are angular and stiff, others soft and flowing, and the cumulative effect weaves in and out of focus like a dream.

The Michaels Kings are backed up by an adroit band starring Jenna Wyse and Joey Ford who sing a roving troupe of original songs. It's a little hard to hear the lyrics live but thankfully all audience members are given a handy book of lyrics, which read like a ghoulish internal voice that won't leave you alone (song titles such as "Fearful Shapes," "Skele-bones + Burial Wrongs," "Scry" or "Scary Situation" give you an idea what I mean). The music itself is really beautiful and haunting, and I can see how it evolved out of the initial idea of adapting The Legend of Sleepy Hollow. Several audience members appeared raptly focused throughout the show (the person next to me even got a few headbangs in), so don't just take my word for it.

I'm not really sure what else I can say about The Hollow other than that it's worth seeing, if only to expand your definition of what you think theater can or should be. It's bracingly modern yet feels familiar, lyrical and abrasive, loud and tender. It's not going to give you a story or a moral or a "point," but it won't not give you those things either - and really, does everything have to have a defined outcome? Sometimes it's good to set down your smart phone and your Ivy Lee method and your nonfiction business books to give your subconscious room to roam, your nose the chance to smell the tactile pages of a *gasp* real book, and your imagination a blank page to fly around in. The Hollow is a celebration of that ancient leap towards fantasy that still lies within us all - we just need to give ourselves room to access it. The Hollow has a very short run and closes on October 20, so click here to learn more or buy your tickets now.

Rocking Out to Hedwig and the Angry Inch

Before there was Caitlyn Jenner, or Pose on FX ... 

Photo by Dan Norman

... or any number of other famous trans faces or characters; before Janet Mock was a twinkle in the eye of Hollywood's firmament, there was Hedwig.

Photo by Dan Norman

Hedwig and the Angry Inch has been making splashes on stages ever since it first premiered over 20 years ago, perhaps most famously when Taye Diggs became the first African American to perform the role on Broadway in 2015. She's now filling every ounce of Theater Latte Da's stage in Northeast Minneapolis in a taut, high octane performance that forces you to view her straight on, loud and proud, just as she always intended.

Photo by Dan Norman

Let me back up. Part memoir, part rock and roll concert, Hedwig and the Angry Inch tells the story of an accidental trans woman named Hedwig who is trying to scrounge a living as a rock and roll star, literally caught between two worlds - man and woman, Germany and the U.S., the spotlight and the shadows. Born in a world with no defined place for her, abused and with few options, Hedwig gets gender reassignment surgery in order to "marry" an American GI and flee East Germany only two years before the Berlin Wall comes down. Quickly divorced afterwards, bereft and driftless, Hedwig builds a life as a rock star and tells the entire sordid tale of her in a flashy 90 minute performance that includes her backup band The Angry Inch and a host of sideways stories that collectively paint the tapestry of trauma and resilience that define Hedwig and help her continue on.

Photo by Dan Norman

There's not a lot of presence on-stage outside of Hedwig herself, played brilliantly by Tyler Michaels King. I've seen King do a lot of different kinds of roles, but this is his most transformative yet. He easily blends between the hyper-feminine Hedwig and her masculine rock villain Tommy, almost unrecognizable at either end of the spectrum. King's lithe voice brings a classic-meets-metal tinge to the music much like a 1980s-era Linda Ronstadt (not a bad thing at all), and he absolutely dominates the performance. Jay Owen Eisenberg is an equal (if more subtle) chameleon as the other speaking role in this show, Hedwig's partner Yitzhak. Eisenberg is deceptively subtle and showcases an absolutely gorgeous voice at several points in the show, culminating in an exquisite rendition of "The Long Grift" that is a true highlight.

Photo by Dan Norman

Hedwig prances through a dizzying spectrum of costumes and wigs, designed respectively by Alice Fredrickson and Paul Bigot. Each presents a completely different image of her, and the rapid visualization helps demonstrate how confusing - or liberating - such a wealth of options could be to someone who doesn't have a defined place in society. Abbee Warmboe's mountain of props are masterfully tied into Michael Hoover's scenic design, keeping the transitions lighting fast and providing a place for everything. Mary Shabatura's lighting design is intentionally heavy handed - a little too much so for my taste, but certainly effective - and Alex Ritter's sound design prioritizes the distortion and tense tones that define rock and roll and keep the audience on edge as well.

Photo by Dan Norman

I'd never seen Hedwig and the Angry Inch before, and there was so much more packed into this show than I expected. I'm still chewing on it days after seeing it, and I suspect I'll continue to find new themes and threads the longer it sits with me. It's an aggressive, punchy musical that is so different from the softer stories of trans lives and experiences we tend to see in pop culture these days (call it the Janet Mock effect?). I think there's a place for both of them; what's undoubtedly true is that many people feel seen because of Hedwig, and this play opened a door that needed to be for many LGBTQIA+ friends among us. I want to call out Theater Latte Da's beautifully designed program here, which includes interviews, a glossary of terms, and a bunch of other important information that helps provide context around LGBTQIA+ issues and the history of this show.

Photo by Dan Norman

One question that lingers with me is the identity of the actor playing Hedwig herself, and it's one I don't have answers to. When King was announced in the titular role months ago I heard many grumblings in the #tctheater community that it should have gone to a person who publicly identifies as trans instead. Ideologically I support the sentiment; but I have to say in practice and after seeing the show, I have more questions than answers. Should all actors auditioning for roles like this be required to list their sexuality and gender on their applications? How does that affect a right to privacy? What if there are many other trans or queer actors on-stage, but just not in that titular role (as is the case here)? Who gets to be the gatekeeper of who is "acceptable" to play certain parts? Is this a standard that could backfire when applied in reverse? How do we prioritize marginalized voices in casting productions like this without erasing them? What if King really is the best choice for this role for this company - can we say that?

Photo by Dan Norman

It's an interesting conversation, and I think the fact that we're having it shows a lot of positive progress. This show is really well produced (as is Theater Latte Da's standard), and I am inclined to think that fans of Hedwig and the Angry Inch will leave the theater happy with the show they've seen. As far as those deeper questions go, I don't think I'm qualified to weigh in on them; but I am very interested to hear the answers the LGBTQIA+ community presents. If you want to see Hedwig and the Angry Inch, make sure to click here to learn more and get your tickets before it closes on May 5.

Photo by Dan Norman

Lashed But Not Leashed is Totally Lovely

Is drag having a golden age? 

Photo by Gustavo Garcia

Between *the* Ru Paul, the effervescently gorgeous (and shamefully overlooked this awards season) Pose on FX, and the preponderance of local drag brunches like Flip Phone immediately selling out, it seems there's never been a better time to do drag.

Lashed But Not Leashed, a part of the Guthrie's "Get Used To It" series to celebrate queer artistry, fits perfectly into this tradition. Starring drag queen Martha Graham Cracker, Lashed But Not Leashed manages to weave subjects as disparate as library science, the ghost of Joe Dowling and the funkiest all-white jazz combo you'll find anywhere together into one neatly laced corset. Part monologue, part cabaret, and part impromptu concert, Lashed But Not Leashed is a whole lot of fun.

Photo by Gustavo Garcia

The whole thing only work thanks to the charisma of host Martha Graham Cracker. She reminded me of a cross between Tony Curtis in Some Like It Hot and Cecily Strong on Saturday Night Live. While her voice isn't classically beautiful, Martha Graham Cracker's utter confidence and witty banter really won me (and the rest of the audience) over. She has an intellectual style to the monologue that kept taking surprising turns, and I really appreciated the time she took to customize the show to the location at the Guthrie. I can easily see how this is a show that could endlessly please; it's short (less than 90 minutes), accessible, and completely unintimidating. I really liked it.

Photo by Gustavo Garcia

Martha Graham Cracker's on-stage band was very well put together, keeping a tight quintet that had everyone engaged. They flex very well along with Martha's wandering (both physically and verbally), and it was easy to see they were having a whole lot of fun. I would happily have returned to watch a variation of this group multiple nights in a row - which is not something I often will say. Combined with the mostly-female team behind the scenes, the whole event had a really cozy, thoughtful, ladies-who-brunch feel that I really appreciated.

Photo by Gustavo Garcia

Unfortunately Lashed But Not Leashed has already sashayed away from the Guthrie's Level 9 studio, but you're in luck: there is still one more performance available this coming weekend as part of the "Get Used To It" series. Click here to learn more and get your tickets before this innovative, exciting celebration of queer artists leaves the stage.

Reviewed in Brief: Rock of Ages at the Orpheum

Every rose has it's thorn... 

Photo by Jeremy Daniel

And I pricked myself on a few at the touring performance of Rock of Ages last weekend.

Photo by Jeremy Daniel

The crowd was ready to rock and roll (literally) as the first shreds came off the axe on stage Friday night. The opening number for Rock of Ages was truly electric; concert floodlights beamed through the audience and the hardcore backup band really went for it. Rock of Ages was on, and the crowd couldn't have been happier.

Photo by Jeremy Daniel

Rock of Ages is basically the Mamma Mia of hair rock - many of your 1980s-era favorite earworms are loosely connected by a fabricated story attempting to make sense of the range of songs. The main difference here is that while Mamma Mia features only work by Abba (and has a decently fleshed out plot to support it), Rock of Ages hits across the spectrum of rock and roll bands - and the story is far floppier. Technically it's about a love story between two aspiring performers whose romance is interrupted by the appearance of a very famous, and very destructive, aging rock star; but the chemistry wasn't there for me, the content felt dated (especially in the era of #metoo), and overall I just wasn't buying what this show was laying down.

Photo by Jeremy Daniel

The women were the standout vocalists here; particularly Kristina Walz and Emily Croft. Sam Harvey revealed a limber voice (and some thoroughly shredded abs) as smutty rock star Stacee Jaxx, and Anthony Nuccio did a decent imitation of Stephen Tyler-screaming vocals as the lead love interest Drew. Katie LaMark infused leading lady Sherrie with far more energy than I'd have thought possible for the caricature it draws, and she sold the vintage lewks with total conviction that I had to admire. John-Michael Breen squeezed out several laughs as the narrator, Lonny, and his dirty sense of humor was welcome despite the content to keep the show feeling like it was self aware. This cast sounded better to me as an ensemble than individually, but there was some definite vocal power, especially after they got warmed up.

Photo by Jeremy Daniel

The "visual storytelling" (which I believe is a code for set design?) by David Gallo reminded me of those we typically see for Rent - gritty, grungy, and made of durable materials. As the bulk of the plot takes place in and between rock and roll clubs (think First Avenue in the Prince era), lighting and sound design (by Mike Baldassari and Cody Spencer, respectively) played a major role. In both instances it was pretty loud for me - the lights in particular could be blinding during bigger musical numbers, and the amps felt turned up about as high as they could go.

Photo by Jeremy Daniel

I have to say that overall something about Rock of Ages just felt... remiss? There was plenty of enthusiasm for the show on and off stage, but this one just wasn't for me personally. I've never preferred a Tom Cruise movie adaptation over a live performance of literally anything, but I suppose there's a first time for everything. At the end of the day though - what do I really know? Despite my lackluster reaction, this is also the only show I've seen people actually stand up to dance through at the Orpheum before the close of Act I. There were many loud cheers and hoots coming from the audience from the first chord and generally everyone else seemed to love it - so don't take my word for it. If you're a rock and roll aficionado, you may just enjoy this show. Rock of Ages is touring very briefly through the country this winter; for more information click here.

On Your Feet Deserves a Standing Ovation

The first (and only) musical about Gloria Estefan is the new West Side Story (yeah, I went there). 

Photo by Matthew Murphy

We hear electrified instruments; a blistering trumpet fills the air, and suddenly! A thin fabric screen is whisked away to reveal the awesome power of the new Miami Sound Machine, enveloping the Orpheum in a glorious melee of brass instruments and island rhythms.

Photo by Matthew Murphy

Every time I hear the heated rhythms and funky basslines of Conga, I flash back to when I was 8 years old, waking up for school to the 106.7 FM WJJY radio station. The smooth voice of the DJ would come on and all of a sudden - that fiesty beat that instantly infected my feet and got me straight out of bed.

Photo by Matthew Murphy

Of all the music I loved during my childhood - which is based almost entirely on what was played on that radio station, seeing that it was before the internet, streaming, Kazaa, or even CDs were available in my rural small town - that of Gloria Estefan and the Miami Sound Machine remains among my very favorite. Go down the list of songs - Anything for You, Don't Wanna Lose You, Everlasting Love, Get On Your Feet, Rhythm is Gonna Get You, Turn the Beat Around - and you can't find a loser among the bunch.

Photo by Matthew Murphy

This is one of the main reasons I was so excited that On Your Feet, the first-ever musical about Gloria Estefan (self-produced by the artist with her husband Emilio), was coming to Minneapolis this winter. The show progresses through the full story of her life, from her childhood to singing as a teenager in Miami clubs to a self-hustled meteoric rise to fame in the 1980s and beyond, giving a fun and engaging look at a story that is truly the American dream. It includes many fascinating details about Gloria's life that were new to me, including the fact that her mother was a famous entertainer in Cuba (and almost the Spanish language voiceover for Shirley Temple in Hollywood) before fleeing to the U.S.; that her father suffered from multiple sclerosis contracted by contact with Agent Orange after fighting in the Vietnam War; that Gloria negotiated a whopping $50 million record contract in the 1980s, more than even *Madonna* made at the time; and that she survived a near-paralysis after a devastating bus accident in 1990.

Photo by Matthew Murphy

It's a dramatic, engaging story about racism in the music industry, family conflict, a total love for music and art, the power of love over immense difficulty, and ultimately a testament to the rewards of hard work and strong faith in yourself and your family. It reminded me a lot of West Side Story, in fact, and I think On Your Feet is a show that hasn't gotten enough credit for how good it is across all levels. With all of the concern about authenticity regarding West Side Story and its portrayal of the Latinx community, why not look to On Your Feet as a more modern substitute? It may not have that exact same, lush Bernstein score, but no matter - the musicality (screeching brass from the Miami Sound Machine) is still fierce and tropical as hell; the dancing (a vibrant mix of island dances like the salsa, cha cha cha and mambo, and a dance leader who I swear hand to god is the Latinx Gene Kelly) is certainly powerful enough to compete; and most importantly the story is a true one, told by the people who experienced it in an honest and respectful way. All things considered, isn't that at least worth a second look?

Photo by Matthew Murphy

I thought the cast entire of On Your Feet was terrific, beginning with Christie Prades as Gloria Estefan. She has a sparkling presence, radiating joy just the way the real Gloria does on stage - and she doesn't mess around with the bullet train-paced enunciation on songs like Conga, which are much harder to pull off convincingly and cleanly than you might think. Eddie Noel is completely charming as Emilio Estefan, with a buttery baritone voice and heartwarming presence that is convincing as Gloria's spousal rock. Nancy Ticotin is fabuloso as Gloria's mother Gloria Fajardo; her showstopping solos and bittersweet characterization reminded me a lot of Rita Moreno in West Side Story. Alma Cuervo was an instant audience favorite as Gloria's grandmother Consuelo, and her rock solid support of Gloria from the beginning brought me back to Abuela Claudia's gorgeous solos in In The Heights. And nothing in this show could work without the deliciously on-point on-stage band meant to rival the Miami Sound Machine. Music Director Clay Ostwald conducts them to dizzying heights, and if On Your Feet had been just a concert of this band, I'd have been happy with even that.

Photo by Matthew Murphy

This show's production design has all the harbingers of tropical settings; palm tree silhouetted sunset scrims, vibrant colored backdrops and sets, and open air concert arenas shore up the action throughout the plot. The costumes are varied and colorful, with an entertaining range of 1980s coastal style reminiscent of the best of Miami Vice. The lighting flashes us through the span of years in mere minutes, transitioning us gracefully through various high points of Estefan's career. But most importantly, the sound design allows us to hear every instrument of that glorious band and every syllable Prades sings. There were a couple of small glitches with the sound mixing on opening night - which was to be expected with a touring show, and I am sure are corrected now - but overall I was really impressed with how well and clearly we were able to hear all of the moving parts.

Photo by Matthew Murphy

I went into On Your Feet with high expectations and left the theater even happier than I entered. I think this has been an extremely underrated show (maybe because it's a story about Latinx people told by themselves? Maybe because it's the highest amount of non-white actors I've seen on a Broadway stage since Hamilton? who knows) and it really deserves a closer look and a wider fan base than it's gotten so far. What Gloria Estefan did for popular music - in opening cross pollination between the Latin and U.S. musical markets, bringing a more global sound to American pop, melanizing the highly waspy white world of pop music (especially for women), bringing her own enormous live band on tour, demanding high value contracts as part of her worth and setting the stage for women in music to earn big dollar figures like the men did - is not to be underestimated, at all. The fact that this living legend had to fund create and fund a show about her own story to get it on stage says a lot about what kind of narratives we value in the world of theater and pop culture. All of the ways Gloria Estefan has defied, and continues to defy, stereotypes and assumptions deserves to be widely known. I had an absolute blast at On Your Feet and I think anyone could. It's a family friendly show with amazing music, beautiful dancing, and a story that will amaze you. It's only at Hennepin Theater Trust through January 27, so go ASAP to get your tickets before this underestimated gem is gone. Click here for more information or to get your tickets.

Photo by Matthew Murphy

Hot Funky Butt Jazz Defines True Inclusion

"Folks always tryin' to kill what they can't understand, for whatever reason"

Photo courtesy of Interact

It's rare, but sometimes something comes at me so fresh and so unexpectedly that it takes my breath away.

I had the pleasure of just such an experience last weekend at Hot Funky Butt Jazz, a new musical by Interact theater on stage at the Guthrie's 9th floor studio space (meaning: $9 tickets to all performances!! #getatit). I went to the show because I love jazz and the hook of the plot - the real history of New Orleans jazz as told by infamous voodoo queen Marie Laveau - was just way too tempting to turn down. It was clear, however, that I was in for so much more from the very opening scene, depicting a second line jazz funeral for Laveau that included the most diverse range of faces and bodies that I've ever seen on stage.

If  I'd really done my research, this wouldn't have surprised me at all. This performance is put on by Interact, which "creates art that challenges perceptions of disability." The gorgeous array of humans in this performance certainly upholds that mission and provided so many delightful cameos. The cast is easily the largest I've ever seen in the black box space, as well as the most diverse. Performers ranged from able bodied to people with physical disabilities to people with downs syndrome and more, each a part of the story in a totally organic way that allowed their talents to shine. It was a pleasure to see everyone incorporated so naturally, almost at detriment to the plot at times (there are a lot of asides) - but it was fine, because everyone clearly had such a good time and brought such joy to the audience. This is also a show that takes intentional, responsible risks - such as honestly portraying the history of minstrelsy, Jim Crow dance and even black face without actually using black face - a fact which I really respected and a model I think other theaters who get caught up in being literal (but not always thoughtful) could learn from.

Photo courtesy of Interact

Hot Funky Butt Jazz wouldn't be possible without the spectacular talents of Zena Moses, who oozes swagger as Marie Laveau. Moses has a luscious contralto that comes straight from New Orleans' shores, and I could have listened to a solo concert of just her all night long. The additional musicians playing live - Jeremy Phipps, Eugene Harding, and Kymani Kahlil - do a great job of livening the stage with their bright instrumentation. The rest of the cast shares pretty equal time with one another despite its large size, but there were still a few additional standouts. Naa Mensah (featured in the first photo of this article) brings *all* the heat as Essie. She has several interludes of spunky dance solos that got the audience really engaged. And Messiah Moses Albert is totally charming as the adorable young Louis Armstrong. I hope he retains his interest in theater as he gets older.

I went to Hot Funky Butt Jazz expecting to hear some delicious jazz music, learn a few things I didn't know, and have a pretty standard night at the theater. Like jazz music itself, what I got was a far messier but more beautiful reality. The array of truly diverse performers having the time of their lives is something that will stick with me for a long time, and provided a new standard for what inclusive art really looks like. It's a fun performance that will teach you about the history of jazz music, have you in and out in less than 90 minutes, and spark all sorts of ideas about the unexplored possibilities in representation. It's a reminder that you can be responsible and truthful about the dark times of the past, and still engaging and positive all at the same time - and don't we need more of that attitude in the world? I think it's definitely worth scooting to the Guthrie to see this before it closes on November 18. For more information about Hot Funky Butt Jazz or to buy tickets, click on this link.

Just the Right Kind of Weird: Theatre Elision's Ghost Quartet

Fledgling artists take note: Theatre Elision's zany theatrics and guerrilla social media strategy is changing the game in #tctheater

Photo from Theatre Elision's website

How do you write a review about a show described like this: 

“Ghost Quartet” is a song cycle about love, death and whiskey from Dave Malloy, the Tony-nominated creator of the Broadway hit “Natasha, Pierre and the Great Comet of 1812.”  A camera breaks and four friends drink in an interwoven tale spanning seven centuries, with a murderous sister, a treehouse astronomer, a bear, a subway, and the ghost of Thelonious Monk.  The story draws from several fairy tales and "ghost stories", including Snow White and Rose Red, Edgar Allen Poe's Fall of the House of Usher, and One Thousand and One Nights (commonly known as Arabian Nights). There may also be some Princess Zelda references you might recognize. Cast members present the story and music as a "concept album" and accompany themselves on keyboard, violin, ukulele, guitar, mandolin, and percussion.  The audience may also be called upon for additional percussion and whiskey drinking.  

There's literally no way to sum it up! There's literally no way it should work! Who even comes up with such a thing? 

Turns out it's all Theatre Elision, and yes it works (swimmingly, in fact), and you'll leave this taut 90-minute performance happy but not entirely sure why. This fledgling theater company came banging straight out the gate for their first season last year and show no signs of slowing down. I'm so excited to see what they have up their sleeves for future productions, and I'm grateful that they are filling a niche we didn't even know we needed. There's no better time to check out their work than to see Ghost Quartet, showing at the North Garden Theater in St. Paul through November 3, and a perfectly strange way to celebrate Halloween this week. 

I honestly can't improve on the summation they have above - Ghost Quartet is truly that unique and plotless, there just really isn't an easy narrative to describe it with - so instead, check out this ordered steam of consciousness list of related sounds / images / etc. that I wrote as they performed that the various songs reminded me of: 

• Andrew Lloyd Webber's Phantom of the Opera
• Pirates of Penzance / anything George Bernard Shaw
• Witchy / gypsy vibes a la Stevie Nicks
• Moulin Rouge?? 
• Prairie Home Companion (but only episodes without Garrison Keillor)
• Aladdin's "Arabian Nights"
• Baz Luhrmann-esque spectacle
• Sweeney Todd / Stephen Sondheim-meets-Tim Burton realness
• Robert Plant / Alison Krauss's masterful duet album Raising Sand
• Medieval madrigals
• Social media guru Gary Vaynerchuck's strategy moniker, aka take your audience on a journey with you (this relates to the fact that the musicians engage the audience in playing various percussion instruments along with them on more than one song)
• Swedish sister duo First Aid Kit 
• Julie Taymore's Across the Universe
• Prince-meets-the B-52's "Rock Lobster" style
• Rufus Wainwright
• Chris Thile in the Nickel Creek days

I mean it when I say that the above is the best conglomeration I can think of to describe this weirdly witchy and atonal show. Ghost Quartet defies description but ends up being so much more than the sum of its parts. I'm not really a spooky / Halloween-y person, but something about this was just mystical enough that it worked for me. It helps that these musicians are just so damn talented - Kellen McMillen, Quinn Shadko, Tristen Sima and Christine Wade are shockingly good performers, and without their expert musicianship there's no way this could work. Shadko in particular is a vocal marvel. I've seen her in a few other things before, but never realized what incredible vocal dexterity she has - her ghostly vocals on "The Photograph" are truly next-level, and her articulate versatility overall reminded me of a velvety Bernadette Peters. 

Theatre Elision produces taught, simple, eclectic pieces that always surprise me in how much I enjoy them. Their musical excellence is bar none, and it's fun to watch music nerds like the ones I grew up with have such a good time doing exactly what they clearly love (and were born) to do. The only drawback is their shows have pretty limited runs, so you'll have to work quickly to snag tickets. Ghost Quartet only runs through November 3, so make sure to click here to learn more and get in line before they are all snatched up - word on the street is their presale this year already outsold all of last year's run, and they've sold out at least one performance already. And make sure to tune in to Theatre Elision's bustling social media channels - they're on top of the online strategy game and there are lots of things we all can learn from their effective hustling. 

The Legend of Georgia McBride is a Summer Smash

I find that when it comes to art, it finds you when you need it most. 

Photo by Dan Norman

Take last week, when I truly had the week from hell. Between wedding planning, multiple family medical emergencies, and a busy work schedule, all of our plans got totally upended. I had to miss out on several things I had been greatly looking forward to, and it absolutely stunk to say the least.

Photo by Dan Norman

So the fact that I made it to The Legend of Georgia McBride at all was not only astonishing, it was a downright blessing. I needed to experience a truly escapist, happy few hours, and boy did this deliver. The Legend of Georgia McBride tells the story of a straight man named Casey who accidentally becomes a drag queen in order to pay the bills for his wife and soon-to-be-born child. Casey's journey into drag begins as an act of desperation, but he quickly realizes that not only does he have a knack for it - he actually really enjoys it. He blossoms under the tutelage of a hilarious, wise queen named Tracy, who is part Norma Desmond, part RuPaul, part Liza Minelli, and all-around fabulous. Casey struggles to place his newfound passion inside his understanding of what it means to be a straight man, an inner conflict that bursts into the public once his wife discovers how he's really been making his money. The end of the show reconciles Casey with his identity in some surprising ways, and overall it's a beautiful testament to the dangers of gender constructs and the power we all can have when we embrace who we truly are regardless of what society tells us we need to be.

Photo by Dan Norman

This cast is small but tight, and I really enjoyed watching their interactions (although I do wish there were more local talent included!). Jayson Speters is eager and winning as Casey in his Guthrie debut. I really came around on his performance; he seemed a little too fresh at first, but he really blossoms (just as Casey does) throughout the show, and it doesn't hurt that Speters is a bonafide snack. Cameron Folmar is absolutely delightful as Tracy and had several scene-stealing moments, especially when performing Tracy's drag numbers. Folmar brings such nuance to his role, and we learn a lot through his grounded performance. Arturo Soria also provides several illuminating moments, both as the feisty drag queen Rexy and the straight but surprisingly open minded Jason, Casey's best friend. Soria truly embodies the saying that there are no small parts, and he really makes the show pop with his performance. Guthrie stalwart Jim Lichtscheidl is hilarious as the club owner Eddie, and the audience was delighted from the moment he stepped on stage. Chaz Hodges is eager and innocent as Casey's wife Jo. I liked her performance on her own, but the chemistry between Hodges and Speters was a little lacking. I don't think it was for lack of effort - maybe there just wasn't a true spark? - and it's still enjoyable, just not 100% believable. I loved Hodges' energy though, and I hope to see her around in future shows.

Photo by Dan Norman

I loved the kitschy scenic design from Mikiko Suzuki MacAdams. She really nails the eclectic world of drag backstage, and the easy transitions between scenes keep the action moving quickly. Patrick Holt's costume designs are an absolute riot; they are so creative and clever, and several had the audience rolling with laughter. Ryan Connealy's lighting design and Scott Edwards' sound design enhance the ambiance to be much richer than it otherwise appears, especially because there aren't really any true set changes. Overall, I appreciated Jeffrey Meanza's direction. There were so many clever details sprinkled throughout the play, from the costumes to the character development to the blocking, and it really is a whole lot of fun.

Photo by Dan Norman

I didn't know I needed The Legend of Georgia McBride in my life, but I can promise you that I really did (and I think you do too). Wrapped up in the eclectic, comedic package of this show is an astonishingly nuanced lesson about sexuality and the gender spectrum, the history of drag queens, the grace of open-mindedness and the ultimate demonstration of the Golden Rule. The Legend of Georgia McBride has everything I love in a show - laughter, love, lessons, and light of all kinds. I can't think of a better way to lift my spirits after a truly horrible week (it happens), and I hope others find as much peace in it as I did. Drag and trans experiences are really having a cultural moment right now, and it's a pleasure to see those stories told as well and fully as they are here (or in shows like Pose - another excellent piece of art worth visiting). The Legend of Georgia McBride runs at the Guthrie theater through August 26; for more information or to buy tickets, click on this link.

Photo by Dan Norman

The Top 7 Reasons to See Carmen at the Mill City Summer Opera

When the weather matches the mood of your show, you know you've got something powerful going on. 

Photo by Dan Norman

I have always been a great lover of opera, so it saddens me that I haven't had a chance to see many performances in the last few years! Something always seems to prevent me from heading to St. Paul for the delicious work the Minnesota Opera has been doing lately, so I'm stuck instead listening to recordings and dreaming of sensual production design in my apartment.

I was delighted, then, to receive an invitation to attend this year's Mill City Summer Opera, one of the many unique venue performances that arise throughout the summer and always a fun experience. This year MCSO is performing Carmen; there was no way I was going to pass up an opportunity to go, so I headed over to a dress rehearsal last week to check it out.

It's a good thing the performance was a dress rehearsal because Don Juan was out sick and the performance was cancelled halfway through due to a freakily tempestuous rain storm. It doesn't matter though, because I was still treated to an hour and a half of gloriously romantic music that only whetted my appetite for more. How can I claim that you should go see a show I didn't even get to finish? Let me count the ways:

1. It's Carmen. I know there are shows and artists that can be over-hyped, but trust this opera lover: Carmen isn't one of them. A true masterpiece by Georges Bizet, Carmen has everything you love in opera (or any good story to be honest) - high drama, romance, swashbuckling masculinity, memorable themes, lyrical arias, and the sexiest damn singers you ever did see. It's like a pirate ship for music, how can you go wrong? 
2. Flamenco. It's not advertised anywhere on the website and we didn't get programs to confirm, but I'm 90% sure that several of the Twin Cities' resident flamenco studio Zorongo's performers are on stage throughout the performance, including the inimitable, riveting founder Susana di Palma. Di Palma wields a castanet like a weapon, gliding across the stage with impossibly tiny yet sinuous movements that will delight any dance lover. Go see Carmen for the music, stay for the flamenco - it's such a treat, and I wish I had a chance to see it more often. 
3. Mill City Atmosphere. The urban Mississippi riverfront is finally getting some developmental love, and it's already a pleasure to walk around and just look at all the pretty buildings. But to have the chance to see a live opera in an open air venue as gorgeous as the Mill City Museum? That's icing on the cake. There's not a bad seat in the house - you'll be up close and personal with the performers and musicians, giving you an intensely personal view of opera that normally happens much farther away from your eyes. 
4. Once In A Lifetime Venue. Have you ever had a chance to attend a museum event after hours, dressed to the nines, and witness a masterful performance that will never be repeated again? Yes, this is a *very* bourgeois thing to say, but it's also true - listening to beautiful opera as the sun sets over the Mississippi river and the milky ruins bathe into a warm glow and the stars appear is a gorgeous experience that you owe it to yourself to have. #treatyoself and get a ticket to a full circle opera experience you'll never forget. 
5. Incredible Vocalists. From the taste we got last week I can assure you that this is a powerhouse cast, and they're only going to get better as they perform more. I found Audrey Babcock positively riveting as Carmen; she's got the voice you crave for the role, but she also acts through her teeth, dances with charm, and is all-around expressive AF. I loved watching her traipse through the cast, disarming them all with her stacked voice and saucy manners, and any Carmen fan is sure to be delighted with her performance. There are several other musical standouts too - I'll leave you to discover them when you go. 
6. These Performers Are All-In. Do you have any idea what it takes to stand unflinchingly in 85+ degree heat and 75% humidity for over three hours, singing your heart out, sweating through your costumes, hearing your instruments submit to the humidity - and doing it all over again multiple times a week? These performers are truly fearless and refuse to be intimidated by whatever conditions the weather (or climate change) throws at them. They didn't quit playing until there was a downpour of rain, and they stayed as long as possible so the show could go on to completion even though it was just a dress rehearsal. I promise you after witnessing a night in which just about every bad thing that could have, happened: Audiences will be treated to the absolute best level performance these artists can give, and you're sure to get every penny's worth of value that you spend on a ticket.
7. A Diverse Crew is Running The Show. Another example of the team dedication? When Don Juan was out sick, three different people stepped in to fill his role - the fight captain, Michael Jerome Johnson; the music leader, Fenlon Lamb; and the chorus master, Lara Bolton. While it was a shame that we didn't get to see the actual performer playing Don Jose, what this afforded was a chance to see people who are usually silently behind the scenes orchestrating everything actually jump into action on stage. It was so awesome to see this diverse group of rock stars leading their crew, and honestly provided a different feel to Carmen that got me thinking about how neat it would be to see this show with even more non-traditional casting. What if Don Jose was actually Don Josefina?  Or Carmen was Carlos? There is already a nice spread of racial diversity represented on stage - could there be more? How else could we play with the show to add new layers of meaning? Hats off to the amazing leaders who stepped in at a tough time and let us all see how the example they set leads to excellence throughout the whole production. 

Photo by Dan Norman

My impression overall? If you already love opera, you'll adore this production of Carmen. If you don't? There is no better gateway into understanding the world of opera than Georges Bizet's luxurious score, and the talented, dramatic acting of this cast will have you sucked in from the first few minutes. Carmen only runs through July 24, so make sure you get your tickets ASAP (they're selling out quickly!). Click here for more information or to nab your tickets.

Theatre Elision Ends Season on a High Note with Ain't It A Grand and Glorious Feeling

This is such an exciting time to be an artist. 

But that pie though... I still dream about it, and I'm not even a dessert person! 

Thanks to the power of the internet, social media and crowdfunding, artists are more empowered than ever to really flex their creative muscles, and how lucky are all of we to enjoy it? From Donald Glover to Mindy Kaling, there are so many examples right now of artists who are augmenting their creative crossover using new technologies and tools to truly maximize their impact, and it's a blast to watch. 

Theatre Elision is a homegrown success story of just such a thing that I'm thrilled to talk about. Founded by a cadre of smart, driven young women, Theatre Elision is filling a gap that I didn't even know #tctheater had, but has been fascinating to explore. The company produces and / or reimagines long lost theater classics (their sweet spot seems to lie in the ragtime era, but they do branch out) with a simple eye but powerful musical chops. Their first piece (and an original!) was Ragtime Women (click here to read my review) last year; they've now come full circle with the delightful Ain't It A Grand and Glorious Feeling to close out their 2017 - 2018 season. 

Ain't It A Grand and Glorious Feeling takes several classic pieces from the "Princess Musicals." Do not, like me, assume that these are related to Disney princesses (although I still think that could be a cool show); instead, these are so-named because they were originally performed at the Princess Theatre in New York City in the years between 1915 and 1918. The content is the typical lighthearted romantic comedy you might see in a summer blockbuster or Rogers & Hammerstein musical, just with a softer touch. 

What I greatly appreciated about this particular show was that it has been completely repackaged from the original without losing its integrity. Taking their preferred songs from several different Princess Musicals, the writers have made a new musical that feels shockingly modern considering the style of the music. This is aided by the truly witty production staging, by which I mean: there really isn't any staging at all, and it totally works. Ain't It A Grand and Glorious Feeling is set in the Mojo Coffee Gallery (which serves a delightful meal - complete with some bombdiggity apple pie pictured above - prior to the show. I HIGHLY recommend choosing this option with your ticket), a choice that initially confused me but later felt like a brilliant strategy. 

Rather than perform for us, the performers ARE us, sitting at coffee shop tables, weaving amongst the crowd, and making their relational drama feel familiar and personal. It keeps you constantly on your toes, allows the actors to be really comfortable and engaged, and when paired with the hilarious text message screenshots projected on the coffee house television provides a really witty and contemporary performance that I found just delightful. The performers also work hard to keep things moving, clicking through 21 songs and associated plot lines in less than 90 minutes - a feat that I desperately wish they'd train other theaters in accomplishing. This is definitely a workshop in learning-best-practices-from-Michelle-Hensley, and I thoroughly approve. 

One of the things that's always impressed me about Theatre Elision is the strikingly deep vocal talent they showcase. These are not pop songs that anyone can autotune their way through, and despite the accompaniment of a sole piano they can be deceptively complex. Each of the four performers in Ain't It A Grand and Glorious Feeling has a knockout voice that is the centerpiece of the show (as it should be). With such a barebones production it's important that the music be excellent, and it really, truly is. Standouts for me included "Ain't It A Grand and Glorious Feeling" to open the show; a very nuanced rendition of "The Sun Shines Brighter;" the virtuosic closing of "Wedding Bells Are Calling Me;" and the delightfully tongue-in-cheek "It's A Hard, Hard, Hard World for a Man" that ends with a spontaneous tap dance that had the audience bursting into simultaneously spontaneous applause. I think these spunky artists can sell just about anyone on these 100 year old songs, and I dare you to see the show and not be impressed. 

It's so heartening to see that there really is room for all kinds of art. The bright young artists of Theatre Elision are hustling hard to make their dreams come true, and it's really inspiring to see how far they've come in just one year. I can only imagine what lies in store for future seasons, and I would really encourage any readers to go support their work. Starting a new company is never easy, but if the last season is any sign, there's nowhere to go but up. There is only one more weekend to see Ain't It A Grand and Glorious Feeling, so make sure to get your tickets prior to the last performance on June 10 (and seriously get the food - it's so worth it, and the chef is so charming!). For more information or to buy tickets, click on this link.