A Passing Feeling for My Fair Lady

Am I getting jaded or are things not aging well? Maybe both?

Photo by © Joan Marcus

If you were to ask people to name the first thing that comes to mind when you say the word musical, one of the first is likely to be My Fair Lady. Its vaunted pedigree, from the book adapted from George Bernard Shaw's Pygmalion, to the original Broadway performances starring Rex Harrsion and the one and only Julie Andrews, to the film starring an effervescent Audrey Heburn (bolstered by Marnie Nixon's stunning vocalizations), is about as elite as a musical's could be and well beloved by fans all over the world.

Photo by © Joan Marcus

I, like I suspect of many readers, was raised watching and loving the movie version of My Fair Lady. I knew every word by my early teens and dreamed of playing Eliza Doolittle someday.

Photo by © Joan Marcus

The current tour at the Orpheum is an admirable rendition of this beloved show (I won't bother recapping the plot as I assume it's quite familiar to most readers - if you really need a synopsis, click here). Laird Mackintosh is horrifically (but appropriately) conceited as Professor Henry Higgins; I cannot comment on Kevin Pariseau's rendition of Higgins' kindly counterpart Colonel Pickering, as he was sick the night we attended, but his substitute was warmly enjoyable in the role. Shereen Ahmed's nimble voice trills through Eliza's plight as Higgins' dusty but determined plaything, and I respected that she kept up a good fight throughout her role. Sam Simahk is sparklingly silly as Freddy Eysford-Hill, and Adam Grupper clearly relishes the role of scoundrely Alfred P. Doolittle. The ensemble cast is quite strong and are fun to watch swanning around the gilt stage in their elaborate costumes.

Photo by © Joan Marcus

I was quite dazzled by the vastness of the set design, which includes endless (but quickly moving) painted backdrops and scrims. The focus, however, lay on a deliciously detailed, rotating 360 degree view of Higgins' home, a truly remarkable feat of scenic design that is flexibly and versatilely used. I was really impressed at how seamlessly this piece moved in and out and the variety of experiences created with just the one element; it had to have been mind-bogglingly expensive to build and I have zero clue how they move that thing weekly between faraway cities, but damn it's impressive. The costumes are likewise delightfully luxe and period-appropriate, and production design junkies overall will find endless amounts of eye candy to enjoy throughout this staging.

Photo by © Joan Marcus

All that said, it surprised me when, sitting through this very well-produced tour of a classic musical that I was raised to love, things just didn't hit quite right. In the era of #metoo, revitalized women's movements, and the all-too-prevalent sexism hitting our female changemakers on all fronts (R.I.P. Elizabeth Warren's devastatingly impressive presidential campaign), I just couldn't find a way to enjoy this show. Higgins' allegedly comedic insults came off as screeching misogyny; Eliza's ignored protestations rang a little too similarly to domestic abuse; and Higgins' mild comeuppance towards the end just couldn't satisfy the thorough thrashing I wanted him to get.

Photo by © Joan Marcus

Please note, dear reader, that I fully realize that all of the above impressions are thoroughly subjective and are my own opinion. The audience laughed right on cue and seemed to have a dapper time watching this show, and I suspect that any other long-term fans will equally adore this well-produced version. It's got everything that Broadway-lovers seek, and the production design is truly gorgeous and special. This post is not a screed against the show or a treatise on why you shouldn't attend.

Photo by © Joan Marcus

This review is, simply, my confession: I have a severe case of sexism fatigue, and My Fair Lady triggered right into it. This is a beautiful production and please go if you enjoy My Fair Lady, or if you've never seen it and want to experience a well-made version. You'll get your money's worth. The magic was just gone for me this time around, and I'm left mourning the days when it was easy for me to slip into a theater and shut my filter off. The world has changed around many of these classic old shows, and it's just harder and harder for me to watch them simply as fictional stage plays without my modern gaze.

Photo by © Joan Marcus

If you want to get tickets to My Fair Lady go quick - it's only open through this weekend. Click on this link to order them.

Photo by © Joan Marcus

Steel Magnolias Has a Heart of Gold

The air was thick with nostalgia as the audience settled into their seats. 

Photo by Dan Norman

After all, you'd have to live under a rock not to remember the infamous 1989 film featuring a veritable who's who of a pillar pre-#metoo feminine Hollywood. I mean how can you forget a cast starring Sally Field, Dolly Parton, Shirley MacLaine, Daryl Hannah, Olympia Dukakis, AND Julia Roberts?!

Photo by Dan Norman

But forget we did as the lights lowered and the stage turned to reveal the cozy home salon of Truvy in the Guthrie's lovely stage production of the same name. It's hard to compete with a movie as iconic as Steel Magnolias was, but the Guthrie succeeds in spades (perhaps partially because several of the production team leaders have never seen the film themselves). It's a softer, warmer play than we often see at the time of year that seems to usually call for heavy dramas as dark as the sky outside, and it was a welcome ray of sunshine on a Tuesday evening.

Photo by Dan Norman

Steel Magnolias is simply a story about life, centered in the salon of Truvy. A local hairdresser whose shop is the heart and soul of the social life in a small Louisiana town, Truvy is deliciously owned by Austene Van in one of my favorite roles I've ever seen her play. The story follows the conversation of Truvy's regular clients M'Lynn (Melissa Maxwell), Clairee (Amy Van Nostrand) and Ouiser (Sally Wingert) as their lives pass through deaths, new jobs, trips, romance and more. A central figure is Shelby (a radiant Nicole King), M'Lynn's daughter who is plagued by severe diabetes, as she gets married and starts her family. Shelby's delicate health is a marked contrast to the spunky and hearty Annelle (Adelin Phelps), Truvy's assistant and a newcomer to the town.

Photo by Dan Norman

I won't spoil the poignant ending for those unfamiliar with the show, but I am happy to praise the rich, nuanced chemistry this colorful cast brings to the stage. Wingert is hilarious as usual and a comedic star every time she appears. Nostrand has a very Shirley MacLaine delivery and I found her wry and delightful. I wanted Maxwell to have just a titch more gravitas as M'Lynn, but she brought a warmth as Shelby's mother that was beautiful to behold. Phelps is a total stitch as the bumbling, earnest Annelle, and I would have loved to see even more of her throughout the show. And as mentioned above, hats off to Austene Van for her beautiful performance as Truvy, the stylish and beating heart of Steel Magnolias. Van is our local Regina King and I adored seeing her in such a soft, plush role. It fits her like a comfy dress you never want her to take off.

Photo by Dan Norman

Speaking of style, the 1980s period-perfect costuming designed by Kara Harmon is delicious front to back. You'll get wigs, shoulder pads, ornate belts, and all the hairspray you can handle, and I couldn't get enough. Narelle Sissons' sturdy scenic design gives us a literal 360 degree view of Truvy's salon, which rotates on a turnstile from season to season and feels like a cozy alcove we all share in confidence. Cat Tate Starmer's lighting design perfectly enhances that feeling with a warm glow, and Jane Shaw's subtle sound design provides just the right mood. Hats off to director Lisa Rothe and this all female production team (called out in the program with photos! - a detail that I loved) for a beautiful, feminine production that is appealing to audiences of all gender identities and persuasions. I can attest that my husband (who has not seen the film either... maybe it's not as universal as I always thought?) was apprehensive about enjoying this show as we first sat down, but left with glowing words by the time it ended, so I know that this is one that can cross gender lines.

Photo by Dan Norman

One of the things I think that gives Steel Magnolias such staying power is its (regrettably, still,) unusual focus on the lives of ordinary, every day women. There are no kingmakers or harlots or business titans here, just a group of ladies living their mundane lives in camaraderie and gratitude. It's still so rare to see stories about everyday ordinary people that don't involve some overstated, manufactured point of interest (like a murder or winning the lottery), and especially so when the protagonists are all women. It was a real pleasure to hear a celebration of the little things in life, and a reminder of how far technology has removed most of us from the joys of physical connection and companionship - a habit that perhaps we should reclaim. After all, how many of us walk into a beauty shop these days and actually (gasp!) talk to each other? Steel Magnolias is a psalm for the soul, a beautiful meditation of the little ways we can all mean very much to each other, and I couldn't recommend it enough. This is a lovely option for a holiday gift, a trip with the gals in your friends or family circle, or even a date night the special guy in your life will connect more to than he'd admit. Click here for more information or to get tickets before Steel Magnolias closes on December 15.

Photo by Dan Norman

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.

Cool Field Trip: Game Changers at the Science Museum of Minnesota

There's only one more weekend to experience THE coolest interactive exhibit I've seen in a while. 

100 games over 10,000 square feet? #yesplease

I'll be the first to admit that video games (and video gamers) have gotten a bad rap over the years.

You can really see the full evolution of characters

I was long an opponent of the medium. I never grew up playing video games, and it was hard for me to see the value in it.

Another popular booth: Guitar Hero

But over the years I've come to see just how rich this technology (and the worlds it builds) is. There are so many fascinating elements about video games that have started to get serious celebration from vaunted organizations (MPR's fabulous podcast Top Score about the orchestral music written for video games is one such example) and it's really bringing the world of gaming out of the small screen and into the mainstream.

The detail is extraordinary

Game Changers, an ongoing exhibit at the Science Museum of Minnesota, is the perfect vehicle for novices and hardcore game heads alike to educate themselves about this world. It's an encyclopedic exploration of the history of video games, from the very first Space Invadors and Pac-Mans to the decades-long complexities of world-building games like SimCity or World of Warcraft. Visitors can not only read about the history of these games, their technology and their creators - they can also actually play each of the games mentioned on the original equipment. And this is not to be downplayed: the arcade space is comprised of more than 100 games over 10,000 square feet, an enormous temple to the sport of true gaming.

The sketches are endless

I was really blown away by the intricacy and detail of this exhibit. There is such a lineage to the construction of games - much like novelists or painters or chefs can directly credit those who came before them as inspirations and foundations to build their art on and expand it to new heights. Many games also have original sketches and models on display so that you can see the process from ideation to inception, and it's a really powerful visual testifying to just how complex the process of creating a game is.

A group dance station was easily one of the most popular elements

The global nature of gaming is included as well, with different regions appearing in focus with distinctive art styles and plotlines. Japan is the clear standout among regions outside of the United States, but there are also creative games from Sweden, Korea and a host of other countries. It is one more example of the unifying power of sharing an interactive world with someone else, and much like Trekkies, gamers have a friend wherever they go.

Gorgeous color sketches

This is an exhibit appropriate for groups of all ages and is actually an amazing way to connect with kids whose modern knowledge of gaming you may not understand. I took my niece and nephew with me, both of whom are avid gamers, and they had the time of their lives. We don't always have a lot to talk about directly, and I learned so much about them from the way they engaged with and explained each of the games that I never would have gleaned in casual conversation. It was a really fun day and reminded me how quickly things change from generation to generation. It was almost impossible to tear the kids away from the exhibit when we needed to go and it was packed to the gills, so I can testify first hand that the price of admission is absolutely worth it. The kids even loved the current omnitheater film about Cuba, which is not a subject they're normally interested in. This trip was a grand slam in terms of keeping them interested and occupied!

Loved this creative monster

And about that - another benefit to Game Changers is that admission is included in general admission to the Science Museum; this is not a separate ticketed event like many of their special exhibits have been. It's all the more reason to take your family or your date on a field trip to check it out before it closes on May 5. Run, do not walk, to go - there are limited edition games here that you very well may never see in working order again in your life. It's a fabulous, affordable trip for families or dates and is guaranteed to teach even the most serious gamer something they didn't know before. Click here for more information or to buy your tickets!

Up a little closer

An indicative list of the games available includes: 

The Arcade Heroes section spotlights pioneering designers from the trailblazing and revolutionary arcade era, including Ed Logg (Asteroids, 1979), Tim Skelly (Reactor, 1982), Masanobu Endo (Xevious, 1982), Toru Iwatani (Pac-Man, 1980), Eugene Jarvis (Defender, 1980), Tomohiro Nishikado (Space Invaders, 1978), and Dave Theurer (Tempest, 1981).

Long lines to play the vintage games like Asteroids, pictured here

The Game Changers section features leading contemporary designers who have had a major impact on shaping the medium as we know it: Blizzard Entertainment (Diablo III 2012), Tetsuya Mizuguchi (Sega Rally Championship, 1995), Peter Molyneux OBE (Fable III, 2010), Yuji Naka and the Sonic Team (Sonic the Hedgehog, 1991), Alex Rigopulos and Eran Egozy (Rock Band 3, 2010), Tim Schafer (Broken Age, 2014), Warren Spector (Disney’s Epic Mickey, 2010), Yu Suzuki (Hang On, 1985), TT Games (LEGO Batman 3: Beyond Gotham, 2014), and Will Wright (SimCity, 1989).

Full story boards

The Indies section explores the groundbreaking and future-focused world of independent game designers. Artists such as Jonathan Blow (Braid, 2008), Capy (Critter Crunch, 2007), Eric Chahi (Heart of Darkness, 1998), Jakub Dvorský (Botanicula, 2012), Firemint (Flight Control, 2009), Halfbrick (Fruit Ninja Kinect, 2011), Introversion (Dawinia, 2005), Markus ‘Notch’ Persson (Minecraft, 2014), Rovio (Angry Birds, 2009), Erik Svedäng (Blueberry Garden, 2010), and The Behemoth (Castle Crashers, 2008) are profiled in this section.

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.

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

Theater Latte Da's Once is Worth Re-Watching Again

Falling slowly sing your melody

I'll sing along

Photo by Dan Norman

Meditation. Wellness. Intention. Thoughtfulness.

There are so many Wellness Buzzwords floating around these days, and no wonder. In the cacophonous cultural din of modern day politics, a White House almost literally in flames, a well documented rising national stress level, the unending sonorous buzz of ever more electronics humming from ever more outlets in ever more clinically white noisy open office working spaces, it's no wonder that our collective imagination is craving the peace of a true silence, or at least a break from the madness.

Photo by Dan Norman

Few experiences can instantly center you in the quiet liminal space between the chaos as well as Once, a musical I've written about before and that finally has left its Broadway tour to grace local stages around the country. Once is the unlikely story of an Irish man named Guy, literally at the end of his rope, who meets a beautiful Czech immigrant named Girl. Girl is captivated by Guy's music and refuses to let him give up hope, not only convincing him to continue playing his original songs but completely turning his life around. Within one short week, Girl has arranged a band, found a recording studio and funding to pay for it, and filled Guy with freshly renewed hope for the future. They (understandably) begin to fall in love with each other as the musical project progresses, but not enough to overcome their looming responsibilities - Guy to follow his previous love to New York City, Girl to attempt to mend things with her daughter's father.

Photo by Dan Norman

It's a beautifully written show that exists solely in the gray areas, the spaces in between - a literal pregnant pause or baited breath that tugs slowly at the audience until we are emotionally unraveled like a pool of salted zoodles by the end. The frustration (and genius) of Once lies in the fact that it resists every effort to be made into a predictable romance. As heartbreaking as Guy and Girl's inability to let themselves fall into a relationship is, it's nice to see a realistic depiction of relationships and especially of a truly generous love - one that actually considers a person's needs and best interests, rather than one's own selfish impulse for happiness - get center stage for once. It doesn't hurt that the score is hauntingly lovely, an improbably successful blend of Irish folk, hard rock and Czech traditional music that will be stuck in your head for days afterward.

Photo by Dan Norman

The first time I saw Ben Bakken in a lead role, in last season's Five Points (also by Theater Latte Da), I literally said "He needs to be in Once." How awesome then that he is playing Guy in this production! It's the main reason I wanted to see the show, honestly, and he doesn't disappoint. Bakken has just the right raw timbre that sears through you like a knife blade, and he suits Guy's rough teddy bear persona perfectly. Britta Ollmann is lovely as Girl, and while her voice had a few kinks in the performance I saw, she knits a quiet chemistry with Bakken that makes their love story totally believable. The rest of the ensemble, all of whom play instruments live on stage as they are dancing, provides a strong chorus to back their story up. Reed Sigmund is especially delightful as Girl's friend Billy, with some welcome comedic relief that keeps Once from getting too emotionally laden.

Photo by Dan Norman

The set designed by Michael Hoover is two stories and static, loosely reminiscent of a train station / bridge / pub / natty boardwalk. The star of the show (literally) is a gorgeous projected moon and some strategically placed lightbulbs, which mimic a starry night when lowered from the ceiling. It's an elegant effect, and one that fully suits the winsome nature of the show. The costumes reflect the characters' cash-poor status, lived in and comfortable, and Mathew LeFebvre gets them right. The choreography by Kelli Foster Warder is undulating and entrancing, and I was so impressed that the musicians never missed a beat as they two stepped through their songs and played. Grant E. Merges' lighting is key to the ambiance (especially with the limited props, designed by Abbee Warmboe), and the sound design by Kevin Springer keeps everyone together.

Photo by Dan Norman

To be entirely honest, I came into Once knowing I'd already like it (because I love the show's writing so much). Ben Bakken is a fine anchor for this narrative, and I'm so glad he got the chance to take this part on. The rest of the cast isn't quite the specific dream team I'd hoped for, but they do a really fine job, and any fans of the show are sure to leave happy with the performance and humming the songs for days on end. If you can't make it (I'm sure this run will quickly sell out), make sure you check out the 2006 film this is based on - Once is a remarkable story that everyone deserves to experience, at least, well... once. For more information or to buy tickets before Once closes on October 21, click on this link.