Chanhassen Dinner Theatre's Nostalgic Music Man

Sometimes, staying in your lane can be a good thing. 

Photo by Rich Ryan

When you go to the theater, do you tend towards revisiting the same shows over and over again? Or do you come seeking something new, modern, or avant garde?

I find that, like with most arts consumption, there are two wildly divergent philosophies. If you're a person who annually re-reads certain books or re-watches the same films on endless loop, you're probably in the former camp. If you're like me, you probably tend toward more of the latter - a one and done-er who doesn't re-experience a text unless there's something really different about it.

When it comes to this little hobby of theater reviewing, however, my usual approach doesn't always work. Certain plays and musicals seem to come back frequently, and with an ever-shrinking geographic range and amount of time on my hands it's not always possible to do the far ranging exploration I'd like to. Or, on a very rare occasion, I want to just show up somewhere comfy and do the absolute least (so sue me).

One of my cozy once-in-a-while comfort spots is Chanhassen Dinner Theatres (CDT). I've written before about my nostalgic love for the nation's largest dinner theater (the scope of their operation is truly extraordinary for logistics-nerds like me. Over 50 million cups of coffee served! Over 12.5 million guests who have all received multi-course meals! I mean come on, how can that not impress?!), and it stands. This was the place where professional theater was first introduced to me at a production of Brigadoon when I was 8 years old. I'll never forget seeing the graceful dancers emerge from the misty air and learning how transportive live theater could be for the first time.

It turns out that Brigadoon is an apt metaphor for CDT itself. This is not a venue of surprises; CDT knows its niche and embraces it with open arms. Rather than short run, rotating seasons of the newest cutting-edge scripts, visitors will find long-term runs of shows culled from what is known as the "golden age of Broadway," the experience of which is almost like stepping straight into a TCM screening of a Gene Kelly movie.

Take their latest production of The Music Man, which opened last weekend. The story of a traveling con man-gone-good thanks to the stubborn integrity of the people in a small Iowa town is most famous for the opening scene, which features a spoken word interlude and iconic choreography imitating a bouncy train ride across the Midwest. The plot is an oversimplified romance with an easy happy ending - no surprises here. It's full of jazzy tap scenes, kitschy slang like "swell" and "gee whiz," and a clarion portrait of the quickly disappearing ethos of the lily white world that used to be identified (at least popularly) as America itself.

Photo by Rich Ryan

I say all this to help you, potential audience members, choose whether or not you'd enjoy seeing this Music Man. If you prefer experiencing well-produced shows with familiar faces, you're going to love it. CDT favorites Michael Gruber and Ann Michels are back in the lead roles of Harold Hill and Marian Paroo, respectively. Like their performance in Holiday Inn, the two share an easy chemistry and chummy rapport reminiscent of the Fred Astaire / Ginger Rogers dynamic, but with much better singing. Peggy O'Connell is delightful as Marian's mother Mrs. Paroo, with a pitch perfect Irish accent and a charming delivery that instantly won over the audience. Tony Vierling brings his signature Kelly-esque hoofing style to Marcellus Washburn, and it's fun to watch him swan through the dance scenes. John-Michael Zuerlein, Shad Olsen, Aleks Knezevich and Evan Tyler Wilson make a lovely barbershop quartet, with gorgeously harmonized voices that smoothly move the show along. Keith Rice and Michelle Barber eagerly ham it up as the bristly Mayor Shinn and his wife Eulalie Mackecknie Shinn, and it's a perfect cameo for their skill sets.

As always, the unique challenges and benefits of CDT's low-ceilinged space are maximized to the utmost by a top-notch production design team. Rich Hamson's 1910's-era costume design is detailed and danceable, pluming the actors into a perfect period setting. Most of the set is composed of floating rooftops and strategically symbolic props, constructed by a veritable army of prop masters and artisans, carpenters, painters, and other design staff, demonstrating a true team effort and the deep bench required to make such complex numbers appear effortless. Kudos to Artistic Director Michael Brindisi and Technical Director Logan Jambik, whose close attention to detail is clearly evident in every stiffly pointed toe, meticulously curled wig and puff of "dust" from a library book.

If you haven't gathered by now, this rendition of The Music Man is not a production that is going to rock the boat. There's been no modernization of this production and it remains solidly in the realm it first appeared under Meredith Wilson's vision in 1957. If you're hoping to see Harold and Marian twirling through rows of computers or Tommy and Zaneeta sneakily setting up dates through Snapchat, this ain't the one. But it will hit every peak vision of a nostalgic, sepia-toned vision of American Gothic America for the sentimental among us.

I did a lot of thinking over the weekend about my feelings on this. After all, I also just came out of a performance of My Fair Lady that totally put me off with its blatantly sexist script; why was I more comfortable at CDT? The Music Man has problematic characteristics too, and there's nothing firmly moving this production into the modern era. It's not in my top 5 or even top 10 favorite musicals.

Some of it has to do, I think, with that 8 year old that will always be inside me when I sit in CDT's close quarters. I have an inner child there that is hopelessly nostalgic and it looks like it's here to stay. A bigger part, I suspect, is that CDT has carved a specific niche for itself that I understand fully even before I attend. This is not the Guthrie or the Walker Art Center or the Jungle; CDT has a completely different business model, locally available audience, and cast willing to audition for its shows. Like most industries, theaters are enduring the challenges of rapidly evolving audience expectations juxtaposed with a tough business model; this production fully embraces what CDT knows and does best, for better or worse.

Someday I'd love to see some more diverse shows like In The Heights, The Color Purple or Dreamgirls grace this stage. I hope that day will come, and if / when it does I trust that the CDT production machine will make a dreamy, movie-worthy production for the ages that such dynamic scripts deserve. In the meantime, The Music Man was a chance for me to just enjoy a high octane musical production at face value. Like the fellows of Brigadoon, I got to float back to my past in a smashing array of tap dances, high kicks and percussive scene transitions that was as familiar as the towering chocolate cake for two, a welcome moment of sentimental rest that is all too fleeting for me these days.

Everyone approaches theater with their own context and I'm sure readers are out there who will disagree with me on either end of this review. For myself - I liked this Music Man, I know my parents will adore it, and my friends will probably never go. I'm okay with all of those choices, and I don't regret indulging for a few hours in sunny memories, warm smiles and an oversimplified plot line once in a while. It's what I needed this weekend amid the tumult of our world and I don't think I'm alone. If you like period musicals and beautiful production design, you'll want to check out The Music Man before it closes on September 5. For more information or to buy tickets, click on this link.

"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.

Mean Girls is Deliciously Devious

"On Wednesdays we wear pink."

Photo by Joan Marcus

*Pretty sure* there's nothing better than posting a review of my first time seeing the Broadway version of Mean Girls on October 3 (aka #MeanGirls day itself). Just had to throw that out there for any other superfans.

The Goonies of my generation, Mean Girls is the iconic story penned by Tina Fey long before she left Saturday Night Live's hallowed halls. It tells the story of Cady Heron, a teenager who grew up in Africa and moves to the U.S. to enter her first ever public school in her junior year of high school. Cady has heretofore been socially isolated during her time growing up in Africa and does not understand the American teen psyche; she is completely unprepared for the mind games and harassment her peers inflict on one another as she struggles to navigate this new world.

After experiencing some backstabbing herself, Cady allies with Damian and Janis, two of the few at school who are not aligned with a clique, to take down the school's resident bully and queen bee: Regina, the ringleader of the uber cool (and incredibly snobby) "plastics" clique. The trouble is that although the trick works - Regina is briefly unseated from her throne - the process turns Cady more plastic than Regina was, completely disconnected from her authenticity and moral compass. Everything comes to a head when the full scope of the plastics' bullying is expose to the entire school, even capturing some teachers in its midst. Some hard truths are shared, building a path for a new era of treating others with kindness and dignity in the school.

The original film, now 15 years old (!!), has a veritable who's who of today's movie stars. The cast includes Lindsay Lohan, Rachel McAdams, Tim Meadows, Ana Gasteyer, Amy Poehler, Tina Fey and Amanda Seyfriend, and a host of other delicious cameos. One of the best parts about Mean Girls is its whiplash-inducing, hyper-trendy quips. I wasn't sure how that would play out in a world of smart phones and social media that has emerged since the movie aired, but I needn't have worried; there have been some smart updates to the book to reflect current teen trends, and the jokes hit their mark almost all of the time.

Photo by Joan Marcus

A surprisingly strong cast helps that humor land, and their enthusiasm and sharp vocals make the story soar. Mariah Rose Faith is delicious as the diabolical Regina; her low alto saunter into every room was delightful to watch. Adante Carter is adorable as Cady's crush Aaron, shining his treacly dimples all over the place. Kabir Bery was hilarious as Kevin Gnapoor, the head of the mathletes; his rap interludes delighted the audience. Megan Masako Haley brings real poignancy to her role of Gretchen, Regina's best friend; she is the first character to crack the facade of teen popularity, and I found a lot of depth in her performance. Jonalyn Saxer is hilarious as Regina's dumb bestie Karen, continuing to surprise. Danielle Wade does an admirable Cady, wresting the portrayal from Lindsay Lohan's memorable turn in 2004, and she makes the role seem fresh. The crowd loved Eric Huffman as Damian "too gay to function" Hubbard; he has a sweetness the movie missed. But my overall standout was Mary Kate Morrissey as Janis, the art student who conceives the whole plot to take Regina down. Morrissey has gravitas and a true Linda Ronstadt-level rock and roll voice. I loved her swag and I especially liked how her character has been expanded to provide a moral arc through the story.

Normally I feel like the excessive use of projection on Broadway shows is "cheating;" this is one of the first shows I've seen that might change my mind. The set is really a dynamic sculpture of LED screens that rapidly shift us between Africa, a Chicago public high school and a spoiled brat's bedroom. Used with some well-chosen props, it makes the scene transitions lightning fast so we can focus on the physical, dynamic dancing. I was surprised how much I enjoyed the choreography, the closest thing to "hiplet" (hip hop + ballet - click here to see more) I've seen on a Broadway stage. It all feels modern, fresh, timely and young.

I've heard many people say the reason they love Mamma Mia so much is that it's a true feel good, positive show and they love to leave the theater with a smile on their face. I think the same case could be made for Mean Girls; it's so much fun to see a diverse, vivacious, mostly female cast having the time of their lives. Mean Girls has a real moral compass and important message to share with today's teens (and their parents if we're being honest) in addition to being a damn good time. As a long time fan of the film I entered this with a healthy skepticism but I'm relieved to report that this show really works as a Broadway musical! It's a great excuse to get some bonding with the Gen Z-ers (or Millennials) in your life, so buy some tickets to take a youthful date before Mean Girls sashays away on October 13. Click here for more information or to get tickets.

Bone Mother Sets the Tone for the Season

How do you define a witch? 

All images are copyright of Matthew Glover for Sandbox Theatre

Despite our burst of humid heat in the last week Minnesota is entering spooky season, which means costumes, minor toned music and pumpkin everything are about to inundate us all. I know several people who consider fall and especially Halloween to be their favorite time of year, and it seems like every year more friends are rejoicing over the return to orange and black and scary stories as soon as Labor Day passes.

But where does all this come from? Once you strip away the eerie movies and cotton cobwebs and holiday commercialization, what is left of Halloween?

Often it's tropes and mythologies that spread back hundreds or thousands of years. Take, for example, the Witch. Witch stories can be found in most cultures and invariably involve some version of an ugly old hag who negatively impacts the communities around her, usually with a curse or a dark spell. She might have a cauldron, a black cat, a pointy hat (or nose), and almost always lives in the woods.

But why does this narrative persist? What if the witch wasn't evil, or even magical, at all? What if she served some other purpose entirely?

All images are copyright of Matthew Glover for Sandbox Theatre

That is the question asked (and poignantly answered) in Bone Mother, the latest show from Sandbox Theatre. An original piece inspired by centuries of folk tales, Bone Mother tells an interconnected series of three stories about a girl named Vasilisa as she explores her feminine power. It begins with young Vasilisa, who seeks the "witch" Baba Yaga in the forest to learn the powers of the wilderness after Vasilisa's beloved grandmother dies. Soon bored with Baba Yaga's rudimentary chores, Vasilisa runs back to her village where she grows into a woman and becomes the town eccentric, alienated and lonely. She returns to Baba Yaga only to find that she still has more to learn from her community and must again live as an outcast, and out of the forest. It is many decades until Baba Yaga calls Vasilisa to her forest hut for one final encounter, where Vasilisa learns the true power of Baba Yaga and the magic of the wilderness. It's a beautiful story that felt distinctively feminine to me, full of cycles, renewal and strength.

In addition to the lyrical story, Bone Mother features aerial acrobatics in varying levels from all of its performers, who also trade in portrayals of each character through each iteration of the story. Carolina Gwinn is the first Baba Yaga and the final Vasilisa. She clearly had the most acrobatics training and brought just as much physicality to her facial expressions as she did to her silks work. I found her to be highly charismatic and fearless, a real presence on stage. The first Vasilisa and second Baba Yaga was played by Chasya Hill, a Liberian-American actress who recently relocated here from Birmingham, Alabama, and someone I predict is going to have a large impact on #tctheater this year. Hill has gravitas and a sonorous voice, and I couldn't take my eyes off her while she was on stage. Heather Stone plays the second Vasilisa and the final Baba Yaga. She has a less physical performance than Gwinn and Hill, but brought far more comedy to her performance. She was a welcome dose of levity in a story that can dip into the dark side, and I really appreciated what she contributed. Henry Ellen Sansone was alluring as the resident cat, with a mischievous Cheshire Cat flare that also added a touch of warmth. And Megan Campbell Lagas helps anchor the rotating cast of supporting characters, slipping in between mythical creatures and human portrayals with aplomb.

All images are copyright of Matthew Glover for Sandbox Theatre

One of the artistic values of Sandbox Theatre is to integrate visual design, physical performance, music and text; another is to limit consumption and minimize waste. These two tenets (of their core nine values) perfectly encapsulate the production design here. Because the performance is set in the hall of the Russian Art Museum and most of the blocking focus is on the silks, there is no set to speak of. Instead, we have a few strategically placed flood lights designed by Bryan Gunsch to set the tone for the plot; this works remarkably well, whether we are in the forest or swimming under a river. I loved Mandi Johnson's costume design, which adapted comfy athleisure wear with strategic accessories to give the actors the freedom to create highly physical performances but retain a sense of magic. And I especially appreciated the otherworldly, eerie music composed and performed by Anna Johnson, Emily Kastrul, Sarah Larsson and Willow Waters. It was the perfect accompaniment to a mystical, haunting, Russian-esque folk story, and it really coheres by the end of the show.

All images are copyright of Matthew Glover for Sandbox Theatre

Bone Mother is a truly unique performance, at once ancient and entirely original; modern but familiar; feminine and powerful. Something in it really moved me. I'm not sure if it was the effect of stripping away the trappings of elaborate sets and costumes and focusing on breathwork and the music of bodies, or the hearkening back to my favorite kind of fairy tales, or just the sense of womanly power that swept through the whole show, but I left Bone Mother feeling lightened, inspired and connected to a bigger world of spirits than when I had arrived. It's the perfect thing to watch as our seasons transition to a darker one and we prepare to sit more quietly inside ourselves. Tickets are selling very quickly, so make sure to snatch some up by clicking on this link before the whole run for Bone Mother is sold out by close on September 27.

Hello, Dolly! Still Has It Thanks to Betty Buckley

The show is in good hands with the legendary Betty Buckley

Photo by Julieta Cervantes

We seem to be in an era of revivals, these days. Carousel, My Fair Lady, Oklahoma! and Hello, Dolly! Have been making waves on Broadway for a few years now. Of all these recent revivals, Hello, Dolly! is the first to make it to the Twin Cities - and it was actually worth the wait.

Photo by Julieta Cervantes

I've reviewed Hello, Dolly! before (most recently the Chanhassen Dinner Theatre's fun production) and I was honestly feeling uninspired when I learned it was on this year's touring Broadway circuit. I once heard this show described as a dowager that doesn't age well, and I have often shared similar sentiments. Been there, done that... who cares?

Photo by Julieta Cervantes

So imagine my surprise, then, when I encountered a spunky, lively production that leans right into that dated material to enhance the comedic effect and find something deeper to say. Dolly Levi is still meddling in her matchmaking ways, holding people hostage and steering them towards her preferred endings; there are still sexist old white dudes and a host of highly gendered lyrics. But it's all delivered here with a wink and a smile, and the sheer joy this cast brings to their parts got the audience deeply engaged from the very beginning.

Photo by Julieta Cervantes

It doesn't hurt that Broadway legend Betty Buckley came out for this tour; a wise choice, considering Broadway attendees got to savor performances from Bette Midler and Bernadette Peters (the original cinematic Dolly was Barbra Streisand... what's up with all these B-named primadonnas starring in this show!). It was an immense pleasure to watch a theatrical legend swan around for a couple of hours, and Buckley clearly relishes every second. Her monologues were especially powerful, bringing real tears to her (and many audience members) eyes. She is deliciously foiled by Lewis Stadlen as the blustery Horace Vandergelder. Stadlen is a complete riot, a lethal stylistic blend of Nathan Lane, Tony Shalhoub and Burl Ives, and he's my favorite actor I've ever seen in that role. He had the audience roaring with laughter at the first note (not an easy feat, considering some of his solo lyrics), and watching he and Buckley spar through their scenes was an absolute delight. The rest of the cast has sunny smiles and strong singing voices, and they anchor the rest of the show so that Buckley and Stadlen can shine. It's a true group effort, and combined with Robert Billig's masterful conduction of the pit orchestra, musical lovers are sure to be delighted with the experience.

Photo by Julieta Cervantes

I found myself surprisingly engaged in the production design of this Hello, Dolly! as well. No expense was spared in the lavish sets, and this production served me all the Broadway glitz and glam that I found sorely lacking in the recent tour of Charlie and the Chocolate Factory in the same theater. We have trap doors! A working steam train! Three-D, watercolor painted scrims! Easter egg dyed costumes! Luscious velvet restaurant curtains! Absolute mountains of props! It's all the OG theater stuff I grew up entranced by, and hats off to the amazing production designers for executing a fully fleshed, over the top vision that was a true feast for the senses. The choreography by David Chase deserves a special call-out - dancers are absolutely flying around this stage in rickety 1900s-era heels with nary a care, and their fearless performance added to the showstopper scenes (especially that butler scene in the Harmonia Gardens restaurant - *how gorgina*, as Jonathan Van Ness would say).

Photo by Julieta Cervantes

All of this to say, if you've seen Hello, Dolly! before, I think this traveling production is still worth a stop this weekend. If you haven't seen it yet, then this is a must-visit. You'll get to see a Broadway legend at her most fabulous and vaunted, paired with a dreamy (and equally legendary) comedic partner. The production design and dancing are likely to dazzle even the most jaded theater goer and the musical performances are no slouch either. Tickets to shows like this tend to be pricey and you don't always know if they're worth the admission. I think this is a solid bet on bang for your buck, if you like that showy Broadway kind of thing. Definitely look into it by clicking here for more information and to get tickets.

Photo by Julieta Cervantes

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

KHEPHRA is the Hip Hop Holiday Story You Didn't Know You Needed

Representation has been an increasingly important theme in arts around the world lately. 

Uche Iroegbu

Whether it's melanizing the lily white world of superhero universes (here's looking at you Black Panther) or shaking up the stale genre of rom coms (Crazy Rich Asians ruled the game this summer), groups that were previously left out of the cultural conversation have started to plow ahead with work by, of and for their own with nary a glimpse in the rearview mirror.

And what a great time that makes it to be a lover of the arts! Diversification only generates richer, deeper, more meaningful and interesting stories. I've been thrilled to discover so many new worlds and ideas that I never knew before over the last few years. The quality across the board has been increased such that it can be hard now to find something that *isn't* interesting or fresh, and that's a good problem for all of us to have.

The latest local piece in this fearless tradition is KHEPHRA: A Hip Hop Holiday Story, now showing at the CONN Theater. Created and anchored by local luminary Shá Cage, KHEPHRA tells the story of a young girl as she encounters celebrations from the many countries she lives in in West Africa and transitions to life in America in her teenage years. It's a side door entry into the world of a holiday show - you won't get your typical Christmas Carol or Grinch or Santa or manger moments here (although there are some remixed carols) - which I found totally refreshing and unique. Through puppetry, dance and music, Cage takes us on a tour through KHEPHRA's world and educates all of us on a vibrant blend of cultural traditions and experiences. A helpful insert in the program describes some of the West African terms, people, and songs sung throughout the show for those who are unfamiliar with the cultures presents.

A standout element is that this is clearly a family affair. We learn at the very beginning of the show that the concept for KHEPHRA came after Cage realized her kids were too young to see Christmas Carol and that they wouldn't relate to it anyway. Cage decided to create a show where they could feel seen and represented and hopefully have them perform with her once they were older. Her sons do indeed perform in this show, which is directed by Cage's husband. Cage displays an intimate, joyful familiarity with the two incredible dancers (Destiny Anderson and Johannah Easley) and musicians (Jamela Pettiford, William "Truthmaze" Harris, and Rico Mendez) also performing, and together they create a vivacious and joyful energy. The familial vibe on stage also creates a warm engagement with the audience, who is encouraged to sing along with the performers during the musical numbers and touch some of the West African artifacts Cage introduces throughout the show. I also thoroughly enjoyed the gorgeous abstract paintings in the scenic design by Ta-coumba Aiken that lend a simple but colorful and playful backdrop for the dynamic choreography.

I can't overstate how nice it is to see a plethora of innovative, unique, diverse, talented performers carving their own paths through the arts world these days. It's not easy to create something out of thin air, and much less make it something of quality. The vision Shá Cage demonstrates in KHEPHRA, the joyful atmosphere of the entire experience, and the example she sets for her children (and for all of us, honestly) is one I won't soon forget. If you're feeling down in the holiday dumps or just plain bored with the same ol', same ol' rotations of shows around this time of year, branch out and explore the lovely, cross-cultural world Cage has to offer here. I hope this becomes a holiday tradition of its own - a festivus for the rest of us if there ever was one. KHEPHRA only runs through December 23 (with shows twice a day), so make sure to click here to get your tickets ASAP.

Thrillist: The Best Things to Do in 25 of America’s Most Fun Cities

Doesn't #23 seem a little low on the ranking? 

Photo courtesy of Thrillist

How do the Twin Cities stack up when compared with our fellow American metropoles? Let me count the ways.

Thrillist asked me to send in some suggestions for cliched sights in the Twin Cities worth their salt and I came up with the following list. We're pretty lucky here in that very few things are truly overrated - but that doesn't mean there aren't still some standouts. I was sorely tempted to throw in MIA, Landmark Center, some theater, or the riverfront, but the sculpture garden won in the end thanks to its completely free access and Insta-worthy setting.

Check out the rest of my touristy Minnesota thoughts by clicking on this link to read the article, and let me know - what would be your best iconic tourist location to visit? Are there any under the radar events I need to know about? I'm always looking for the next big thing, so please send your suggestions my way to compendiummpls@gmail.com.

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23. Minneapolis

The Best Iconic Thing - Walker Art Center Sculpture Garden
How many cities can boast an iconic sculpture garden? How many of them can boast that such a venue is 100% free to visit? If museums seem just a little too boring or expensive but you feel the need for some culture in your life, check out the Walker Art Center’s sculpture garden. Recently re-vamped and open year round (yes, even when it snows), this highly visible gem is worth a longer stop than glancing it over while waiting at a red light on Hennepin Avenue. Come for Claes Oldenburg’s iconic Spoonbridge and Cherry statue; stay for the over 40 additional works, including Katharina Fritsch’s Hahn/Cock, a giant electric-blue chicken.

The Best Free Thing - Transmission Dance Nights with DJ Jake Rudh
The Twin Cities are a highly underrated destination for all kinds of arts. In addition to a thriving theater scene (with more theaters per capita than anywhere except New York City), our music and radio scene is equally vibrant. Those familiar with DJ Jake Rudh likely know him from spinning indie classics on Minnesota Public Radio’s hipster station of choice, 89.3 The Current. What they may not realize is that Transmission, Rudh’s scheduled broadcast every Thursday night at 10 p.m., is also a live – and completely free – dance party. With dates scheduled weekly all year round, there’s always an option for club fiends to hear the best mix with their friends and check out some of the Twin Cities best clubbing venues free of charge. Make sure to follow the Transmission Facebook page for more information.

The Best Under The Radar Thing - The Minneapolis Skyway System
Many Minnesotans have heard visitors complain that the Twin Cities feel empty, especially in the winter. Looking out the window it would be easy to assume that there aren’t many people living here at all. But you’d be wrong, they’re all living up in the air. A hefty network of rooftop bars and patios, the Skyway System links Minnesotans through buildings via second floor tunnels and footbridges -- it’s like a giant hamster wheel but for people. Minneapolis alone boasts over 13 miles of skyways filled with restaurants, shops, massage parlors, nail shops and banks, including Brits Pub, a fully grassed lawn bowling court with a wall-sized movie screen and three story outdoor bar complex. - Becki Iverson

50 Years of Chanhassen Dinner Theatre + Holiday Inn

CDT is the theatrical equivalent of a giant, comforting, cozy bowl of steaming mac and cheese, and I'm totally fine with that. 

Photo by Tom Wallace, 2018

Sometimes I see people take aim at things that are mainstream or inherently positive as if they are somehow unworthy of attention. This frustrates me.

Photo by Tom Wallace, 2018

I love avant garde theater - but I also love the mass produced, flashy shows that fill giant theaters, keep plots simple and spirit fingers wiggling. Growing up in rural small town Minnesota, places like the Orpheum or Chanhassen Dinner Theatre (CDT) were the only way I ever saw professional theater. Sure we had school and community productions, but professional spaces were a solid 360 mile round trip away, not to mention often way outside of the budget of our six person family. If we were really lucky, once a year my family got to go to CDT over the summer when they held the family ticket sale. It was so magical for me, a truly transportive experience that taught me to dream beyond my immediate reality and made a direct line to me starting this blog so I can continue to experience this art I have come to love so deeply. Those experiences at CDT are treasured memories and a big reason that I will always harbor an undying love for that space.

Photo by Tom Wallace, 2018

The thing about mass produced shows shows is that there are people (a lot of people, actually) for whom it is the only way they will access theater at all. They deserve to enjoy the arts too, and if a traveling Broadway show or a musical theater bonanza with a plated dinner is what gets them there - I'm all for it. There are hundreds of union employees who make great money year round working on these productions, and I'm happy to support them (just as I love local companies like Prime Productions or Frank Theatre or Trademark Theater, all of whom have shows running right now).

Photo by Tom Wallace, 2018

The point of all of this is that this year, CDT is celebrating 50 years of existence. For just a little context on how mind blowing this accomplishment is, check this out: since Chanhassen Dinner Theatres opened in 1968, its kitchen has served:

1. 25 million fresh baked rolls
2. 2,265,000 grilled to perfection, sirloin steaks
3. 400,000 pounds of roasted prime rib of beef
4. 4,250,000 stuffed chicken breasts
5. 500,000 pints of fresh strawberries
6. Just shy of 50,000,000 cups of coffee or enough to fill more than FIVE Olympic-sized swimming pools
7. Chanhassen Dinner Theatres is the nation’s largest professional dinner theatre company. It is one of a handful of professional status dinner theatres still in existence.
8. In its 50 years, Chanhassen Dinner Theatres has entertained just over 12.5 million guests.
9. In addition, over that time, CDT has staged a total of 237 productions on its multiple stages.

I'm so grateful that CDT has stuck around this long, weathering recessions, public taste and ownership crises, and I sure hope they stick around for another 50 years. I can't think of a better show to celebrate this milestone than Irving Berlin's Holiday Inn, which opened last night. I loved the film version growing up, which starred Bing Crosby and Fred Astaire, and was the first time audiences heard the now-classic song White Christmas. Holiday Inn is exactly what it sounds like: a musical about a man who leaves show business to run a farm in rural Connecticut. When he proves to be a failure at farming, Jim decides to flip the space into a lodge with musical performances that is only open on holidays (when everything else is closed). There are several straightforward romantic plots woven through the holiday numbers, and everyone leaves with a happy ending. It's a show that oozes nostalgia, and while its plot is a little dated, the rotation of greatest hits songs like Blue Skies, Heat Wave, Cheek to Cheek and, of course, White Christmas provides a delightful immersion in 1940s nostalgia.

Photo by Tom Wallace, 2018

Many of CDT's OG company members are in this show, so you're guaranteed to see many familiar faces. Michael Gruber plays Jim, and while he doesn't quite have Bing Crosby's velvety basso, he does have an endless aura of charm and panache that perfectly fits the 1940s setting. Ann Michels is period-perfect as Jim's love interest Linda; her voice soars through the show, and it's not hard to imagine her having a Ginger Rogers or Andrews Sisters moment if she'd been performing back then. Jessica Fredrickson plays Lila as a true Lina Lamont character, clearly reveling in playing the villainous love interest. And Tony Vierling brings his best Gene Kelly to the role Fred Astaire originated as Ted; it's one of the best things I've seen Vierling do, probably since Singin' in the Rain. Vierling is a true blue, classic Hollywood musical hoofer, and director Michael Brindisi wisely grants him several solo moments to glide across the stage and give the audience a few showstopping dance moves. The company itself is also very strong, especially in dance, and there are plenty of charming cameos you'll see throughout the show.

Photo by Tom Wallace, 2018

The thing that kept striking me throughout the performance was the attention to detail at every level. There's not a lot of whodunnit to this plot - you'll see all the major points coming - so the charm of the show lies in all of the other little things to see. The set, designed by Nayna Ramey, is the kind of shabby chic rural dream that will have any cabin lover swooning. Tamara Kangas Erickson's choreography is truly masterful, incorporating tiny touches like collective gasps with some spectacular dance scenes (a tap sequence done with jump ropes was especially fantastic) to make it clear that every moment of the show was considered. The band, directed by Andy Kust, has a big brass Count Basie feel, and Russ Haynes' sound design lets us hear everyone's lines just fine. My favorite element, however, had to be the gorgeous hair and makeup design by Paul Bigot and the delicious costumes from Rich Hamson. If you've ever drooled over a chest-width corsage or a perfectly pinned pageboy, you will not be able to stop swooning over these visuals. It's cotton candy for the eyes and even if you don't like the show, you'll find something to like about the gorgeous garb.

Photo by Tom Wallace, 2018

Is Holiday Inn the best show I've ever seen at CDT? No. But it's a perfect choice for their 50th anniversary and to cover the holiday season. Comforting, nostalgic, and flashy enough to engage anyone's interest, Holiday Inn will be a welcome surprise for fans of old Hollywood musicals who haven't seen it, and a refreshing classic for those who have loved the movie for years. I am so glad I got the chance to see it and celebrate CDT's 50th anniversary; cheers to them on 50 more. For more information or to buy tickets, click on this link.

Photo by Tom Wallace, 2018

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.

The Importance of Watching West Side Story with Context

Have you ever questioned your memories?

T Charles Erickson

Let me tell you a story: it's 2006 and I'm a junior in high school in a small town up north. The school musical is announced and it's West Side Story. I'm thrilled because it's one of my favorite shows, ever.pointblank.omg., and I get a shot at what I consider the peach part of all theater: Maria. Magically I am cast in the role despite my stage fright and go on to have the hardest, most fulfilling artistic experience of my life. I grow leaps and bounds in that production in so many different ways, and it is a cherished memory. That is... until I leave my small (mostly white) town for the Big City of Minneapolis, go to college, and begin to listen to voices other than those I grew up with - voices who were hurt by the stereotypes presented in the script of West Side Story, voices who even advocated that it no longer be performed.

T Charles Erickson

I'm telling you all of this because I want you to understand the massive cognitive dissonance I hold around this show, something that I am still (and maybe always will be) working through, and something I don't have answers for. The place West Side Story holds in my heart will be there forever - young loves always are, and I can't turn back the clock on my past experiences. But the older I get, and the more voices I listen to, the more I question my participation in that show and the general fervor that surrounds it globally. It is not a thing I take lightly, and it is not a pleasant exercise to re-examine my youthful memories in the harsh light of my current perspective, but it's something that feels irresponsible not to do now that I've heard from those voices (for more context, be sure to check out this incredible piece in Howl Round; this piece in the Washington Post; and this blog piece about the interracial relationship aspect of the story).

T Charles Erickson

So with this context in mind, let me talk about the latest rendition of West Side Story to hit #tctheater stages, this time at the Guthrie. First things first: from a production perspective it's gorgeous, which is no surprise. No expense was spared in the scenic design (by Christopher Acebo), which is much more modern than I've seen in other productions. This is a New York City not of warm brick tenement buildings but cold steel beams and buzzing neon lights (part of Bradley King's thoughtful lighting design). It's clean and harsh and it really works, providing a stark contrast to the lavishly colored costumes (produced with a flourish by Jen Caprio) and pushing the audience's context for the show forward. The sound design from Elisheba Ittoop is perfect, allowing us to hear each note and each voice in turn without drowning anyone out or blasting us from over-programmed speakers. Maija Garcia's choreography adds a modern dance touch on top of the classic Jerome Robbins choreography, allowing the dynamic young cast to explode off the stage. Mark Hartman expertly conducts the orchestra to glorious heights; it's a showstopper of musicianship on an extraordinarily difficult score, and they nailed it.

T Charles Erickson

The cast is unimpeachable as well and features an explicitly mixed-race cast on both sides. Marc Koeck and Mia Pinero have good chemistry as Tony and Maria, respectively. Koeck in particular soars through his solos with a winning romanticism, and Pinero nails each high note without flinching. They are convincingly youthful and fresh, and they do their predecessors proud. The gangs overall are full of smart new talent and poised performances; listing them individually would be exhausting, but suffice it to say each person is really well chosen for their parts. The performers who really blew me away? Ana Isabelle as Anita; Isabelle is a fabulous Puerto Rican actress who blows up the stage every time she struts on. You can really feel the emotion in her voice and every move, and she is literal dynamite. Darius Jordan Lee was also unbelievable as Riff; every sinew of his being is flexed with tension throughout the show, and he was an unexpected but inspired choice for the part.

Overall: fans of West Side Story will not be disappointed with this production. The Guthrie has spared no expense, the cast is incredibly talented, the choreography thrills, the design is fresh and interesting. I'm sure it's going to be a great success and I wish the performers all of the best - they've worked so hard and they're doing great work.

T Charles Erickson

But I can't shake my cognitive dissonance. I have often heard West Side Story described as a masterpiece of universal moral meaning, but is that really true? The score is undeniably an incredible piece of art if we can lay the story aside - no one will argue that. But the trouble with West Side Story is that the story is integral to the entire experience. You can't divorce it from the music and it would be very difficult to rewrite. Viewers are taught to understand this narrative as a meeting of equals and see that both sides suffer from mutual wrongdoing; the trouble is that if we're really honest with ourselves, these gangs did not start on the same foot or context. The American legacy of legalized racism, mass incarceration, and unequal immigration policies does not shape the lives of white Americans in the same way that it does people of color, and presenting their experience on the same footing does do a disservice to those who suffer from those policies. Authorship matters, a lot, and in the case of this show it changes all of our understandings of who is represented and how.

T Charles Erickson

So if you want to go see a beautifully produced show, please do. The production itself is wonderfully done; several thoughtful changes have been made (such as not arresting Chino at the end of the show, a great choice) and there has clearly been some intentional internal dialogue at the big G about how to handle some of the recent controversies surrounding the show. I appreciate the effort they put into the production and I think there are many people who can still get a lot out of it. The music is incredible, undoubtedly.

It just broke my heart to feel my soul soar with every note of that glorious orchestra and know how much work is still left to be done, how many people still suffer under our institutions, and how little interest many in our nation seem to have in really giving everyone an equal playing field to live on. If you want to go, go see it and enjoy it - just make sure to call your senators when you get home to tell them to take care of real-life Puerto Ricans, to end mass incarceration, and to vote for policies that make the horrific events in West Side Story truly nothing more than a fairy tale. West Side Story runs at the Guthrie through August 26; for more information or to buy tickets, click on this link.