Once On This Island Heats Up the Ordway

And the gods heard her prayer... 

Photo by Joan Marcus

If you're feeling "over" the Minnesota winter but don't have the cash money for a beachside escape, you're in luck - the next best thing has hit #tctheater stages at a fraction of the price.

Photo by Joan Marcus

First came Children's Theatre Company with Bob Marley's Three Little Birds, transporting audiences to a sunny island filled with reggae music and folklore. The Ordway Center has quickly responded by hosting their own version on the other side of the river - the traveling Broadway production of Once On This Island, which comes to Minnesota for the first time ever.

Photo by Joan Marcus

Think of Once On This Island as a more politicized, folkloric version of The Little Mermaid. Set on the island of Haiti, it tells the story of a beautiful orphan named Ti Moune who is raised by an elderly couple named Tonton Julian and Mama Euralie after she washes on their beach in an enormous storm. Ti Moune's story is closely followed by the gods of the island - hospitable Agwé, water powered Asaka, fearsome Papa Ge, and the kind, beneficent Erzulie - who grant her wish for true love as she gets older. The only catch? The gods never give you exactly what you want. Each places a condition on granting her wish, including the harshest of all from Papa Ge: that Ti Moune must choose between herself and her love as a test of whether her commitment is true.

Photo by Joan Marcus

Ti Moune unfortunately falls for Daniel Beauxhomme, son of the island's legendary (and legendarily wealthy) Beauxhomme dynasty. Against the advice of her family and friends Ti Moune nurses Daniel back from the brink of death, even going as far as to bargain her life in favor of his in a ghastly trade with Papa Ge. Ti Moune follows Daniel back to his faraway home in the city, where she becomes his mistress to the great disapproval of the Beauxhomme crew. Comprised of mixed folks descended from white French settlers and their Black servants, the Beauxhommes are a highly colorist and classist tribe who have no interest in Ti Moune and make no secret of getting rid of her. Heartbroken, Ti Moune stays long enough to see Daniel marry Andrea, another Haitian elite, and is unable to kill him to revenge herself with Papa Ge. The gods finally have pity on Ti Moune and free her from her mortal longing by turning her into a beautiful tree who watches over the island and Daniel's family as it grows.

Photo by Joan Marcus

I'll be honest: the moral of this story was lost on me. Ti Moune was so pure and so lovely, and all she got was becoming a tree in the end?! Seams like a crummy deal. What wasn't lost on me, however, was the fabulous work of this highly talented cast. Courtnee Carter is insanely talented as Ti Moune, with the kind of wide eyed wonder and explosive voice that made Cynthia Erivo such a star. Tamyra Gray was a quick favorite as Papa Ga, slithering around the stage with full confidence and creepiness. I enjoyed Kyle Ramar Freeman's smooth voice as water god Asaka and Jahmaul Bakare's lithe vocals as earth god Agwé. Tyler Hardwick has the sweaty abs and confident carriage Daniel Beauxhomme requires and it was hard to watch him break Ti Moune's heart. Cassondra James brought shades of Glenda the Good Witch to her role as Erzulie, the goddess of love, and often provided the story's most peaceful moments. And by far my favorites were Phillip Boykin and Danielle Lee Greaves as Tonton Julian and Mama Euralie, respectively. These two have vaunted, thunderous voices that wash over the audience like waves of the deep sea; they blend beautifully and I could have watched an entire show featuring just their work.

Photo by Joan Marcus

I believe the original staging of Once On This Island in New York City had the audience seated in a 360 degree formation with the stage at the center. Unfortunately that option is not available here, so as a remedy the production team has placed some seats on stage. I found the presence of the audience there a bit distracting, but the set is already quite busy so it is not completely unbalanced. I LOVED the vibrant, dynamic costumes - the colors truly pop and the movement gives such grace to the equally charismatic choreography. And there are several clever lighting tricks that make the stage really shine - a starry night sky, a lit fire on the beach, a gleaming firefly - and make the most of what is otherwise a pretty straightforward staging.

Photo by Joan Marcus

I grew up loving mythology and fairy tales. It was a pleasure to live on Haiti's shores for a couple of hours, warming up to island beats, learning about the Haitian gods, and seeing a stage filled with Black faces during Black History Month. The ending did confound me a bit - I wanted to see Ti Moune thrive, and she seemed cheated to me here - but that has nothing to do with execution; the show is beautifully produced and a really unique piece of traveling Broadway. Once On This Island is a true célébration de la vie, a fête for the ages. It bears the timeless qualities of all good lore and fables and will fill you with joy despite the story's innately unhappy ending. I'd love to see more national tours of such diverse casts and crews, and for that reason alone I think this is an important one to fill seats for. Once On This Island has a very short run through February 9 at the Ordway in St. Paul; click here for more information or to buy tickets.

Photo by Joan Marcus

Six is a Divine Experience

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

Photo courtesy of the Ordway

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

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

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

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

Photo courtesy of the Ordway

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

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

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

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

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

Best of 2017: My Favorite Theater Performances and Top Blog Posts

No annual roundup would be complete without a listing of the top performances I saw last year. 

The most exciting exchange I've ever had on Twitter. 

If I had to sum up my feelings about the Twin Cities theater scene in 2017 in just a few words, I'd leave you with these: diverse, general excellence.

It's hard out here at times for someone who sees a lot of shows to write reviews. There are so many companies doing so many different things that they often don't belong in the same categories. The quality in general tends to be very high from show to show and it's quite rare that I see something that I totally despise or just can't support. I hate to sound like a recurring positive broken record, but I genuinely enjoy 90+% of everything I see and I want you all to know how much I love the amazing work amassed by our talented theatrical community as I engage with it.

So with all that in mind, let me introduce you to my favorites of 2017, shows that I can't stop telling people about even months after they've closed and that I desperately wish would return in all of their glory. I'm thoroughly excited for the upcoming seasons from each of these wonderful companies and let me know: what were your favorites? Do you disagree with any of my choices? What are you looking forward to in 2018?

*Note: all shows are listed in order of when I saw them throughout the calendar year. 

**Note: all photos were used with permission from the theater/company and are sourced in my original reviews, which are linked below. Please click through to find credit. 

1. Vietgone (read my original review here) 

This was the first must-see performance of last year for me and it cemented the extraordinary cast - including perennial favorites Meghan Kreidler and Sun Mee Chomet, as well as new-to-me David Huynh - as must-sees in any upcoming performances. I wrote about Vietgone that it was "Hamilton meets Kendrick Lamarr meets the Vietnam War, and it's sublime" - words I still vouch vociferously for to this day. From the witty dialogues to the sexy, serious subject matter, Vietgone brought an untold American perspective to vibrant, throbbing life.

2. Girl Shakes Loose (read my original review here)

I didn't label Girl Shakes Loose as a must-see when I saw it as I had just posted my Vietgone review and I thought two raves in a row was too many. I've regretted that ever since. This edgy, thoroughly modern world premiere musical told the story of a bisexual millennial in a completely new way (both musically and narratively), and I've thought of it often since it left the stage. Girl Shakes Loose starred many terrific young African American actors who are sure to become stars in the Twin Cities theater scene and the only phrase I can use to describe it appropriately is screaming fresh. Girl Shakes Loose didn't get nearly the amount of press it deserved when it came around last year; here's to hoping it comes back and gets more attention.

3. The Boy and Robin Hood (read my original review here) 

Is there anyone more ambitious right now than Tyler Michaels (except for Kory LaQuess Pullam, of course)? A cornerstone of an excellent passel of hyper-talented young performers making their rounds in the Twin Cities theater scene these days, Michaels has moved himself from starring roles to working behind the red velvet curtains in the director/producer/choreographer's chair, and the early fruits of his labors are promising indeed. Michaels' new venture, Trademark Theater, is not only performing new work but writing and scoring all of that work at the same time. I was thoroughly impressed with this new take on Robin Hood and it was easily one of my favorites last year. Trademark has a few growing pains to work out but have no fear: the path they are on is fantastic, entertaining, and bright indeed.

4. Little Wars (read my original review here)

I've been so excited to see the explosion of women on stage and behind the scenes, and one of the most promising new developments is the work of Prime Productions. Concentrated on telling the stories of "women of a certain age," Prime Productions got off to a banging start with Little Wars. I was delighted to see such a strong group of female performers and learned so much about a period in history I knew little about. Prime Productions fills a vital hole in our theatrical community, and I can't wait to see what they'll be up to next.

5. Native Gardens (read my original review here)

What can I saw about Native Gardens that I haven't already said? This brilliant, masterful comedy from Karen Zacarias was an immediate standout when I saw it last summer. The set is one of my favorites I've ever seen, but even that was totally outshadowed by the delicious performances from this tight four-person cast. Covering any political issue you can think of (from immigration to women at work to motherhood to gentrification) with finesse and biting honesty, this Guthrie production was pitch-perfect from start to finish.

6. The Immigrant Journey Project (read my original review here)

Mu Performing Arts has always been one of my go-tos for fresh, totally original work, and their Immigrant Journey Project was totally unlike anything I've ever seen. Created with the benefit of grants and participation from local immigrant communities, this show told many diverse, real-life stories of the ways that immigrants came to Minnesota through beautiful vignettes and brightly designed puppets. The unpolished, raw performances from local immigrants, several of which were translated from their tribal languages into American English, were moving and vital, and I thought of them long after the lights turned up. The Immigrant Journey Project was everything that Refugia (which had a much larger budget, profile and press coverage) should have been, and I hope we get a series in this vein with Mu at the helm.

7. In The Heights (read my original review here) 

Lin Manuel Miranda is the rare example of a celebrity whose praises may actually be undersung. Many people know Miranda for his work on Hamilton and Moana, but before they existed he created In The Heights, a beautifully performed musical at the Ordway this year. In The Heights proved that you don't need to travel to New York City to get a full on, spectacular, Broadway-caliber theatrical performance; instead, you can stay right here and indulge in top-notch work at one of our many theatrical gems. There are few things I would gladly purchase tickets to watch again and again within a limited week-long run; In The Heights was one of them. That is all you need to know.

8. Man of La Mancha (read my original review here)

Man of La Mancha is one of those revered musicals that has never done much for me. It's fine, whatever, I'm tired just thinking about it - except in relation to the fabulous rendition performed by Theatre Latte Da last fall. Featuring a terrific cast with several new-to-me actors (who I am dying to see come back in roles in other local shows), Man of La Mancha made me fall in love with a musical I thought I'd never care about. The inventive staging, hearty musicality and inventive costumes sold me from the get-go as well as on future productions from Theatre Latte Da.

9. Wedding Band (read my original review here)

Wedding Band was one of the shows I was most excited to see last year, and the Penumbra's production exceeded all of my high expectations. Starring a revelatory Dame-Jasmine Hughes, Wedding Band is the only play I've seen to-date that tells the truth - the whole beautiful, painful, terrifying truth - of interracial relationships in the United States. It moved me from start to finish and gave an articulate voice to many of the struggles I face in my own interracial relationship, and I can't recommend it highly enough if you ever get the chance to see it.

10. The Christmas Carol (read my original review here) 

I know, I know - how on earth did the Guthrie's perennial holiday show make my list? I'm as surprised as you are, but let me tell you: I was blown away by the fresh staging by this first-ever female directed production. With select performances featuring a woman in the role of Ebeneezer Scrooge, a noticeably diverse cast, an expertly trimmed script and a gloriously lavish set, this Christmas rerun entranced me from the get-go and was one of my most recommended shows over the holiday season.

11. Phantom of the Opera (read my original review here) 

Another pick that's not the most original, but I make no apologies. Phantom of the Opera has been a favorite show for my entire life, and the re-imagined set in this production (which runs through tomorrow - you can still grab a ticket if you dare!) is still my favorite I've ever seen. In my life. Of all time. It's lavish, it's transportive, and combined with the experience of seeing the first ever African American actor I've seen in the role of Phantom (my favorite second only to Michael Crawford, a testimony in itself), this was a top-notch production that I am not ashamed to ring the bell for.

12. Dot (read my original review here)

Dot was one of the most unexpected surprises on my best-of list this year. The summary - a story about a woman suffering from Alzheimers and her family over the holidays - isn't terribly engaging and sounds downright depressing. But what I found in this lovely gem of a show was education about an increasingly common disease, terrific ensemble performances, and a bevy of hilarious scenarios that brought teeming life and realistic elements to what otherwise would have been a devastating, heartbreaking story. It rung true from my real-life experience with Alzheimer's in my family and is a show that I hope generates more press attention than it's currently received. You can still get tickets (and I highly encourage you to) through early January.

And while I'm at it, here are some other favorite pieces I wrote last year: 

1. Some thoughts on high-end restaurants and racist servers
2. Wrestling with Refugia at the Moving Company
3. Compendium celebrates its 5 year anniversary 
4. Pixar comes to the Science Museum 
5. Why everyone needs to see Wonder Woman
6. Thrillist: The Best Small Towns in Minnesota
7. Living the podcast dream
8. The Penumbra Theater celebrates 40 years at the Minnesota Historical Society
9. The top 10 reasons to see Romeo and Juliet (again)
10. Why the Lynx deserve more
11. Thrillist: Best New Restaurants of 2017
12. The best books I read in 2017

Don't just take my word for it! Don't miss the best of year posts from some of my other TCTB blogger friends below: 

Cherry and Spoon: click here
MN Theater Love: click here
Play off the Page: click here

MUST SEE: In The Heights at the Ordway

What was Lin-Manuel Miranda up to prior to Hamilton? 

Photo courtesy of the Ordway

If you don't know the answer to that question, you could be forgiven. Hamilton has become such a ticket sales juggernaut that its reputation has eclipsed a host of other excellent new musicals of the last 10 - 15 years; which is a shame, because there are a lot of excellent pieces out there that deserve a little more love.

Photo courtesy of the Ordway

In The Heights, Miranda's first musical (and a Best Original Score winner at the Tony Awards in 2008), is one such piece. Detailing the story of a vibrant, richly drawn neighborhood in the Washington Heights area of New York City, In The Heights is a clear precursor to Hamilton (and Miranda's success) and a testament to the value of uplifting new artists who are reinventing the definition of Broadway and what "belongs" on stage.

Photo courtesy of the Ordway

In The Heights follows Usnavi, a bodega owner, as he observes the neighborhood he's grown up in all his life. Raised by his "Abuela" Claudia (an elderly Cuban woman who took him in after his parents died), Usnavi cares for his cousin Sonny and pines after the beautiful Vanessa, a woman who has dreamed all her life of leaving the Heights but is anchored by her dysfunctional mother. Vanessa works for Daniela, a vivaciously colorful salon owner who also hired Carla. Living next door is Nina, who has recently left Stanford after a difficult year of being unable to afford tuition. Nina lives with her parents Kevin and Camilla Rosario, who have built up a local limousine taxi business and are devastated to learn of their daughter's plans to stay at home. Nina falls in love with Benny, the dispatch worker in her parent's business, and together they plan for the future and change her parents' minds about the plans for Nina's life.

Photo courtesy of the Ordway

Got all that? Good, because that is essentially the show. There are some major plot lines - such as Abuela Claudia winning a $96,000 lottery ticket that creates a small crisis in Usnavi and Sonny's future plans, and a city-wide blackout that wreaks havoc in the neighborhood left without power - but really, at it's heart In The Heights is a story about relationships. Every person in this show has a purpose and a meaning to another. There are not really true extras or a chorus - we come to know (and love) everyone in these Heights, right down to the frozen ice vendor walking down the street. It's a gorgeously drawn, complex, heartbreaking, inspiring melee, and I can't say enough about how captivating this world is.

Photo courtesy of the Ordway

Part of that is due to the profoundly beautiful music, which features Miranda's trademark hip-hop style mixed with an encyclopedic melange of sounds from every Latin American influence imaginable. We hear salsa, bachata, tango, mambo, merengue, rumba, samba, perrero, and the sounds of giants such as Celia Cruz, Gloria Estefan, Selena, Thalia, Tito Puente, and so much more. The score explodes with life and the interwoven sounds of the islands, and it belies the surprisingly small pit orchestra. Hats off to this group (expertly led by conductor Eugenio A. Vargas), who really made this production shine through vivacious numbers like "96,000," "Paciencia y Fe," and "No Me Diga."

Photo courtesy of the Ordway

The mostly locally-grown cast is also excellent and a testament to the power of working with local arts organizations to help grow and sustain talent right here in the Twin Cities. Justin Gregory Lopez absolutely captures Miranda's spirit as Usnavi, with a lyrical delivery, heartwarming smile and so, so much heart. Debra Cardona is magical as Abuela Claudia, lending a gravitas and serving as the beating heart of the show; her exit in Act II had the audience in tears. Emily Madigan and Lauren Villegas are side-splittingly hilarious as salon ladies Carla and Daniela, respectively, and their fabulous performance of "Carnaval del Barrio" had everyone dancing in their seats. Pedro Bayon and Lara Trujillo are perfectly paired as Kevin and Camila Rosario. Fernando Collado is winning as Usnavi's young cousin Sonny and Val Nuccio struts her stuff as Vanessa. My personal favorites were Aline Mayagoitia as Nina and Stephen Scott Wormley as Benny; their chemistry was off the charts and their voices beautifully interwove in duets such as "Sunrise" and "When the Sun Goes Down." Mayagoitia also had the standout song of the show in her portion of "Alabanza," a gorgeous dirge that has lingered in my head for days.

Photo courtesy of the Ordway

The set and costumes for this show are colorful and evocative, another perfect blend of the decidedly international flavor of Washington Heights. Dingy tenement buildings are adorned with colorful produce, vibrant flags and clear love and respect by those who reside in them. Clothing is colorful and in constant motion, with flowing skirts and interesting shapes exploding with every hue of the rainbow. There's not a lot of props to speak of - the production wisely focuses instead on the lavish choreography from Alexander Gil Cruz, which covers every dance style imaginable and is breathlessly executed.

Photo courtesy of the Ordway

If you can't tell by now, In The Heights had me captivated from the first 30 seconds. I make it a policy not to research new-to-me shows before I see them, as I believe any story should be clear without needing an encyclopedic amount of research to understand it before I even sit down. The world of In The Heights is so clearly drawn, so relevant to our times, and so extraordinary in its ordinariness that I couldn't stop engaging, even long after the last curtain fell. When is the last time that you heard a song about student loans and affording college on stage? Or saw people dream over winning not a million or billion dollars, but $96,000, just enough to comfortably catch them up on their bills? When is the last time you saw new immigrants really celebrating their lives in America, but not without simultaneously explicitly discussing the difficulties they've faced since arriving - gentrification, police violence, poverty, and more?

Photo courtesy of the Ordway

Watching the Ordway's main stage blossom into a radiant bouquet of melanin was one of my favorite theater memories there to-date, and I hope that In The Heights marks a turning point in terms of doing more contemporary, diverse stories (utilizing locally nurtured talent). I would happily revisit this production again and again, and I can confidently state that you will get a definite bang for your ticket dollars. Please fill this theater to capacity every night - let's have more In The Heights in our futures! In The Heights runs at the Ordway Center for the Performing Arts through September 24; more information and tickets can be found by clicking on this link.

Reviewed in Brief: Oyate Okodakiciyapi

Aloha 'oe, aloha 'oe

E ke onaona noho i ka lipo

One fond embrace

A ho'i a'e au

Until we meet again

Photo courtesy of Ordway Center for the Performing Arts.

How much do you know about colonialism? Particularly the specific brand practiced by the United States in which native people are pushed aside and their culture whitewashed over? That was the question asked by the provocative Oyate Okodakiciyapi dance program at the Ordway last weekend, and boy did it deliver.

The program opened with Pohaku, a beautiful story told by Christopher Morgan about his Hawaiian lineage, the history of U.S. presence in Hawaii, and the journey he has taken to discover his heritage. The program was a mix of live music, dance, projected historical footage, and narrative from Morgan. The compendium was part lecture, part mystic transformation, and it was a lovely introduction to the culture of Hawaii as well as a profound overview of the ways that descendants of Native populations have struggled both to find their place in modern society and to reclaim their lost heritage. Three cheers for Wytold, who performed live cello and sound looping, giving this entire performance an absolutely gorgeous soundtrack that wove together Bach and Hawaiian songs; it was a transcendent pairing and I would love to hear more in the future (it was seriously MN Orchestra caliber). The program included a fabulous piece of program notes for Pohaku and I *wish* they were available online, as they included a magnificent amount of information; here's hoping they include them later!

The second piece, NeoIndigenA, was an intense, heated solo performance from Santee Smith. This piece featured solely recorded music and dancing in a nonstop journey between spiritual worlds and communing with different bodies between those worlds. Smith was consumed in her role, alternately shaking, trembling, growling, leaping, crawling and crying through this highly emotional piece. The effect was simultaneously profound and spiritual, as well as troubling and dark. There were many ways to interpret the vignettes Smith performed, and her use of animistic props (particularly horns), difficult postures and full physical commitment from head to toe drove the audience to commune with her on this journey. I wish there had been a more full history in the program of the Native traditions informing this performance; there was clearly so much rich symbolism and I wasn't able to catch it all. NeoIndigenA is definitely a piece you could watch many times over and come away with new insights and nuances every time. Santee Smith is one to watch, particularly because she made her piece solely for and of herself and her tribe. Resisting the temptation to fall into the white gaze as an artist is a difficult one, and she pulled it off beautifully. I am looking forward to learning more about her and seeing where she goes in the future.

Seeds: Re Generation was a natural commentary on natural regeneration, particularly the feeling that water is life. The piece was dedicated to the allies and water protectors of the Standing Rock protests and gave a profound look into the natural, spiritual and animistic traditions that inform many tribes' spiritual beliefs. This was a team effort with more elaborate photos, narration, video, costumes and background soundtracks, and it showed. After such focused solo work it was a nice break to see a team dance effort, and it was a wonderful way to close the show.

These performances were part of an overall series from the Ordway spotlighting Native American artists and activists; find more information here at the Ordway's site, or on my coverage of their announcement. The Walker Art Center is also doing an amazing film festival featuring Native American work; find more information by clicking on this link.

Experience Native American Cultures at the Ordway Center

Expand your horizons (and your palate) next week with this rich new festival celebrating Native American cultures. 

Photo courtesy of the Ordway.

We are super blessed to have a global, rich food and arts community here in the Twin Cities, and while we're historically not always great at acknowledging or supporting our diverse communities, we are definitely getting better.

A great example of this is the world class programming at the Ordway Center for the Performing Arts in St. Paul, which today announced an amazing new series focusing on the artistry and culture of Native American communities including artists from Native American, Indigenous and First Nations groups. The week of residency programs will culminate in the performance by Oyate Okodakiciyapi: A Unique Celebration of Native Music and Dance on Saturday, March 4 that will feature artists from many different stripes, including solo Hawaiian choreographer Christopher Morgan; Santee Smith of the Mohawk Nation; and an inter-tribal group called Dancing Earth. The Oyate show is guided by community coordinator Christal Moose and an advisory council of Native and Indigenous community leaders, in collaboration with Rosy Simas of Rosy Simas Danse.

Key to the success of this residency is their partnership with many local organizations such as All My Relations Arts, Native American Community Development Institute (NACDI), Two Rivers Gallery and The Cowles Center for Dance & the Performing Arts. The event is a part of the Taking Our Place Centerstage initiative through which the Ordway and SoulTouch Productions work in collaboration with communities of color. This partnership has faced some controversy, with criticisms about nonprofit funding distributions and the transparency of partnerships with diverse arts organizations being leveraged by groups such as Mu Performing Arts. The points raised in this excellent article are valid, and I hope a conversation about fair arts funding is able to progress through the spark that Mu has lit.

Photo courtesy of the Sioux Chef social media.

Still, there's no denying that a center stage, widely distributed arts organization such as the Ordway is able to spread the message to the masses quite a bit further than multiple individual groups; so here's to hoping that this coming week does a respectful, great job of celebrating Native American cultures. The lineup is really impressive to start, and it's broad, covering not just dance and theater but also food traditions and cultural lectures by great features such as The Sioux Chef (who I've written about as one of the most exciting new things to hit the Twin Cities food scene in ages).

A list of descriptions of programming follows. If you're like me and are constantly looking to widen your understanding of the world around you (and the real history of the places we live in), definitely consider checking this series out!

Photo courtesy of the Sioux Chef social media.

A Survey of Native Contemporary Dance
Sunday, Feb. 26  2:00 p.m.–4:00 p.m.  at The Cowles Center for Dance & the Performing Arts

Presented by The Cowles Center for Dance & the Performing Arts in partnership with Rosy Simas Danse and Ordway. This public talk highlights the incredible diversity of Native people who live and dance in the Twin Cities. Guest speakers include Kate Beane, Athena Cloud, Lumhe Sampson, Rosy Simas, Winona Tahdooahnippah, Sandy WhiteHawk and Larry Yazzie. Opening prayer led by Janice Bad Moccasin. Optional travel to and from the event on a Storytelling Bus featuring “Coffee Shop” Al Gross from Powwow Grounds is also available.

Indigenous Contemporary Dance Workshop with Rulan Tangen
Tuesday, Feb. 28  4:00 p.m.-5:00 p.m.  at Two Rivers Gallery

In partnership with Rosy Simas Danse and Two Rivers Gallery. This workshop is led by Rulan Tangen, founding director and choreographer of Dancing Earth, an internationally recognized company of intertribal contemporary dancers. Rooted in respect for Native worldview and cultural wisdom as shared by her elders and mentors, Tangen invites class participants to experience a journey into indigenous embodiment. The workshop is free, but registration is required. RSVP at 651.282.3060 or tsar@ordway.org.

Welcome Gathering
Tuesday, Feb. 28  6:00 p.m.  at Two Rivers Gallery

In partnership with Rosy Simas Danse, All My Relations Arts, NACDI and Two Rivers Gallery. Come together with artists and community members to welcome several visiting renowned Native contemporary dancers and artists. The opening blessing will be done by Nancy Bordeaux. Catering by Gatherings Café will be provided. On display in the Two Rivers Gallery will be Gathering of Contemporary Indigenous Artists, an exhibition curated by Gordon Coons (Ojibwa/Ottawa).

Powwow Boot Camp with Santee Smith
Wednesday, March 1  6:30 p.m.-7:30 p.m.  at Ordway Center for the Performing Arts

This high-energy Powwow/dance training class will be led by Kaha:wi Dance Theatre’s artistic director, Santee Smith. This intensive and fun boot camp style workout is for anyone interested in maximizing their physical fitness. Participants will practice skills in the Indigenous dance forms of Powwow and Onkehon:we (Iroquois) social dances. The class is free, but registration is required. RSVP at 651.282.3060 or tsar@ordway.org.

Tanya Lukin Linklater Exhibition
Friday, March 3  6:00 p.m.–8:00 p.m. (opening reception)  at All My Relations Gallery

Presented by All My Relations Arts in partnership with Rosy Simas Danse and Ordway. Tanya Lukin Linklater’s performance collaborations, videos, photographs and installations have been exhibited nationally and internationally. She is compelled by relationships between bodies, histories, poetry, pedagogy, Indigenous conceptual spaces (languages) and institutions. The visual art installation will be on view March 3–April 7.

A Night with NACDI: Indigenous Foods and Arts
Saturday, March 4  3:00 p.m.  at All Nations Church

Presented by NACDI in partnership with Ordway. Enjoy dinner by The Sioux Chef while engaging in a talk about the Indigenous food movement. Hosted by Robert Lilligren, president and CEO of NACDI. The event is free, but registration is required. RSVP at tpayer@nacdi.org or 612.284.1102.
At 5:30 p.m., free transportation to and from Oyate Okodakiciyapi: An Evening of Native Contemporary Dance at the Ordway will be provided. The Storytelling Bus will feature “Coffee Shop” Al Gross from Powwow Grounds.

Oyate Okodakiciyapi: An Evening of Native Contemporary Dance
Saturday, March 4  7:30 p.m.  at Ordway Center for the Performing Arts

Co-curated with local choreographer Rosy Simas, Ordway presents a showcase of Native contemporary dance companies called Oyate Okodakiciyapi, which means “people coming together” in the Dakota language. This thrilling evening of dance will feature solo works by native Hawaiian Christopher K. Morgan and Santee Smith from the Mohawk Nation, as well as a new work by Dancing Earth, an indigenous, intertribal dance ensemble. Tickets are available at www.ordway.org. This performance is part of the Ordway’s World Music & Dance Series.

Arrive early for a pre-show Ordway Extra at 6:30 p.m. to hear Zoë Klein, artistic director/performer at Paradizo Dance in San Francisco, and Tanya Lukin Linklater, a multi-media artist from Ontario, explore defining culture in contemporary terms in a discussion moderated by Rosy Simas.

On display in the lobby will be Gathering of Contemporary Indigenous Artists, a visual art exhibition curated by Gordon Coons (Ojibwa/Ottawa). Themes explored through the art will connect with Native American and Indigenous identity. The exhibition is free to those attending Ordway performances March 2-4, April 20-21 and May 30-June 4. Featured artists include Camille A. Lacapa (Hopi-Tewa/Ojibway), Cole Jacobson (Lakota), Chholing Taha (Cree), Gordon Coons (Ojibwa/Ottawa), Gwen Westerman (Lakota) and Joseph Allen (Lakota).

Round Table Discussion: An artist to artist talk with Indigenous choreographers from Turtle Island
Sunday, March 5  11:30 a.m.–1:30 p.m.  at The Cowles Center for Dance & the Performing Arts

In partnership with Rosy Simas Danse, The Cowles Center for Dance & the Performing Arts and All My Relations Arts. Featuring conversation with Tanya Lukin Linklater, Christopher K. Morgan, Maura Garcia, Rulan Tangen, Zoë Klein, Sam Mitchell and Rosy Simas. The discussion will touch on current work, aesthetics, challenges, methods, audiences, community engagement and plans for the future.