Showing posts with label Gift. Show all posts
Showing posts with label Gift. Show all posts

Friday, November 15, 2019

Thrillist: 7 Cold-Weather Destinations You Need to Visit This Winter

Feeling a little shut in this winter? 


Photo courtesy of Thrillist

Consider a change of scenery and check out some of the best U.S.-based winter destinations you can enjoy to get away from home but still have that snowy winter experience. I rounded up 7 awesome options across America for intrepid travelers. Check out my recommendations and let me know - where else would you add to this list? Click here for the article, or see my copy below.

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Ring in the new year with a polar plunge 

Saturday, March 23, 2019

Cyrano de Bergerac is a Sumptuous Delight

Lavish. Painterly. Sumptuous. Elegant. Winsome. 


T Charles Erickson

These are just a few of the words that floated through my mind while watching the Guthrie's delicious new show Cyrano de Bergerac (Cyrano) last night.

T Charles Erickson

The tale of the monster and the damsel falling in love has been a popular story spanning centuries. We've all heard of Beauty and the Beast, The Hunchback of Notre Dame, or even (more modernly) The Shape of Water. The best of these, however, might be Cyrano de Bergerac - and let me tell you why.

T Charles Erickson

The best way I can think of to summate Cyrano is that it's a mashup of Beauty and the Beast and The Three Musketeers. Cyrano de Bergerac is a dangerously efficient swordsman and perhaps the most gifted poet of the land. He is charming, charismatic, courageous and chivalrous, but there's one problem: his nose. Cyrano has an enormous, deformed nose that takes over his face and becomes a point of conversation everywhere he visits. He has learned to deal with this and his life would be happy but for one thing: he is desperately in love with his second cousin Roxane, a beautiful and equally intelligent woman, but is convinced she could never love him because he is ugly. When he learns Roxane is in love with a handsome - but dumbstruck - fellow soldier named Christian, Cyrano hatches a plan to write Christian's letters and speeches of love to Roxane, essentially combining his soul and Christian's face into one spectacular lover. The plan works swimmingly until Christian realizes that Roxane is really in love with Cyrano through the letters he has written and that his pretty face is no longer enough; unfortunately, Christian dies before he is able to tell her, and Roxane and Cyrano spend the next 14 years in comfortable friendship before she learns too late that Cyrano's was the voice she loved so well.

T Charles Erickson

This large cast seems even larger thanks to a constant transformation between various wigs, facial hair and costumes. It's a dizzying array that only works due to the excellence of this band, led first and foremost by the awe-inspiring Jay O. Sanders as Cyrano. Sanders has so much gravitas in his performance; he reminded me on stage of a Patrick Stewart or Ian McKellan, possessing a Shakespearean temperament but a French joie de vivre. It's a potent combo, and the cast swans around him to meet his excellence. Jennie Greenberry is wonderful as Roxane, completely charming the audience from her first line. Ansa Akyea had the audience in stitches as the multifaceted Ragueneau; he truly is our local Idris Elba, and I'm always so happy to see him in leading roles on main stages. Remy Auberjonois brings his best Dumasian Three Musketeers temperament to his role as the captain Le Bret, giving the show a steadfastly honest pillar. Cameron Folmar is excellent as the slimy Count de Guiche, managing to make the character sympathetic despite his despicable tendencies - no mean feat. And I have to call out Nate Cheeseman from among the many supporting company members, all of whom were excellent. Between his sniveling Wickham and lively soldiering in Cyrano, Cheeseman is quickly becoming my favorite period actor in #tctheater. He manages to find the comedy and special moments in every show he's in, and his quick punctuations throughout Cyrano are definite highlights.

T Charles Erickson

As alluded to before, not only is the acting rock solid, but this is easily my favorite production design so far this year. Cyrano glitters from every feathered cap to bejeweled high heeled shoe, and it's a stunning visual. The set, designed by McKay Coble, is a life-size lacquered cabinet of curiosities, which is slowly stripped away and re-set in ever-sparser iterations as the action unfolds. Jan Chambers provides the *most* lavish costumes; it seems nearly every character is dripping in laces and capes and gloves and jewels, shining sumptuously at us from the stage and manipulated with charisma by each performer. I didn't see a person named for the wig and facial hair design, but I have to call it out separately - they add so much to place us firmly in the French aristocracy, and it truly enhances the fantasy and comedy of each scene. Ditto for the makeup and prosthetics team, who do a superb job crafting Cyrano's infamous nose (which is made fresh for every - yes *every* - single performance). The all-female blocking team, including Kara Wooten for fighting, Maija Garcia for movement, and Lauren Keating for intimacy, clearly coached this cast to perfection down to the last twitch of a fingertip. Elisheba Ittoop provides soft, looming context with her sound design, and Rui Rita gives us truly painterly lighting design - every scene is like looking through a Rembrandt, and it makes those gorgeous sets and costumes gleam even more richly.

T Charles Erickson

All the elements of this show perfectly align to make a delicious performance. It's visually sumptuous, beautifully acted, and the story is just so captivating. Not quite fairy tale, not quite romance, it exists in a liminal space between genres that truly has something for everyone. Swordfights? There's one every other scene! Comedy? The lines are often hilarious plays on words! Romance? Everyone is trying to woo each other in this show! Drama? Cyrano closes with a soft, wistful monologue that has all the gravitas of Hamlet's soliloquy.

T Charles Erickson

My favorite part about Cyrano is that it fully resists easy answers. As an audience, you can't help falling in love with Cyrano's beautiful soul and weep for his loneliness. However, as the character himself says - this is not a story where the beast transforms into a prince. The lesson in Cyrano is not only that looks are not the most important part of a person, but that sometimes we are our own greatest inhibitors of happiness. Had Cyrano just told the truth, he may have been able to spend many happy years with his love. It's a deceptively poignant play, and is in my top three favorite shows I've ever seen at the Big G.

T Charles Erickson

The Guthrie clearly spared no expense in putting on this production and it certainly paid off. This show would make a delightful date night and if for nothing but the eye candy (although the content is pretty good too!), it's certainly worth a trip. Click here for more information or to get tickets before Cyrano closes on May 5.

T Charles Erickson

Wednesday, December 19, 2018

Les Miserables is Timelier Than Ever

What can I say about a show that's been touring the country steadily for over 25 years? 

Photo by Matthew Murphy


Probably simply that things haven't changed all that much in the 150+ years since Les Miserables was first published.

Photo by Matthew Murphy
Anyone who isn't familiar with Les Miserables can find a detailed overview of the plot in my first review several years ago (click here to read), but for the one paragraph breakdown: Jean Valjean became a convict after stealing a loaf of bread to save his dying nephew; after 19 years in French prison, he is released and breaks parole to start a new life. He is hunted ever after by the police captain Javert, a stickler for law and order who refuses to believe in life circumstances or that people can change. Valjean takes in a girl named Cosette after her mother falls from grace after working for him, raising Cosette as his own. Cosette falls in love with Marius, a member of a revolutionary group who tries to overthrow France's wealthy ruling class to help the people (and fails). Marius is the lone survivor of the fight after Valjean saves him; Javert commits suicide after Valjean grants him his life during the revolution; and Valjean joins Cosette's mother Fantine and Marius's lover-that-never-was Éponine in heaven after a life filled with service.

Photo by Matthew Murphy

It's a doozy of a plot (and an incredible book - which more people should read. Yes, I know that it clocks in at over 1,400 pages, but if you do the math even the slowest reader can finish it in a year by reading just a measly 4 pages a day. It's worth it, I promise), and despite sounding overwrought it somehow shines on-stage as a complex, tautly riveting story that lays bare some incredibly difficult subjects via high entertainment. I've always felt Les Miserables to be a timely and relevant piece, but it struck me last night just HOW timely it is. Just look at a few of the major themes and plot points:


Photo by Matthew Murphy

And on and on and on... the parallels are never ending! It's interesting for me to see the relationship audiences have with a show such as this; to me there are such clear ties to problems plaguing our society, and despite the intentional comedic moments I still struggle to be fully entertained and remove myself from those implications. This world is REAL to me in a visceral, heartbreaking way, but it seems most of the general public doesn't feel as connected with the story. There were several moments throughout the night - such as strong laughter after childish Cosette's solo "Castle on a Cloud," which describes her dream of escaping her nightmare of child labor and abuse at the hands of the Thénardiers - where I felt almost in an alternate universe. Was the scene teed up for comedic timing? Yes of course. But was it really funny and worth an audience-wide guffaw? I'm hard pressed to say so.

Photo by Matthew Murphy

That said - this production is wholly magnificent and worth a visit for long-term fans and newbies alike. This is a cast of ringers (they need to be in order to perform the gloriously complex score, conducted to perfection by Brian Eads), and no one will be disappointed with their strong work. At the core is, of course, Jean Valjean, played with gravitas here by Nick Cartell. He is partnered with the Ebeneezer Scrooge-ian Josh Davis as *the best* Javert I've ever seen, and together they tussle through an equally matched battle of fates that drives the show with strength. Mary Kate Moore rips through your heart during her solos as Fantine with a truly angelic voice. Paige Smallwood was a crowd-pleaser belting out "On My Own" as Ã‰ponine, and Jillian Butler's sprightly coloratura has a future career as Christine Daae as evidenced through her performance as Cosette. The (surprising) star of the whole thing for me, though, was Joshua Grosso in a gorgeously nuanced performance as Marius. Grosso acts through his teeth while blessing us all with a Josh Groban-esque voice on tear-worthy solos like "Empty Chairs at Empty Tables;" he's fresh, young and bombastic, and I cannot wait to see where he goes after this performance.

Photo by Matthew Murphy

This tour is part of the 25th anniversary revival, which includes some different staging from the famous original. Gone are the turntable stages; instead, we have lavish projections and sky-high sets that provide us with three stories worth of narrative power. The facility of these sets allows for the intensely detailed plot to fly by with ease, and it's impressive how fast-paced this staging of Les Miserables feels despite clocking in at a three hour run time. Paired with the nuanced projections and absolutely stunning lighting design, the sets place us in a living, breathing, three-dimensional slice of Parisian history over 150 years old; it's a high achievement and sure to keep you riveted throughout the show.

Photo by Matthew Murphy

Victor Hugo was the Charles Dickens of France, meaning his work is just as evergreen as the Oliver Twists and Christmas Carols of the world. There's a reason Les Miserables has hung around for so long, and I'm tempted to say it's more relevant now than perhaps it ever has been since publication. Once again we live in a world where a few wealthy autocrats control our health and livelihoods; once again many people are thrown into prisons for minor offenses and struggle to re-enter society; once again the sexual assault of women is at the forefront of political consciousness; once again people are trying to rise up for their rights and are squashed by an indomitable political machine. Does that mean we give up? Of course not - as the revolutionary Enjolras sings, "this is the music of a people who will not be slaves again," and it's always worth fighting for "One Day More" - even if today turns out to be a loss. Don't miss the epic saga of Les Miserables, especially with this taut, terrific cast. Click here to learn more or buy tickets before the show closes on December 30 (and word to the wise - it's selling out quickly, so you'll want to nab those seats ASAP).

Photo by Matthew Murphy


Friday, December 7, 2018

Thrillist: The Best Things to Do This Winter (in the Twin Cities)

Whenever someone not from Minnesota comes to visit, I hear the pity in their voice when they talk about living here through the winter. 

Photo courtesy of Thrillist

Inevitably something along the lines of "bUt HOW dO yoU sUrvIvE iT?!?" comes out of their mouths, and all I can do is smile. 

The things is that (believe it or not) the extreme winters here are actually a gift, allowing Minnesotans to get extra creative with how we spend our time. It enables a period of slowing down, cozying up, and generally just enjoying your life a little differently. Can't go swimming at the beach? Go skiing or skijoring. Can't go for a long stroll outside? Hit up the skyway system and explore some of the crazy things available there, including museums, nail shops and excellent sushi and ramen. Patios are closed? Use it as an excuse to plan a themed date night to learn more about other cultures and try food you've never eaten before. 

I had a lot of fun putting together this list of the best things to do in the winter for Thrillist (click here to read the full piece). It actually became hard to narrow this down! If I have a holiday wish for any readers, it's this: get out of the house and try something new this winter. Do a little more reading, home cooking, and pick one new thing every week - or at least every month - that you've never tried before. There are so many fun activities to explore in the winter here and many of them are very affordable - don't let yourself become isolated and grumpy thanks to the weather and darkness. You can do better. 

If there's something I missed on the list (click here), please let me know! I'm always thrilled to be trying new things. Send any suggestions to me at compendiummpls@gmail.com.

Monday, December 3, 2018

The Wickhams Brings a New Festivity to Pride and Prejudice

How can you find a new way to indulge your love for Jane Austen? 


Photo by Rich Ryan

You took all the Buzzfeed quizzes about "Which Bennet are you?" and watched every Austen remake to be found thousands of times (here's looking at you, Clueless). What's left at this point to fuel your Austen fire?

Thanks to the ever-visionary Sarah Rasmussen, the Jungle Theater in Uptown has you covered. On the heels of last year's unbelievably successful Miss Bennet, the Jungle is providing #tctheater with another witty world premiere play to keep the story of the Bennets living on after Lizzie's marriage to Mr. Darcy at the end of the beloved book Pride and Prejudice.

Photo by Rich Ryan

While Miss Bennet, which premiered last year (and which I didn't see - but my friends over at Talkin' Broadway have the full scoop, just click here to catch up) focused on the story of the oft-forgotten Mary Bennet, The Wickhams gives us all the juicy details of what Lydia has been up to since her secretly forced marriage to George Wickham. It's an unlikely but visionary entree back into this world, providing a surprisingly fruitful plot line for a lively cast and a delicious piece of fan fiction that left me wanting even more.

Photo by Rich Ryan

Think of The Wickhams as "The Untold Story of Lydia" meets Downton Abbey. Fans of the original book know that George Wickham's famously unscrupulous behavior was the bane of many people's existence. After Mr. Darcy forces Wickham to marry Lydia, Wickham is forever banished from Pemberley Hall. This creates a conflict, of course, when the rest of the Bennet family is in town for the holidays. They can neither leave the Wickhams out altogether nor invite George Wickham, so Lydia travels to Pemberley alone to join her sisters. Lydia is a fascinating character who becomes richer as I get older, and The Wickhams plumbs her potential to the core. We learn that Lydia is much smarter than she receives credit for and presents a silly facade to veneer over her unhappy marriage. Throughout The Wickhams, her true relationship to George is unveiled and great plot twists change their lives forever.
Photo by Rich Ryan

The entire play takes place in the kitchen at Pemberley, where the main characters intermittently seek relief from the holiday festivities and stifling family judgement upstairs, and we get to meet a whole new cast of characters via Pemberley's servants. This approach has the advantage of fleshing out a fuller picture of the true life (and class system) at Pemberley, and gives us a window into how George Wickham became the disastrously immoral character he is in the book. It's not a sympathetic portrait but it's a clear-eyed one, and it lends a surprising level of nuance to the original text. Several juicy side plots, including a blooming romance between Cassie, a new servant at Pemberley, and Brian, a long-time servant who knew Wickham intimately as a child; and general existence of housekeeper Mrs. Reynolds, who brings a sharp wit and a spot-on Mrs. Hughes vibe to the house; kept the audience enthralled as we whirled through this new story.

Photo by Rich Ryan

The standout elements of this show were the impeccable comedic timing, directed to perfection by Christina Baldwin. This ship is run as tightly as a British naval frigate and the cast whips through jokes with casual ease. That cast is small but smart, by the way, and everyone serves their roles perfectly. Standouts include Nate Cheeseman, who miraculously manages to make George Wickham not only totally compelling but downright sympathetic at times; and Roshni Desai as Cassie, with a pitch perfect accent and plenty of sharp insight into the new household thanks to her friendship with Brian (setting a new rom-com standard in Jesse Lavercombe's performance). Sun Mee Chomet is an excellent choice for Elizabeth Darcy and keeps the audience giggling and the charmingly flustered James Rodriguez in line as Mr. Darcy. Anglea Timberman anchors the action as Mrs. Reynolds, and I can't imagine her in another role after the steadfast part she plays here. And Kelsey Didion brings surprising complexity to her role as Lydia, leading us to a sympathy we would never have expected from her character. In all it's a very special cast who are clearly having the best time with this new work, and I would happily revisit Pemberley with them again and again.

Photo by Rich Ryan

The devil is in the details and this production team is stellar. I kept finding new minutiae to delight me with every scene. As previously mentioned the lovely set, designed by Chelsea Warren, stays entirely in Pemberley's kitchen. Glowy burnished copper tools grace the walls, a sturdy table centers the room, and a plethora of doorways and secret hallways allow us to watch the characters spy on frank conversations, hide from each other, and otherwise enjoy far more action than a static set has any right to generate. Sarah Bahr's costume design draws clear contrast between the landed class and the servants, and a smart selection of props from John Novak (such as endless biscuits or steaming cups of tea) make this feel like a cozy working home. The real standouts are the lighting design by Marcus Dilliard and dialect coaching from Keely Wolter. I noticed out the gate that these are some of the best (and most consistently delivered) British accents I've heard on stage in recent years, and the lighting is an absolute marvel. Transitioning from shadowy firelight to candle-lit moments to the garish light of day, Dilliard brings a rare nuance to the lighting that really pushes this show to the next level.

Photo by Rich Ryan

Jane Austen was one of the first authors I was truly obsessed with. Like many of us I devoured Pride and Prejudice (and subsequently the rest of Austen's catalog) with a fervor that has not waned over the years. It's one of the few books I've re-read multiple times, and I adore many of the clever re-imaginings that have graced popular culture over the years (such as the Bridget Jones series or Clueless). The Wickhams leads us into a new level of Austen fan fiction that has infinite depths to plumb, and I am so grateful to the Jungle for not only having the vision to commission a brand new work for the holidays (rather than re-hash the same tired stories we see everywhere else) but to use the opportunity to add new richness and understanding to a familiar story. I can see this series becoming a new cycle of holiday plays traveling the country every Christmas season, and it's a world I won't mind revisiting again and again. For more information about The Wickhams or to buy tickets before the show closes on December 30, click on this link.

Friday, November 30, 2018

Marie and Rosetta will Rock your Socks Off

Anyone who knows me even a little knows that one of my great passions is discovering, sharing, and enjoying stories that lie outside of our popular understanding of the world. 


Photos by Petronella J. Ytsma

This is especially true of historical stories, which often tend to center middle aged white dudes writing down what they did all day. What about all of the diverse, dynamic people who lie outside of this tiny box - the women, the people of many cultures, the people across the gender and sexuality spectrum? Where did they all go? Why don't we hear about them more?

Photos by Petronella J. Ytsma

If the explosive success of Hidden Figures two years ago taught us anything, it's that all of us are craving more of these undersold histories - whether we know it or not. Marie and Rosetta, opening tonight at Park Square Theatre, falls smack into this tradition and is an excellent choice for anyone looking to avoid holiday shows, learn about more forgotten historical figures, or enjoy what is easily one of the best musical theater performances on #tctheater stages this year.

Photos by Petronella J. Ytsma

Marie and Rosetta centers on the story of Sister Rosetta Tharpe, a legendary musician who is one of the (completely forgotten) founders of rock and roll music and begat a musical legacy that is thriving to this day. Her history is told through her relationship to Marie Knight, a talented gospel musician who recorded with Sister Rosetta for several years in the 1940s. For some quick background: Sister Rosetta was a highly popular musician in the mid-20th century who was a key musical innovator and cross-genre performer. She is not only responsible for being a vital bridge between musical styles as varied as jazz, gospel and popular music, but also for opening up the world of guitar playing to women and innovating guitar style to include electrical instruments. Her work was a primary influence to now-legendary rock and rollers like Eric Clapton, Keith Richards, Johnny Cash, Carl Perkins, Jerry Lee Lewis, Little Richard, Chuck Berry and even the King himself - Elvis Presley.

Photos by Petronella J. Ytsma

So if Sister Rosetta was so influential, why do so few of us remember her now? I suspect it's for two main reasons: one, that she was a black woman - historically one of the least likely kinds of people to be remembered in print or pop culture, a facet of racism that is tragically still in the process of being (very, very slowly) corrected today. Two, we were blessed with an endless embarrassment of riches of black women musicians during Sister Rosetta's time and she gets a little lost in the shuffle. In a thirty year period or so, just look at the list of giant musical stars who were recording simultaneously: Billie Holiday. Ella Fitzgerald. Etta James. Nina Simone. Diana Ross. Mahalia Jackson. Aretha effing Franklin. And so many, many more whose names are not remembered anymore. It's understandable (although very lamentable) that in a crew of such luminaries, Sister Rosetta might fall somewhat to the wayside.

It's long past time to correct that oversight, and director Wendy Knox has assembled the perfect team to do it. The linchpin of the whole thing rests with Jamecia Bennett, who is superb as Sister Rosetta (and may be my favorite performance all year). Bennett has the look, the swag, the dialogue, and especially the pipes - her voice bellows throughout the theater like a sound tsunami, enveloping each and every audience member in a tight, warm, rich embrace. If you're not in tears by her second number or so, I'm not sure you have a soul. I've often wondered if we feel god's presence through our experiences, particularly musical ones - and if that's true, Jamecia Bennett is the closest sound to god I have maybe ever heard. Rajané Katurah Brown is no slouch as Marie Knight either. She has a full, strong voice that happily disonnates with Bennett's velvety tones, and their harmonies are glorious and could easily sell some records of their own. Brown unveils her character's layers like peeling petals off a rose, and we get a rich idea of Rosetta and Marie's love for each other throughout the short show.

Photos by Petronella J. Ytsma

These two ladies are all you ever see on stage, and it's all you ever need. Against the backdrop of a shabby funeral parlor (designed to the perfect understatement by Joseph Stanley) and some cleverly subtle lighting design choices from Michael P. Kittel, their voices soar in perfect unison. Peter Morrow's sound design masterfully enhances their voices without becoming overwhelming, and thanks to him we hear everything from the luxurious low notes to the high ones soaring to heaven in all their splendid glory. Music director Gary Hines keeps a tight ship, and no one will leave unhappy with the songs they hear in this show - particularly Bennett's melancholy and devastatingly emotional solo on "I Looked Down the Line."

Photos by Petronella J. Ytsma

If you think you're a fan of rock and roll but have never heard of performers like Chuck Berry, Howlin' Wolf, Charlie Patton or Sister Rosetta Tharpe, I *highly* suggest you clear a day (or several) to peruse YouTube archives for their work. Every single rock and roll or popular musician - and I am not exaggerating, I literally mean every. single. one. - owes an unfathomable debt to the spectacular and forgotten black musicians of the American south and Mississippi blues delta who innovated techniques, fearlessly learned new instruments, invented lyricism and taught us all what soul really means in music. As Park Square Theatre's program states, Sister Rosetta Tharpe was the Beyoncé of her day, and it is truly a tragedy that she is so freely forgotten in our own time. The superb performances in Marie and Rosetta will provide you with a Grade A concert in addition to an overdue history lesson, and plenty of ideas to research in the future. I think this is a great choice if you need something to do this weekend, and it's sure to sell out quickly. For more information or to buy tickets before Marie and Rosetta closes on December 30, click on this link. And for an extra treat, check out footage of the real Sister Rosetta in the video below.