Phantom of the Opera Remains a Hit

Which of the old grand dame musicals is your favorite? 

Photo by Matthew Murphy

I'm thinking the tours that never seem to die - Lion King, Les Miserables, Beauty and the Beast, basically anything Andrew Lloyd Webber has ever made - and return time and again to our historic stages. Is there one you just can't seem to help returning to?

Photo by Matthew Murphy

Mine has to be the Phantom of the Opera. The transcendent original Broadway recording starring Michael Crawford and Sarah Brightman was one of the first three CDs I ever owned on my own, and I wore that thing out playing it on repeat and pretending to be Christine Daae.

Photo by Matthew Murphy

That's probably the reason I've now seen the touring production so many times. It also doesn't hurt that despite my nostalgia, the 25th anniversary production as redesigned by Cameron Mackintosh is a gorgeous representation of the best Broadway has to offer with powerful musicians and stunning, exquisitely detailed sets and costumes.

Photo by Matthew Murphy

I won't waste anyone's time re-hashing the plot or production design - see my post about this current tour from two years ago (click here) which still stands, or the original (click here) for that detail. What I will do is update a few of the newer castings and let you decide how many times you should see this theatrical classic.

Photo by Matthew Murphy

Derrick Davis returns in the role of the Phantom, and he remains the undeniable star of this show. His supple, passionate voice is my second favorite Phantom only to Michael Crawford (extremely high praise), and he is honestly the main reason I decided to see this show again. He's a 100% performer, oozing the Phantom from his scaly facial prosthetics to his tippity toes, and he leaves everything on that stage by the end of the performance. Emma Grimsley is a new add as Christine Daae. She can certainly sing circles into the role, but I didn't sense quite the level of passion from her as I wanted. The same goes for Jordan Craig as Raoul; he can sing, but the chemistry between he and Grimsley fell a little flat (which for me is a driving point of the show's believability, especially with a Phantom as magnetic as Davis). Trista Moldovan returns as Carlotta and presents all the ego the role deserves; and Susan Moniz is a new add as Madame Giry, one I greatly enjoyed following throughout the show.

Photo by Matthew Murphy

I stand by my earlier exhortations that you splurge on closer seats to the stage for this production; I don't normally say so, but the extra money here really will be well spent. The design is truly out of this world, and you will get infinitely more pleasure out of plunging into that luxurious world if you can really see all its fine points. Phantom of the Opera remains a wonderful option for an early Christmas gift or escape from your family over the Thanksgiving holiday. Don't miss it before it's gone on December 1; click here for more information or to buy tickets.

Photo by Matthew Murphy

GSVLOC Modernizes "The Mikado"

Are you familiar with Rick Shiomi? 

Photo courtesy of GSVLOC

If not, what rock have you been hiding under!

One of the legendary luminaries of the #tctheater scene, Rick founded Mu Performing Arts (one of my favorite local companies), Full Circle Theater (another favorite local company!), and has been pitching in at theaters around the Twin Cities to consult and produce various shows.

One of the most interesting things about Rick, to me, is that while firmly (and correctly) in the camp of increasing on-stage diversity, he is not someone who always agrees we should throw out racist old shows. In the first ever Twin Cities Theater Blogger Continuing Conversation series, which was focused on race (and unfortunately was the only one our group never recorded - such a shame!), Rick spoke eloquently and at length about the possibility of rewriting such scripts to be more historically accurate, not racist, and still retain the spirit of the original that audiences have admired for generations. The case study he presented at that time was The King and I - did you know that the real-life Anna Leonoens was actually bi-racial, completely changing the context of that musical in a good re-write?! - but it turns out that's not the only show he has thoughts about.

The Gilbert & Sullivan Very Light Opera Company (GSVLOC), which produces one Gilbert & Sullivan show every year, chose The Mikado as their show for 2019. If you are not familiar, the show goes like this: Franki-Poo, the crown prince, has run away from home (and Katy Shaw, the woman who has betrothed herself to him), in order to regain freedom of choice and find true love. He meets and falls in love with Tum Tum, the beautiful young ward - and fiancee - of the creepy (but cunning) Co Co. Co Co is kept in power by the Lord High Everything Else, the man who singlehandedly holds all offices in this imaginary English city called Ti-Tea-Pu. When the King of England sends word he will visit, he also sends word that Ti-Tea-Pu is in need of holding an execution. The chosen subject is none other than the king's son-in-disguise Franki-Poo, who is willing to die from pining after his lost love; but there's a catch. Tum Tum doesn't actually want to marry Co Co, instead finding a way to marry Franki-Poo; and the leaders of Ti-Tea-Pu all learn Franki-Poo is the king's son and can't be killed anyway. Typical Gilbert & Sullivan shenanigans ensue, and everything turns up roses by the end.

Photo courtesy of GSVLOC

The historic issue with The Mikado is that Gilbert & Sullivan wrote it to be a parody of England, and it became an enormously successful one - but only because it was set in Japan. The Mikado is easily the best selling Gilbert & Sullivan show in history, while also being historically performed in yellow face with abounding racial stereotypes about Japanese people. Throw in a few n-words and other racial stereotypes on top of it, and the show becomes atomically problematic. See the trouble?

So along comes Rick Shiomi at the request of GSVLOC, who not only rewrote the show to remove those harmful stereotypes, but delightfully modernized it to reflect today's American politics and cultural references. The effect is a show you would never know was re-written, that is infinitely easier for an audience to understand and relate to, and in my humble opinion the most Gilbert & Sullivan-y way to treat such a script to begin with - after all, every one of these shows was originally written as a cultural commentary before things like Saturday Night Live or Key & Peele existed, so shouldn't contemporary productions reflect current events as well?

I first discovered GSVLOC last year, which is a shame because I generally love Gilbert & Sullivan humor and they are a terrifically talented group. The ensemble sounds gorgeous every chance they get to assemble, and I found myself often wishing there were more full-ensemble numbers, a rarity for me in a show that clocks nearly three hours. All of these leads are charismatic, but I especially enjoyed Maggie Matejcek as a sly Tum Tum; Anthony Rohr as a love-stricken Franki-Poo; Alex Kolyszko as Lord High Everything Else (and the winner for Man Having Most Fun On Stage at my performance); and Lara Trujillo as a spectacularly devious Katy Shaw. I could have watched Trujillo alone all night, and I really hope I encounter her in future productions.

Photo courtesy of GSVLOC

With so many people on stage and involved in the musical aspects of The Mikado (at least 50 between the singers and pit orchestra), the production design is relatively straightforward - which is not a bad thing. The static set by Larry Rostad is painted with romantic technicolor tones reminiscent of an Old Hollywood watercolor and Edwardian English style. The costumes, by Barb Portinga, are similarly grounded and effective. The music direction, by Randal Buikema, is gorgeous and the supporting orchestra does a beautiful job of pacing the music. And the overall stage direction by Rick Shiomi - much like his inspired script re-writes - keeps this show feeling fresh, young, and engaging, an experience which I greatly appreciated.

I am all about advocating for new work to be written and produced that is inclusive and modern and not-problematic; but I also recognize that there are shows that have been beloved for other reasons, and that companies still want to produce them. By bringing in a visionary like Rick Shiomi to move The Mikado into the modern era, GSVLOC has found a way to have their cake and eat it too. They clearly enjoy working with this new script and perform the music with full conviction. It's a really fun experience with all sorts of hidden gems that will delight anyone who follows the news every night, and I think this refreshed version of The Mikado is a much more accessible version of the show than you might assume at first glance. GSVLOC generally only does a show or two a year, so now is your chance to catch them before The Mikado is gone; click here for more information and to buy tickets before the show closes on April 7.

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.

A New Take on Phantom in Love Never Dies

Sometimes, all you want is a good B-list sequel. 

Photo by Joan Marcus

I was raised on the original Phantom of the Opera Broadway soundtrack. At 12 years old, when I got my first boombox #datedmyselfalready, I owned three CDs: Celine Dion's greatest hits; Barbra Streisand duets (including a glorious one with Michael Crawford himself); and The Phantom of the Opera soundtrack. I must have blown through that CD hundreds of times, entranced with Crawford and Sarah Brightman's expressive, lush vocals. It helped spark my interest in real operas and is a show I've loved returning to through the years, particularly the excellent 25th anniversary redesigned production (click here to read my review of the show last December).

Photo by Joan Marcus

So when I learned that there was an Andrew Lloyd Webber-penned sequel, I wasn't sure what to think. Would it ruin the original for me? How could it possibly live up to its predecessor? Do we need another Phantom story? How could it feel fresh when the original story felt so exhaustively explored already?

Photo by Joan Marcus

I'm happy to say that Love Never Dies, now showing at the Orpheum, is actually pretty enjoyable. I'd liken it to the Brendan Fraser Mummy movies of the late 1990s - not classics, not profound, but genuinely enjoyable and full of enough quality to keep you interested. I don't want to give away too much of the story as I approached it with totally fresh eyes and was genuinely surprised by the ending, but a brief summary goes thus: It's been 10 years since the dramatic events of The Phantom of the Opera. Raul has gone totally broke and Christine comes out of musical retirement to perform in America to earn enough money to pay their debts and care for their son. It turns out that years before, the Phantom escaped to America with Madame Giry and her daughter Meg in tow and has since been holding court on a dark corner of Coney Island. Once the Phantom learns Christine is nearby he of course cannot help but try to entrance her all over again, and the ensuing action totally rearranges our previous understanding of the relationships between these main characters.

Photo by Joan Marcus

I found the music pretty, interesting and different from the original while still holding that eerie Phantom feeling. It almost felt a little oriental at moments (that Mummy movie vibe all over again), and there are a couple knockout songs on the show (including "Devil Take the Hindmost," a dark duet between the Phantom and Raoul, and the stunning flagship song "Love Never Dies"). There are several real-life opera performers in this cast, a wise choice that allows each aria-like song to truly soar. Gardar Thor Cortes is glorious as the Phantom; his expressive and wide ranging tenor is beautifully paired with the lush baritone tones of Sean Thompson as Raoul, and their duet was a highlight for me. Meghan Picerno's soprano is a total knockout as Christine Daae, and she can act too. Picerno gives a rich performance throughout the show and has great chemistry with both male leads; she really hits new heights in the second act, which was much more interesting than the first and included her glorious solo on "Love Never Dies." The true star of the cast is young Jake Heston Miller as Christine's son Gustave, who is spectacularly talented and knocks his role out of the park. Miller has the falsetto of angels, and he is very impressive for being so young. The roles of Madame Giry (played by Karen Mason) and Meg Giry (Mary Michael Patterson) are played with equal strength; there really isn't a vocal weak link in the cast, a pleasure since these latter roles often feel like they receive less attention at casting calls. Mason and Patterson have great chemistry and their layered acting really helps this sequel feel fresh, a feat for building off of such a well-known story.

Photo by Joan Marcus

The set is much simpler than that of the thrilling revival of the original, which was a bit disappointing but also not that big of a deal. It mostly consists of various frameworks to give the suggestion of Coney Island without being cumbersome, and it's effective if relatively uninspiring. There are a few titillating moments where we get some magical Phantom sightings, but the main showpiece was the revolving stage. The constant motion made the otherwise simple set feel much bigger than it was, and there is some impressive choreography that really utilizes the full capabilities of that stage. The costumes are beautifully colored and have some lovely detail; I wish I could have seen them more up close, especially some of the gowns worn by Meg and Christine. Check through the pictures I posted here and you'll see what I mean.

Photo by Joan Marcus

Overall, I was pleasantly surprised by Love Never Dies, and it continues to grow on me after the curtains closed. At intermission I was feeling decidedly tepid about it; the second act really redeemed the show overall and made me more engaged. Since I saw it I haven't been able to stop humming along to the tunes, and I have a feeling that the more time I have to sit with Love Never Dies' lyrical orchestration, the more I'll like it. If I had my druthers I'd still make some edits - I think they could cut a few first act songs and shorten it to run without an intermission in a way that would really strengthen the story and make the pacing feel a bit quicker - but it's not at all bad as it is. If you love the original Phantom of the Opera and want to see something that will leave you happy and satisfied (like a boring but delicious chocolate chip cookie), I think Love Never Dies fits the bill. Hurry to go if you plan to, because it closes on July 1; click here for more information or to buy tickets.

Photo by Joan Marcus

Princess Ida is Practically Perfect

The Gilbert & Sullivan Very Light Opera Company brings precision and sass to this timely piece. 

Photo by Stephen Hage

How much do you know about Gilbert & Sullivan? 

If you're a fan of musicals you've likely seen the Pirates of Penzance at some point in your life, but did you know that Gilbert & Sullivan actually penned 14 operattas? The definition of dynamic theatrical duos long before Rogers & Hammerstein came onto the scene, Gilbert & Sullivan have a mostly fabulous catalog of works (although not without some deserved controversy; read: The Mikado) that were true parodies of British culture and politics in their heyday. What has surprised me upon recently re-encountering some of these works is how well several of them have aged. It's a treat to see something well over 100 years old still generating conversation and laughter; done well, a Gilbert & Sullivan production can be a sharp addition to any theatrical season today. 

I was delighted to attend my first such production, Princess Ida, from The Gilbert & Sullivan Very Light Opera Company (GSVLOC), a longstanding local tradition that was regrettably new to me! I came expecting to see some enthusiastic fans indulging their love of this genre and quickly realized that I had thoroughly underestimated this group. The production opens with a powerhouse orchestra and a full throttle chorus that keeps the pedal on the gas throughout the rest of the show. Despite two intermissions (normally a hard no for me), the entire production clocks out in a bit shy of two and a half hours, keeping the action moving reasonably quickly and the audience engaged. 

Photo by Stephen Hage

Most of that engagement is thanks to the story, which has aged surprisingly well. Princess Ida tells the story of the marriage of Prince Hilarion and Princess Ida - or rather, the lack thereof. Ida and Hilarion were betrothed at the age of 1 and 2, respectively, and it has been 20 years since their engagement. On the day she is promised to marry, Ida does not appear with her father King Gama in Hilarion (and his father King Hildebrand's) court. We learn that she has determined to live a life completely free of men and has barricaded herself into a castle and university, where she only accepts (and leads) a cadre of female students. Determined to get his bride at any cost, Hilarion sneaks into the university and finds that he quite likes Ida as well as the work she does. It takes some time for Hilarion and his compadres to be discovered - long enough for his father Hildebrand's army to come calling for Ida's hand with force - and by the time the final conflict arrives, parties on both sides of the issue have begun to reconsider their former positions. The show ends with some surprisingly feminist statements from Hilarion, an ensuing agreement from Ida to marry him, and overall the happy Gilbert & Sullivan ending that has pleased audiences for 130+ years. 

One of the things that sold me on Princess Ida out of the gate was the gorgeous, steampunk inspired production design. Hats off to Set Designer Larry Rostad; Costume Designer Barb Portinga; Props Designer Katie Philips; and Stage Director Joe Andrews. There was a clear vision for this show from the get-go, and everything from the cork bottle goggles to the clever corset and blind-drawn skirts to the sci-fi inspired laser guns is both witty and satisfying to watch. The cohesive presentation makes watching this Princess Ida almost feel like you're participating in a clever fin de siecle video game, and several adroit lighting tricks from Lighting Designer Alex Flinner (such as the ship projection "sailing" between territories during the overture) really enhance that effect. 

Photo by Stephen Hage

The other major selling point? This is a terrific, musically powerhouse cast. I was stunned from the second the music started at how excellent it was - from the full orchestra to the giant chorus, there isn't a weak link in this bunch. Normally I try to list out favorites and I'm not going to do that here, as the size of the cast and orchestra would make this post book-length! Just trust me overall: you are in very, very good hands when it comes to this show, and any musical aficionados will find many things to appreciate. I hadn't realized how much I've been craving a traditional orchestral musical experience and Princess Ida really fulfilled that need for me! This crew was blowing the walls off their small theater, and you will be immersed in a lush aural experience from start to finish. 

I've been on a tear lately attending shows by new-to-me companies in the Twin Cities (like Uprising Theater and Open Eye Figure Theater), and it's been so fun! My time with GSVLOC was a perfect addition to this series and I'm so glad I attended. Princess Ida was a new-to-me show and it really blew me away. I loved this production and I will definitely be back for future shows. I'd encourage anyone to see Princess Ida - come for the gorgeous music, stay for the inventive production design and modern storytelling. The show is on through March 25 at the Howard Conn Fine Arts Center, so you only have a couple more weeks to check it out - click here for more information and to buy tickets. 

Park Square's Pirates of Penzance Reinvents A Genre (In a Great Way)

Sacred cows of the theater be warned: your days of being untouchable are careening towards a swift end. 

Photo by Petronella Ytsma

And what great news that is! Seriously, I've been advocating for years, ad nauseam (#sorrynotsorry), that we need to really feel comfortable revising things for the modern age. Shakespeare is fine and all but there is no reason we need to perform 5+ hour long shows in britches and codpieces and slow vaunted tones. It's totally possible to take a scalpel (or a more woodchopper approach if you're feeling feisty) to old pieces and actually - gasp! - improve them through judicious editing.

Photo by Petronella Ytsma

With that said, we all know I'm willing to give points immediately to anyone with the cajones to actually take such an approach to a beloved classic. I was not expecting this to be the case at Park Square Theatre's new production of The Pirates of Penzance - in fact, this is one of the few old shows I'd probably be fine with leaving as-is because I enjoy the original so much - but I was deliciously surprised to find that this is not at all the same old show we've all seen many times. Three huge huzzahs to the delightful editing from Doug Scholz-Carlson and Bradley Greenwald, which manages to somehow shorten the entire run-time of this show without cutting any songs (although some have been modified); add in a bunch of surprisingly fascinating trivia about the real Gilbert and Sullivan; and overall just breathe fresh air through all the dusty cobwebs of a timeworn story.

Photo by Petronella Ytsma

The overall tale of The Pirates of Penzance is the ultimate farce of a marauding band: a troupe of pirates who can't seem to turn a profit due to their merciful natures is hoodwinked by a major general, who lies about his parentage to keep them from hauling off his unwed daughters. At the heart is the pirate apprentice Frederic, a young man who would do anything to become a respectable member of society but is bound by an interminable sense of duty to remain in the pirates' employ. A pirate king, a bawdy band of policemen, a surprisingly brave daughter and a whole host of ridiculous antics round out the story. In this fresh addition, a plot telling the true story of how The Pirates of Penzance was initially conceived, written and performed runs concurrent with the musical itself, weaving in and out with factual asides and interesting side stories for consideration.

Photo by Petronella Ytsma

Much of this show's definitive success comes from the anchors of the cast. Bradley Greenwald preens across the stage in his concurrent roles as Arthur Sullivan and the Johnny Depp version of the Pirate King. His gorgeous voice is perfect for the part but he also manages to keep the show grounded and his comedic timing on point. This Pirates wouldn't be possible without him, and his touch is all over the show. Alice McGlave, as Mabel and Blanche Roosevelt (the original soprano who sang the role), lays her buttery soprano voice all over the music and brings an unexpected strength to her part. She's super charismatic and the vocal equivalent of an oaken Chardonnay, and I hope I get to see her perform in more shows. Christina Baldwin defies stereotype as the Major General and the Sergeant of Police, two traditionally male roles that she knocks out of the park. Her subversively modern feminist re-writes of several of the lyrical interludes make this performance contemporary and enlightening, and it was a real treat to see these vaunted roles performed in a totally new way.

Photo by Petronella Ytsma

The rest of the cast is equally great. Zach Garcia demonstrates a heavenly set of pipes in his parts as W.S. Gilbert and a member of the pirate and policeman bands; I hope to hear him sing more in the future, too. Max Wojtanowicz is surprising and heartwarming as Frederic, and lilts his approachable tenor through the tough verses. Elisa Pluhar is delightful as Ruth and brings a muscular presence to her part that I found endearing and fresh. The remaining performers - Charles Eaton, Elizabeth Hawkinson, and Victoria Price - admirably encompass the outstanding roles and make the staging feel far more lush than evidenced by the lean cast list. The same is true of the modest three-person pit, which does a great job of fleshing out the score (especially when supported by Greenwald and McGlave). It's a pleasure to see them sit on stage and get to participate in the performance, further enriching the "glance behind the curtains" feel to the show.

Photo by Petronella Ytsma

Such great attention to detail was paid throughout this production, for which I am very grateful. This starts with Director Doug Scholz-Carlson, Music Director Denise Prosek, and Movement and Dance Director Brian Sostek. Musicals can be notoriously costly and person-heavy productions; this lean team elegantly executes this show on a much bigger feeling than you would expect, and it's a treat to see their efforts rewarded. The set by Ursula Bowden has all sorts of hidden surprises and has the emotional impact of putting together a child's novelty LEGO set. There are all sorts of nooks and crannies and clever multitasking props, and what seems banal at the outset magically transforms as the action inspires. The costumes (by Rebecca Bernstein) are equally canny, with a dapper cut and many unexpectedly multi-use applications that again make the production feel much more lavish than it actually is. Lighting design from Michael Kittel is fresh and instantly transitions the audience between Gilbert and Sullivan's ship and the play itself. The sound mixing from Jacob Davis is excellent, not only providing a great musical mix but also allowing every word in each song to be heard. Anyone who has seen this show knows how important it is to use impeccable diction while performing it, and this is honestly the first time I can say that I was able to clearly hear every lyric enunciated.

Photo by Petronella Ytsma

Let me be totally honest: I was raised watching the delicious 1983 film adaptation starring Kevin Kline, Angela Lansbury and Linda Ronstadt which is, to my mind, the definitive version of this musical. I've seen several live iterations of the show, all of which strive to capture that original magic, and which usually fall somewhat short. I wasn't intending to see this particular version because I've watched it so many times and thought, what could possibly be different this time?

Photo by Petronella Ytsma

But I'm SO thankful that I did come! This revision swept me off my feet with its charm and energy, and I think it's the best on-stage iteration of Pirates of Penzance that I've seen to-date. The musical performances are shockingly lush considering that there are only nine people performing on stage, the set was innovative and charming, and the overall energy was engaging and vivacious. I actually learned several things I didn't know about Gilbert and Sullivan, and I had an outrageously good time laughing along with the audience and bathing in the beautiful harmonies from this terrifically talented cast. I can't recommend this staging highly enough, and even die-hard and time-worn Pirates of Penzance fans are guaranteed to find something new to love in this show - I promise. For more information or to buy tickets before the show closes on March 25, click on this link.

And as an important aside: if you enjoy this production, make sure to spread room on your calendar to check out Princess Ida from the Gilbert and Sullivan Very Light Opera Company next month! Dedicated to all things Gilbert and Sullivan, this local troupe is putting on one of their lesser-known shows and it looks to be a hoot. I'll be going for the first time ever and I invite you to join me! 

An Absolutely Phenomenal Phantom of the Opera

Who says old dogs can't learn new tricks? 

Photo by Matthew Murphy

Or perhaps it would be more appropriately phrased: who says old musicals can't learn new tricks?

Photo by Matthew Murphy

Long time Compendium readers (thank you, wherever you are!) will remember my review four years ago (how?!?) of the Phantom of the Opera, which was the first time the revamped, re-staged 25th anniversary production swing through Minneapolis. The production value was absolutely astonishing then and one of the highlights of my year, so I knew what to expect this time around. What I wasn't prepared for was an even better cast and pit orchestra, where smart choices have clearly brought this production firmly into the 21st century.

Photo by Matthew Murphy

I won't replay the plot of Phantom here - you can read my previous thoughts here for that - but I want to review my favorite elements here for anyone who might be on the fence about attending. First up is the effervescent, flawless performance of the Phantom from Derrick Davis. Davis gives a sinuous, bombastic, nuanced performance (serving Tyra Banks-era face through that difficult face mask and heavy makeup) that left the audience in chills. He's an inspired choice for the part, and believe me when I tell you he's terrific: I was raised ad nauseam on the OG Phantom soundtrack starring Michael Crawford, so I am extremely picky about this role and Davis is absolutely magnificent. He is also the first African American I have seen in this role, a casting choice which lends renewed depth and thought to the Phantom's complicated past (which includes being abused and locked in a cage). I found every aspect of Davis's performance riveting, and he's worth the admission price alone.

Photo by Matthew Murphy

Luckily Davis is matched with an exquisite soprano in the form of Eva Tavares as Christine Daae. Tavares has that ineffable talent of a Julie Andrews or Barbra Streisand where every note she sings seems as natural as breathing, and she trills through Christine's difficult arias with blissful ease. She and Davis are well matched, and their spark keeps the show burning. Jordan Craig fully embodies Raoul's steadfast love and support for Christine, and Craig gives the role the swashbuckling heroism it deserves. As Madame Giry, Kristie Dale Sanders could be plucked straight out of the novel, with a biting delivery and the perfect winged cat eye. Trista Moldovan is splendid as the fiery Carlotta Giudicelli, swanning around the stage at every opportunity and deliciously lampooning the caricature of an opera diva. And the rest of the cast is delightful too, luxuriating in their rich costumes and thorough backstories to paint a luscious tapestry with this story that leaves so much to savor as the show unfolds.

Photo by Matthew Murphy

Normally I would say to just go see something and that it wouldn't matter where you sit, but for this particular show I beg you: buy the best tickets (aka closest to the stage) that you can. The production design of this particular Phantom of the Opera is bar none, and you will be absolutely blown away the better you are able to see the luscious attention to detail at every step of this production. From the brightly bejeweled costumes to the spooky set effects to the innumerable props to the breathlessly embellished stage, no stone is unturned in making this the most over the top production design you've ever seen. I can't rave about it enough (so I'll make myself stop here), but if you're a junkie for truly out of this world design, crazy special effects, and unparalleled attention to detail: this is definitely the show for you.

Photo by Alastair Muir

I also want to make a special shout out to the shockingly lean yet full-sounding pit orchestra, lead by the expert direction of Jamie Johns. Many local musicians were featured in the pit and they played beautifully throughout the show, which includes some previously recorded stanzas - not the easiest feat for live, reactive musicians, and especially for those who are newcomers to the tour. I was able to snatch several glances of the musicians as they played and it was such a joy to see how dedicated and thorough they were throughout the performance. Another local tie comes from Mark Emerson, who grew up in Anoka and is on stage as the auctioneer in the very first scene.

Photo by Matthew Murphy

Phantom of the Opera has long been a favorite of mine for a reason. The music is just so damn good - undeniably so - and although many studios have tried to make film adaptations and all sorts of other iterations, nothing beats the Andrew Lloyd Webber score sung live on stage in all of its glory. The quality of the remastered design of this anniversary production is bar none, and with the addition of much more melanin to this cast than we have seen in previous tours, there is nothing I would change about this production. Derrick Davis is hauntingly perfect in this role, and although they will be switching between phantoms throughout the tour, the rest of the cast more than does him justice. If you're already a Phantom of the Opera fan you are guaranteed to love this production; if you've never seen it, it's a great gateway drug into the world of musical theater (even if you think you don't like musicals). Snatch up tickets before this closes on December 31; it's well worth the price (and even a little extra for kickass seats, I promise you won't regret it!). For more information or to buy tickets, click on this link.

Photo by Matthew Murphy

And if you're a die hard fan who wants a taste of what you're in for, don't miss the timelapse video below of the show.

Getting Down with Girl Shakes Loose

"You're not supposed to know what you're doing with your life Girl - you're just supposed to live it!"

Photo by Allen Weeks. 

I'm just going to come out and say it: there are some really, really great things happening in our local theater community right now.

I mean the Twin Cities have always had a reputation for making and hosting great art, but there has been a bevy of wonderful, innovative stagings of late that are really reinvigorating my love of the arts. It's evident in my recent reviews of shows like Vietgone, Battlefield, Wicked and Booty and the Beast, and now I have one more rave to add to the pile: Girl Shakes Loose. A Janelle Monae album brought to vibrant life, Girl Shakes Loose is a lovely new piece that is redefining the modern musical and is a hell of a lot of fun to boot.

Photo by Allen Weeks. 

I was so blessed to be able to attend the world premiere of this brand new musical last night, and I'm convinced that Girl Shakes Loose is one more step towards reinventing the modern musical. Set distinctively in New York City, Georgia, and San Francisco, Girl Shakes Loose chronicles the story of Girl as she wanders the country trying to discover what will fulfill her. A woman who has made a habit of running from her problems rather than facing them head-on, Girl encounters a series of bad experiences - seedy, bar-driven hookups, couchsurfing, an insufferable Brooklyn roommate, the death of her grandmother, coming out as bisexual to her own mother - until she finally realizes that her rash actions have cost her a relationship with the love of her life, which provides Girl with the rock bottom she needs in order to re-launch her life for herself. The show ends as Girl stands tall and strong, ready to face the world head on and accept happiness when she truly finds it.

Photo by Allen Weeks. 

The cast is enormously talented and effortlessly guides us through Girl's journey. The trip is led by Alexis Sims who is masterful as Girl in what I believe is her first role at the Penumbra. Sims has a glorious voice that is a little Mariah, a little Michael and a little Carmen, and her wide range and approachable demeanor absolutely reels you into Girl's dysfunctional world. Jemecia Bennett is a knockout as Girl's Aunt Lucille, with a powerhouse voice that sears through the audience like a red hot fire iron. Bennett's voice is literal fire, and I could have listened to her sing all night. China Brickey is hilarious as Girl's granola roommate Veronica, with a smile for every scene and some necessary comedic relief. Tatiana Williams is smooth and sexy as Girl's lover Ella, lending the show a distinctly feminine sensuality that is all blues, all exquisite. And Thomasina Petrus envelops the audience with her rich, soulful voice as Girl's Mama, a dark but profound relationship that explains many of Girl's faults and insecurities once it is revealed.

Photo by Allen Weeks. 

The men of the cast are no slouches either. John Jamison is magnificent as he serves in several roles, the most distinctive as the queer friend who hosts Girl when she is in San Francisco. Jamison has the strut of Ru Paul and the pipes of James Brown, and the only word to describe him is FIERCE. He was my favorite member of the cast to watch, and I hope we continue to see more of him in the future. Lamar Jefferson ignites the audience in a brilliant caricature of a Baptist preacher. And Kory Pullam is dynamite as Girl's high school sweetheart Eddie, with a seductive voice and explosive physicality in his every movement. This well rounded cast can do anything, and I hope they make a recording of the show; their dulcet tones melt perfectly into what is somehow simultaneously an unidentifiable yet perfectly familiar soundtrack, and they had me humming all the way home.

Photo by Allen Weeks. 

The music is in fact the most distinctive element of Girl Shakes Loose, and yet even that is hard to pin down. There are so many varied influences woven through every track, and the "songs" aren't really songs at all but more periodic short focus points in the script that propel the action forward. The best way I can think is to break it into "moods." Girl Shakes Loose opens in the dirt, sweat and stress of New York City, where the bluesy feel of Billie Holiday runs smack into Destiny's Child. Act 2 follows Girl to Georgia, where Aretha goes to church with Chuck Berry and the cast swells between gospel inflected tunes and riotous rock and roll. Act 3, a brief stop in San Francisco, brings the electricity of Prince to Janelle Monae, with a little Michael Jackson and Beyonce sprinkled in between. You'll understand once you see the show, but it's at once a completely familiar sensation while simultaneously being something you've never heard before, a modern-day oratorio/hip-hopera that feels great and will leave you wanting more.

Photo by Allen Weeks. 

The staging is straightforward but suggestive. New York is a flurry of flashing lights, car sounds, sweaty clubs and subways, and nomadic life. Georgia is richly drawn in Grandma's house with walls covered in mementos, a well worn kitchen and rocking chair, and a cleverly lowered set of church-going ladies' hats right before the funeral. San Francisco is a riot of projected graffiti, splashing waves and house parties. Costuming for the whole show is really fun, with every person wearing a distinct set of black clothes that they periodically arrange under quick tops or accessory changes. Girl Shakes Loose also has a judicious use of wigs, which I found to be fun (and made me wonder - why don't more shows use good wigs? Or maybe they do and I don't notice?). It's exceedingly simple but it really works, and you are never left feeling unstimulated or confused about who is who.

Photo by Allen Weeks. 

I couldn't help but think of the word Millennial, so often used as a slur these days, as I watched this show. Girl Shakes Loose captures the quintessence of Millennialism in all its flaws and glories. A failed internet startup? Check. Bicoastal living? Check. Gender identities outside of a binary spectrum? Check. A gorgeously multiracial cast? Check. Feeling lost and inhibited by a poor economy and lack of sense of purpose? Check, check, check. All of these elements combine to provide a rich depiction of modern young adulthood, one that is vitally necessary as our generations continue to age. We can't brandish angry platitudes about Millennials forever - after all, someone has to replenish Social Security's coffers - so what comes next? How can we provide a place for those who are feeling overworked and underappreciated in the new post-recession economy? How can we help people find meaning in a world they increasingly understand to be hostile and hopeless, where their fears for the environment and their fellow citizens around the world feel wholly ignored? Girl Shakes Loose lends a vibrant voice to this conversation, and it's a pleasure to watch it unfold. It has me so excited for the future of musical theater, and I can't wait to see where this powerful artistic team takes us next.

Photo by Allen Weeks. 

A female Bildungsroman for the millennial era, Girl Shakes Loose is replete with soul, heart, warmth, and raw energy. It's really worth a stop and keep your eyes peeled: I have a feeling we'll be seeing a lot more shows like this in the near future. Girl Shakes Loose runs at the Penumbra Theatre through May 13; for more information or to buy tickets, click on this link.

Also, don't forget - the Penumbra is celebrating their 40th anniversary! The Minnesota Historical Society is celebrating this incredible milestone with a new exhibit - see more info from my review here.

Best of 2016: This Year's Best Theater Performances

The 2nd Annual Twin Cities Theater Blogger Awards are coming! 

Photo courtesy of Park Square Theater.

And I cannot wait to see how they turn out. We have had such an incredible year of theater here in the Twin Cities and let me tell you: trying to narrow down the nominees (let alone vote for only one of each category!) has been so. difficult. 

This is the best of first world problems though, is it not? I am so grateful to live in a place where the arts are not only totally accessible to the everyday citizen but also truly excellent across the board. I wanted to post a quick roundup of some of my favorite shows from the past year as well as some observations that I'm looking forward to in the coming year. Let me know your favorites and if there's anything I simply must put on my calendar (I'm starting to do programming for the year now, so please let me know! I welcome suggestions). 

Photo courtesy of Park Square Theater.

A standout for 2016 was set very early on with the production of Nina Simone: Four Women at Park Square Theater. This exceptional, profound show was locally written, featuring women (and women of color!) in not only starring but production roles, and gave an honest, unflinching depiction of one of my favorite musical artists of all time: what was not to love? Zoe Saldana can go suck it; Regina Marie Williams was far and away the better Nina Simone. Her co-stars (Traci Allen Shannon, Aimee K. Bryant, and Thomasina Petrus) are no slouches either. Every second of this play gave me chills (read my full review here) and I am THRILLED that Park Square is bringing the show back this year with even more awesome music. Run, don't walk, to get your tickets - this cast is once-in-a-lifetime good and they'll be even better this time around, I'd bet money on it.

Photo courtesy of Dan Norman.

There were several repeat offenders on my list of favorites this year. From the above list: Traci Allen Shannon as Cinderella in a totally charming performance opposite David Murray (both also stood out in Theatre Latte Da's truly exceptional production of Ragtime; I didn't write a review but wow, did it blow me away). These two have wonderful chemistry, gorgeous voices, and can anchor a show whether the subject matter is serious or comedic. I hope they stick around and keep working together! Cinderella was a truly diverse, whirlwind of a production (that is showing for four more days, do NOT miss it!). The Children's Theatre had another favorite with The Last Firefly, a totally imaginative, beautiful production that won me over with it's beautiful set and story.

Photo courtesy of Park Square Theater.

Aimee K. Bryant also had a great year, serving in multiple shows including the brilliant A Raisin in the Sun at Park Square Theater. Lorraine Hansbury's classic play was giving a sterling performance from another loaded cast (including Darius Dotch, who was great with Ansa Akyea in Bars and Measures at the Jungle Theatre; and Greta Oglesby) and the Twin Cities Theater Bloggers held a thought-provoking talk back after the show.

Photo courtesy of the Guthrie Theater.

I have finally (after many years of ho-hum feelings) fallen hard for the Guthrie Theater, which is thriving under Joseph Haj's excellent tutelage. Among my favorite developments? The new program which is providing free or subsidized ticket prices; flexible programming (including the powerful one-man shows Acting Black and Hold These Truths); and some of the most uncomfortable (yet powerful) performances of the year. My favorite of the Guthrie's edgy, contemporary productions was the full home-run that was Disgraced, but there were more awesome pieces too: The Parchman Hour gave me shivers with its potent musicality and disturbing visuals; Trouble in Mind held a quiet, powerful sway over our perceptions of race in the media; and The Lion in Winter took the bawdiness of the presidential election and boiled it down into a sinister, Game of Thrones-style dessert.

Photo courtesy of Dan Norman.

Sarah Rasmussen is another repeat offender, but this time in the director's chair. I have adored her fresh, lively programming at the Jungle Theater as Artistic Director as well as some excellent turns she's taken guest-directing at other theaters (Sense and Sensibility at the Guthrie being a prime example). I was super impressed with her all-female rendition of Two Gentlemen of Verona, as well as the stunning The Oldest Boy, the last show of 2016 at the Jungle (and what a production!). Rasmussen is one to watch, and I cannot wait to see what she brings to the table in her second year at the helm. The How and The Why also featured some amazing feminist work, and Calendar Girls made it fashionable to feature women of any age; I'm predicting shows about/by/for women will continue to be trends next year, and here's hoping I'm right!

Photo courtesy of Hennepin Theatre Trust.

Musicals and comedies had an excellent year as well. Sasha Andreev breathed new life into Barbra Streisand in the hilarious Buyer and Cellar; Peter Rothstein helmed two refreshed musicals (aforementioned Ragtime and a winning Gypsy); Passing Through Pig's Eye gave us spectacular tap dancing and a bold look at St. Paul's history; and perennial favorite Chanhassen Dinner Theater gave us all the gift of the year's best production design and ever-delightful Beauty and the Beast as well as a surprisingly deft production of Camelot. On the traveling Broadway circuit I really enjoyed a play (a play!) version of A Curious Incident of the Dog in the Nighttime, as well as an ethereal production of Lion King and darkly hilarious, heartwarming Fun Home, which I loved for its literary references as much as for its wonderful performances.

Photo courtesy of Mu Performing Arts.

It was a good year for smaller companies too. I love everything Mu Performing Arts does, and I thought all of their shows this year were spectacular (including the lyrical and haunting You for Me for You; the spectacular Spectacular Story of a Filipino Hulk Hogan; and the year's best rom-com, The Two Kids That Blow Shit Up). Orange was also a surprise hit for me at Mixed Blood, the most accessible theater in town, and introduced me to a host of young actors I'm hoping stick around for future shows. And the Penumbra produced some heavy hitters too, including a striking performance of Jitney (just in time for HBO's upcoming August Wilson renaissance courtesy of Denzel Washington).

I could go on and on, but this list has gotten exhaustive and I've only scratched the surface! Suffice it to say it was an incredible year for the arts, and I cannot wait to see what 2017 has in store. Please leave me your favorites and suggestions on Twitter and in the comments; I can't wait to hear what you have to say. And don't miss the live announcement of our Twin Cities Theater Blogger award winners on Monday, January 9 on Twitter - it's a must-attend event.