Theater Latte Da's Bernarda Alba is Blackly Beautiful

When is the last time you saw an all-female cast?

Photo by Dan Norman

It's a short list for me. There was Six, a treatise on Henry VIII's wives that's about to blow up on Broadway; the eternally lovely Steel Magnolias at the Guthrie; the Jungle's devastating The Wolves and heartfelt School Girls; Park Square Theatre's lyrical Marie & Rosetta, transcendent Nina Simone: Four Women, and hilarious Calendar Girls; Penumbra's goddess-like For Colored Girls Who Have Considered Suicide / When the Rainbow is Enuf; Prime Productions' powerful Little Wars; Theatre Elision's sweet debut Ragtime Women; the Jungle's stunning Two Gentlemen of Verona (also Sarah Rasmussen's Artistic Director debut); and that's just about all I can remember.

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All of the above were excellent, but it's a real shame how rare it is. I've been writing about theater for almost 10 years now, and the list above totals 11 shows out of the hundreds I've watched, 5 of which were in produced in the last year. Makes you think twice, right?

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Thankfully we now have another excellent addition to this list currently running at Theater Latte Da. Bernarda Alba is a brand new epic in the tradition of Man of La Mancha but with hauntingly familiar themes, a dark exploration of female life that is still sadly all too true. Bernarda Alba is a fearsome matriarch who rules her home of five daughters with an iron fist after her incestuous husband dies. Determined to keep her daughters chaste until married off to a man of the appropriate caste, Bernarda holds them captive under lock and key to disastrous consequences. Unschooled in the ways of the world, Bernarda's daughters lay vulnerable to predatory male attention and ruthlessly competitive between each other. I won't spoil the turn the story takes, but suffice it to say it's a tragic ending that remains devastatingly common in our allegedly modern world.

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Bernarda Alba benefits from a truly rock star cast, beginning with the HBIC herself Regina Marie Williams as Bernarda. Williams has long been a favorite local star of mine, with the queenly carriage of Angela Basset and the fearsome talent of Viola Davis. Her performance here is deliciously severe, and the whole audience shivered every time she struck the stage floor with her cane. The roles of Bernarda's daughters feature many of my favorite local actresses. Kate Beahen is Angustias, the oldest and the family outcast. Nora Montañez is Magdalena, the second oldest and most chaste of the five sisters. Britta Olmann is the pious Amelia; Meghan Kreidler is Martirio, the "ugly" sister (which couldn't have been more ironic casting if they tried); and Stephanie Bertumen is Adela, the untameable youngest. Together this quintet forms a stunning chorus, ranging from deep contraltos to trilling sopranos, and their diverse voices blend as well as their diverse performances into the narrative.

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A spectacular standout for me was Aimee K. Bryant as Bernarda's right hand servant Poncia; I was so glad to see her fantastic talent on display with this powerhouse crew, where she more than held her own. I can't think of anyone better suited to narrate the story, and Bryant's lithe vocal stylings fully entranced the audience by the end of the first song. Sara Ochs proves once again that she's one of #tctheater's most versatile performers, anchoring the cast vocally and doubling as swaggering male figures. Kim Kivens is eerie as Bernarda's mother Maria Josepha, at times a terrifying presence on stage. And Haley Haupt rounds out the cast as another servant, providing plenty of vocal color.

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The detailed scenic design from Kate Sutton-Johnson revealed so many layers as the show continued. For example, it turns out that most of it is constructed from strung ribbons and lace, echoing the theme of "women's work" that is at the heart of Bernarda's conflict with her daughters. It was a subtle but brilliant touch that added so much texture and movement to the set, completely unlike anything I've seen. Mary Shabatura lights the stage like a film noir, and when combined with Kevin Springer's soft sound design that warmly embraces silence, it provides a reverent patina to the show. Alice Fredrickson's costume design is functional and sexy all at once, giving each actress plenty of dramatic fabric to swan around in. Kelli Foster Warder's choreography cleverly turns the actresses into castanets and horse hooves, and none of it seemed forced.  I loved director Crystal Manich's vision for Bernarda Alba, and the rest of the strong production team she assembled delivers a crisply clear production and high quality performance that truly draws you in.

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I think Bernarda Alba belongs in the canon of great female roles. It reminded me of some of my favorite dark stories starring women - August: Osage County, Doubt, How To Get Away With Murder, Sunset Boulevard - but with the musical themes of Man of La Mancha. I have a sneaking suspicion that some regular theater goers might consider eschewing Bernarda Alba because of its all female cast which would be such a shame - these actresses are giants in our local theater community and it's such a pleasure watching them sink their teeth into complex, difficult roles finally worthy of their talents. Bernarda Alba has all the quality Theatre Latte Da is known for delivering; don't chintz yourself by missing it. It's the first show I've seen in 2020 and if this is a harbinger of things to come we are in for a very good year of theater. For more information or to buy tickets before Bernarda Alba closes on February 16, click on this link.

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A Little Night Music Gives Us a Saucy Sondheim

This saucy show has plenty of punch for Sondheim fans. 

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When you hear the "great" names of creators of musical theater, the list tends to be pretty short. Rogers and Hammerstein are up there, to be sure. Leonard Bernstein makes the cut. Andrew Lloyd Weber, but of course. Cole Porter, George Gershwin and Irving Berlin are all contenders. A hot case could be made for adding Lin-Manuel Miranda these days, despite his young age. And then there's Stephen Sondheim.

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Defiantly riding headfirst against the river of generally treacle-y smash successes made by the men mentioned above, Sondheim stands alone with his freaky sense of humor and genuine love of the macabre. Controversial, fearless and unabashedly strange, Sondheim defies easy categorization and remains a singularly enigmatic figure in the history of theater.

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What does that mean for the rest of us? That the work of Steven Sondheim tends to be an acquired taste, and I'm not certain yet if I've attained the status of a Sondheim connoisseur. From a technical perspective his scores are complex, creative and even brilliant, constantly re-interpreting musical possibilities and pushing boundaries. Melodically this means they can suffer a bit for me (at least in terms of hum-along tunes), and combined with his truly singular subject matter they tend to wander a bit far off the path for my tastes. Still, there is a robust Sondheim fan club out there, and his musicals still tend to be top sellers on local stages. West Side Story, Gypsy, Sweeney Todd, Assassins, Into the Woods and Sunday in the Park With George have all made appearances on #tctheater stages in the last few years, and now we have A Little Night Music to add to the collection thanks once again to Theater Latte Da.

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Although according to the excellent program this is based on Ingmar Bergman's film Smiles of a Summer Night, it actually reminded me a lot of Oscar Wilde's play The Importance of Being Earnest. A Little Night Music follows the most complex of love knots. Desirée Armfeldt is a popular play actor and the toast of Sweden, who is known almost as much for her many lovers as she is for her work on-stage. Her former lover Fredrik Egerman decides to attend her latest play with his young, virginal wife Anne, and finds himself swept up in love of Desirée all over again. Anne fumes with jealousy but finds plenty of fun flirting with her stepson Henrik, who is much closer in age (and desire) to her. Desirée's lover Count Carl-Magnus Malcolm is filled with violent jealousy when he learns of her assignation with Fredrik; his wife Countess Charlotte Malcolm is filled with equal furor over his lack of care for his own wife, compared to his mistress. Through this tangled web we see many schemes emerge to win former loves back, flee with new lovers, and re-discover old flames. It's a complicated plot that unravels neatly by the end, but pay attention - it's easy to miss a connection if you blink too slowly.

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Sally Wingert is the show's draw as Desirée, and while I loved her characteristic witty timing, this wasn't my favorite role for her. I did quite enjoy Mark Benninghofen as Fredrik, her romantic foil; his rich voice grew as the show developed, and he was very well paired with Wingert's characterization. Thank goodness for Britta Ollmann and Bradley Greenwald as servants Petra and Frid, respectively; they are the heart of the music of this show, and their beautiful voices provide a strong foundation on which the rest of the cast builds. Susan Hofflander is hilarious as Desirée's mother Madame Leonora Armfeldt; her perfect comedic timing was just the lighter tone the show needs. And I really enjoyed Grace Chermak and Riley McNutt's chemistry as Anne and Henrik Egerman. They play the age dynamic really well and have some charmingly youthful moments that kept the show feeling fresh.

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An honest disclaimer: this was not my favorite musical. The first act especially dragged for me, and while I saw the full picture by the end of the play, it just wasn't my favorite.

Photo by Dan Norman

I disclaim that because I want to focus instead on the fact that I think this production was excellently acted and produced. Not everything is going to suit my preferences, but that doesn't mean the quality was lacking - and this is a case of an excellently produced show that just wasn't for me. Theater Latte Da always does a great job with musicals, and their treatment of A Little Night Music is no different. The stage opens on a sepia-toned set design from Joel Sass; as the show progresses it gains a bit more color (much like a Wizard of Oz effect), and the detailed period costumes from Rich Hamson, paired with the vibrant hair and wig design from Paul Bigot, shine on stage. The lighting design by Marcus Dilliard, who was the 2018 Twin Cities Theater Blogger's choice for best lighting designer, is excellent as always and really makes the most of that detailed set. And the sound mixing by C. Andrew Mayer allows us to hear every one of Sondheim's complicated lyrics. Combined with the live band on-stage, led by Jason Hansen, we get the feel we are on a series of Edith Wharton-eqsue lavish estates, and it keeps the wealthy aura of the play fully engaged.

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The audience seemed delighted in this considered rendition of A Little Night Music. Patrons next to me gossiped about the action on stage throughout the show as if it was the latest episode of Real Housewives, and at some level or some point in time, isn't that what A Little Night Music really is? A dark (but not Sondheim's darkest) farce about the fallibility of relationships, the difference between relationships you should have and relationships you want to have, and a meditation on marriage, A Little Night Music has all the salacious gossip you could ever want to see in a musical. Even though the subject wasn't my favorite, I can attest that the quality of this production is impeccable, and Sondheim fans are sure to love this rendition of the show. It's a great way to escape our current polar vortex and worth a visit for Theater Latte Da's perennially excellent execution. For more information or to buy tickets, click on this link.

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Sally Wingert Shines in Underneath the Lintel

Some people are just made for certain parts. 

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Robert Downey Jr. was born to play Iron Man. Denzel Washington was thoroughly destined to be Malcom X. Who but Idina Menzel could have originated Elphaba? Or who could have breathed life into the Phantom other than Michael Crawford?

Sally Wingert's latest performance as The Librarian in Underneath the Lintel at Theater Latte Da is just such an epochal turn. This one woman show can only succeed with an eccentric, charismatic personality at its core, and Wingert turns in a magnetic performance that carries the show with aplomb. It's impossible to imagine someone else fitting the bill, and I'd call it a star-making turn if Wingert weren't already such an established local #tctheater legend.

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Underneath the Lintel begins with Wingert making a harried entrance through a hallway side door. Laden with a cadre of eclectic baggage, she quickly disassembles the pile of aged props on stage - dusty chalkboard, chipped desk, manual slide projector - into a war room of sorts. Thus equipped, The Librarian leads the audience on a whirlwind quest to solve the mysterious identity of the patron who returned a 113 year overdue book through the library's mail slot. With a determined air and a series of unbelievable calculations, The Librarian does find an answer to her quest - but not without enormous sacrifice and difficulty along the way. I don't want to spoil the mystery of the show by saying any more (after all, isn't the caper effect the whole point of the fun?), but suffice it to say: the answer involves a thoroughly mystical figure that will leave you with some spooky chills as it is revealed.

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As I mentioned, Underneath the Lintel really requires charisma to sell this part. The Librarian is difficult, headstrong, particular and erratic, and to feel engaged with her character we need to trust our actor. Wingert is an ideal choice, granting a direct delivery and no-bullshit attitude that appear capable instead of rude (an important distinction), and we are buying into her riddle from the get-go. Dan Chouinard and Natalie Nowytsksi remain eerily obscure as the silent musicians throughout the show, and they provide a supernatural soundtrack that well-suits the plot. There isn't much set or costuming to speak of - this one-act show is done without a change of scenery or costume - which is deceptively simple and evocative. Wingert's expert wielding of the mountain of evidentiary props keeps things from getting too dull, and it's amazing how quickly she places us in myriad settings with just a few small objects, effects, and some vivid monologue.

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What's interesting about this show is that for such a light on-stage presence there is a veritable Ferris Wheel of people on the production team. As the director, Peter Rothstein appears to have (wisely) let Wingert run her own show and surrounded her with a crack team to provide whatever animation she preferred. Barry Browning's lighting design and John Acarregui's sound design are probably the two standout design elements. Combined with the exhaustive props design from Abbee Warmboe, they speed up the action by creating diverse effect with little on-stage change, and it's a great demonstration of how important effective background work is in pulling off even a seemingly straightforward performance.

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There are some cringeworthy elements of Underneath the Lintel's script (particularly in references to people of different races and cultures) that haven't aged particularly well. That isn't the fault of the performers, however, and if the opportunity arose to tweak them it would fix any small quibbles I have with the show. If you're a big Sally Wingert fan (and honestly, who isn't?) you will not be disappointed with Underneath the Lintel. I've never seen a show like it and it will definitely keep your wheels turning while you watch. For more information or to buy tickets to see Underneath the Lintel before it closes on July 1, click on this link.

Theater Latte Da's Assassins is a Haunting Performance

Why should a nation as a whole have to pay the price for the madness of a few? 

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That was the question on my mind throughout the speedy 100 minute duration of Assassins, the latest to grace the stage at the Ritz Theater via Theater Latte Da. One of Stephen Sondheim's lesser produced musicals, Assassins tells the concurrent stories of successful and would-be assassins of former presidents of the United States, beginning with Abraham Lincoln and ending with Ronald Reagan. Assassins focuses less on the "what happened" of each attempt and more on the "why'd you do it?", giving each villain a chance to soliloquize about their feelings, the ways the world has done 'em wrong, and what they hope for the future. The common theme? Wishing deeply to feel truly seen and heard, especially from a place of disenfranchisement.

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As always, Latte Da has lined up a musically rock solid cast. Led by Tyler Michaels as Lee Harvey Oswald, the mostly male troupe swaggers their way through bravado arias about their prowess and disenchantment with the world. Michaels is of course terrific, bringing an easy, lighthearted manner to each song he narrates. Another standout is Dieter Bierbrauer as hauntingly sinister John Wilkes Booth. Bierbrauer clearly relishes his moment on the dark side, and he provides a convincing plant to convert would-be assassins to indulge their evil ambitions. Sara Ochs is terrific as Sara Jane Moore and provides almost all of the show's desperately needed comedic breaks. Shinah Brashears shines as the eerily deranged Charles Manson acolyte Lynette "Squeaky" Fromme, and Evan Tyler Wilson has a lovely solo as John Hinckley towards the end of the show.

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The set (designed by Eli Sherlock) is an interesting mashup that reminded me of a blend between twee Americana and an alternate universe Moulin Rouge. Audience members loved the pre-show carnival, which allowed them to climb on stage to play games in the hour before the show and see the design up close. My favorite element included a creative use of colored vaudeville style stage lights. Presidential banners (which were ripped down as each president was shot) provided a nice visual of the evolution of political advertising, if a highly unsettling one (there are several more surprise "drops" throughout the show that will keep your shock levels engaged). Alice Fredrickson's costume design and Paul Bigot's wig and hair design do a surprisingly good job of mimicking the real-life assassins, firmly placing each character into their respective time period and enlivening the excellent program notes on each. Marcus Dilliard provides specific, spooky stage lighting that enhances each villain's moment in the (literal) spotlight and an occasional whiff of idiosyncratic whimsy. And Jason Hansen does a solid job of leading the pit, which sounds surprisingly lush with only four musicians performing.

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I'll be honest with you, dear reader: I'm having a hard time summating my experience at Assassins.

Here's why: as always, Latte Da's production design and musical execution is top notch. I was really excited to see something brand new to me and a little more brash and edgy than I'm used to on stage. Sondheim is always good for a dark adventure, and as I have recently been fascinated with American history and especially presidents, this fit quite well into my interest zone.

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However, I have been profoundly unsettled since watching the show. This is due to no error on the part of Theater Latte Da - as previously mentioned, the performances are strong. I think my soul is just not ready to handle such a deeply macabre narrative in the light of our current very real, very serious political conflicts in this country. We know that several attempts were made on President Obama's life while in office (although none as close a call as detailed in Assassins); it is not a stretch to imagine the same is now occurring with President Trump. Since this story is told exclusively from the perspective of the assassins themselves we are never able to hear the perspective of the victims families, fellow citizens, or the many cabinet members who are directly affected by a political assassination and have to clean up the aftermath.

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Because of this, the whole tone of Assassins is almost unbearably blithe - which is, I think, the point. Each of these people (who have been cast so directly - especially John Wilkes Booth - in American history as criminals of the worst kind) appear here as so ... banal. The bulk of them could be your mildly off-kilter neighbor, your eccentric cousin or your disgruntled ex-coworker. They have some unhinged ideas, sure, but the reasons they give for their assassinations are truly mediocre when weighed against the effects of their actions. It is stunning to peer into the mind of a madman and learn that you have more in common than you might ever think, and when punctuated by the blistering periodic gunshots (expertly timed by sound designer C. Andrew Mayer), it's a jolting effect that never loses its power.

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So I'm having a tough time determining how to tell you what I think of this show. While the performances are terrific - in the truest, most literal sense of that word - the show itself seems both more timely and more horrifying than ever. The end of the show, which closes with a looped live video recording of the death of President Kennedy - brains out and all - is a horrific reminder of the cost of letting our disillusionment and anger reach their full potential. We as a society feel so at a dangerous political precipice to me that the gruesome implications of Assassins feel like a grim omen.

Peter Rothstein's direction whips this narrative to truly ghoulish heights, and anyone who sees this will find themselves wrestling some cognitive dissonance. If you're a Sondheim die-hard fan, want to see a show that is rarely performed, enjoy bravado singing regardless of the lyrics, or are a devoted horror fan, you will probably be able to sit through this with less trepidation than I did, and I'd encourage you to do so. Maybe we should all be unsettled. Maybe we should take our imaginations to their darkest corners; after all, how else can we stop the next tragedy from happening? Assassins runs at Theater Latte Da through March 18; for more information or to buy tickets, click on this link. I'll leave you with the final words from Peter Rothstein's director notes, which are a great wrap to the story:

"Many people have asked me, why produce Assassins now, at this particular moment in history. In my lifetime I have never witnessed a discourse so volatile surrounding the role of the President of the United States. No matter where you stand politically, the anger, hatred and violence surrounding this presidency is unlike anything I've witnessed. [...] Assassins has been criticized for its glorification of its subjects, but I believe Sondheim and Weidman's goal was quite the opposite. I believe their goal was to shine a light on the humanity of these individuals and in so doing illuminate a path to understanding. Only through understanding, through empathy, can real change occur. And like a true Sondheim musical, that path is rarely an easy one."

Caroling Along to A Christmas Carole Petersen

What is the most Minnesotan Christmas show you can think of? 

Photo by Allen Weeks

Most of us would probably select something along the lines of A Christmas Story or Charlie Brown, and that would be understandable. But most of us would be wrong.

Photo by Allen Weeks

To my thinking the award for Most Minnesotan Christmas Performance goes hands-down to A Christmas Carole Petersen, now showing at Theater Latte Da through December 30. An original piece co-written by Latte Da Founder and Artistic Director Peter Rothstein and the show's star Tod Petersen, A Christmas Carole Petersen has everything to make a home-grown Minnesotan wistful over the holidays, with a few unique songs thrown in for good measure.

Photo by Allen Weeks

I'm hard pressed to describe the plot and structure of this show. It's some kind of a mashup between vintage Lawrence Welk meets Bing Crosby Christmas Specials meets your everyman's church basement kid's variety show. The overarching narrative is led by Tod and follows the arc of his personal family Christmases as told through the lens of his mother Carole's love of the holiday. Tod reads vintage family Christmas update letters (which were hilarious; my family has dozens of the same and they do not age well, *which is the point*) and reminisces over major Christmas milestones in his and his family's lives. Interspersed between Tod's time traveling missives are several unique carols sung by Jody Briskey, Ryan Lee, and Dominique Wooten.

Photo by Allen Weeks

Keep in mind that I use the term carol here loosely; these are more songs that have some kind of Christmas or even holiday reference (such as "Mele Kalikmaka," "Feliz Navidad," or on the Hanukkah side "Ikh Bin a Kleyner Dreydl"). The kitschy mix somehow works and is a blessed reprise from the ten thousandth rendition of "Silent Night" that so often graces the stage at this time of year, and if nothing else all audiences are guaranteed to hear something they never have heard before. The musicians are mostly successful and bring a surprising amount of energy to their crooning with a peppy step that can melt even a Grinch's small heart. The standout is anything sung by Mr. Wooten, who brings a lovely tone and musicality to each piece he graces with his voice. Mr. Petersen is approachable and direct as the narrator. I wish to avoid stereotypes describing his performance, but I think I can safely say that any fans of the trope of the dry delivery of a childless Scrooge-y gay man will probably enjoy this show.

Photo by Allen Weeks

I wasn't sure what to expect when seeing A Christmas Carole Petersen for the first time but I knew no matter what that it would be different from the usual fare at this time of year, and it was. What a blessing. The revue style was engaging, and although it didn't totally capture me it enthralled my future mother-in-law, who has continued to talk about the show since we attended. The audience at the Ritz Theater (which is tastefully and beautifully bedecked in jewel-toned and simple but quality Christmas decor) clearly adored the show on opening night, and it was nice to see something that felt so "normal." This is not a Christmas story that will push any boundaries or break any barriers, but it's one that anyone who isn't a card carrying Christmas fan will find something to relate to. As someone who has never harbored a definitive love for this holiday, I really enjoyed Carole Petersen's inspiring message of creating joy for joy's sake and loving everyone regardless of their circumstances. Isn't that really supposed to be the reason for the season? For more information or to buy tickets, click on this link.

Photo by Allen Weeks

Reviewed in Brief: Collide's Dracula is a Campy Delight

If you liked Buffy: The Vampire Slayer, you will LOVE this show.

Dracula from COLLIDE THEATRICAL on Vimeo.


Cross necklaces? Check. Vampy face paint? Check. Perfectly tailored pleated pants? Check. Moody emo rock band? Check. Ubiquitously smeared eyeliner paired with thin strapped halter tops? Check, check, check.

If there was any doubt that the 1990s are back in full force, Dracula, now showing at the Ritz Theater, sweeps it straight into the trash. This campy reimagination of the traditional horror story shouldn't work but somehow it does, and the firmly planted 1990s roots definitely help.

The story here is an extremely simplified version of Dracula with a few twists. There is no dialogue; in fact, the entire show is told through modern dance and covers of carefully chosen pop songs. Everything is set in the modern era (I'd place the influence in the 1990s, but the aesthetic is right at home with today's latest Kendell Jenner lewks). In this light, Dracula comes off more as a whiny stalker than a virile vampire king, and the effect is oddly... heartwarming?

I love things that expand my mind and are hard to describe, and this definitely fits the bill. Clocking in at a tight 90 minutes (INCLUDING intermission - why even bother at that point? Just skip it!), it had my jaw open from the get-go and really won me over. The performers are clearly passionate about the show and fully invested in making it sing, and that is key to making this work. The musicians are quite talented, especially Michael Hanna as Dracula. Hanna lives everyone's dark twisted fantasy of being a shadowy rock god slicing his vocals over the surprisingly solid rock band like fangs in a virgin's neck (sorry guys, I had to). He'd be perfect starring in a focused musical about Queen, and he is able to narrate the show through his few songs.

The other half of the performance is composed of some eccentric, captivating modern dance (when is the last time you heard that word combo?). The show begins with what I can only describe as a balletic grunge club mash-up, devolving about halfway through the show into a brilliant parody of a Sia music video and culminating in a Thriller-esque group sashay near the end. Like the music it's an extremely random combination of elements, but it works. I found myself drawn to the dancers' consuming physicality and as an avid fan of Buffy: The Vampire Slayer, I was grinning from ear to ear by the time we left.

If you want something 100% unique, performed by a highly talented mix of young performers and straight from the brain of a mad theatrical scientist, Dracula is for you. It sounds strange (and I suppose it is), but it made for a great date night and plenty of conversation after the show. I'm eager to see what else the new-to-me company of Collide has up their velvet sleeves. Dracula runs at the Ritz Theater through November 12; for more information or to buy tickets, click on this link.

Theater Latte Da's Man of La Mancha is Not to be Missed

Sometimes in life, all something needs is a fresh political climate to feel brand new again. 

Photo courtesy of Theater Latte Da

This was my main thought while watching Man of La Mancha, the premiere musical of Theater Latte Da's 20th anniversary season. I'm sure we've all heard at least a portion of the story of Don Quixote and you'd be hard pressed to find a musical lover who has yet to hear a raucous rendition of "The Impossible Dream," and I'll confess: I wasn't sure we really needed another staging of Man of La Mancha.

Photo courtesy of Theater Latte Da

Post-performance, I will happily admit that I was very, very wrong. Clipping in at an intermission-less 110 minutes of non-stop action (be still my expediency-loving-heart!), Man of La Mancha Latte Da-style is engrossing, emotional, and even (dare I say it?): a little avant garde.

For an overview of the story as quick as Latte Da's staging, lest any reader missed their Wishbone: Man of La Mancha is the musical re-imagining of the story of Don Quixote, Miguel de Cervantes' eternal novel that launched a thousand literary copycats. Don Quixote is the self-appointed name of Alonso Quixano, a lesser nobleman who spends his retirement immersed in literature about the long-gone traditions of knighthood and chivalry. Somewhere along the way Quixano become convinced he actually IS Don Quixote, and sets forth to return Spain to the days of chivalry and manners and jousting and vigils. Alongside Don Quixote is his faithful companion Sancho, who is firmly rooted in the real world and able to help his friend safely navigate the visions he summons at every turn. They meet giants disguised as windmills; a castle disguised as a lowly inn; and a beautiful lady Dulcinea disguised as a lowly prostitute named Aldonza.

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Don Quixote's illusions are relatively harmless to anyone but himself and are even found charming by several he encounters, until it becomes clear that the line between reality and fiction is becoming too unbearable for those around him to maintain. This mainly affects Aldonza, who struggles to marry her painful life of suffering with Don Quixote's endless adulations. Things come to a head when Don Quixote is finally tricked out of his madness by his nephew and enters the end of his life a much "saner," but unhappier, man. Woven throughout the action for this production is a trial of Cervantes himself, who performs the story of Don Quixote as his defense. Although it sounds a little weird, the intermittent trial really helps to keep the narrative moving and allows us to hear some of Cervantes' thoughts on his master work that bring even more relevance to the story of Don Quixote today.

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The excellence of this performance is a testament to the wonderful cast, who are punchy and precise in their delivery and keep the action humming along. Anchoring the cast is the tremendous Martín Solá. Solá has a ravishing voice and emphatic delivery that instantly make him sympathetic, and it's impossible to resist being captivated by his noble, charming rendition of Don Quixote (and as an aside, can I just say: how refreshing to have someone who actually has a Spanish heritage play this role?!). Meghan Kreidler is perfectly paired with Solá as the fiery Aldonza, bringing her trademark strength and vitality to Man of La Mancha's most difficult scenes to watch. Her devastating performance provides a strong antidote to Quixote's charms, and it is through her pain (and later adoration) that we can see the strongest heights and pitfalls of Don Quixote's impact.

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The rest of the ensemble sylphs nimbly between multiple roles and constructs a rock-solid melodic foundation for the rest of the show. This is a cast so musical that you can hear their singing as they speak, from Rodolfo Nieto's thundering basso to McKinnley Aitchison's trilling (and thrilling) soprano. Jon-Michael Reese provides some much-needed comedic relief as the Padre, hilariously mediating a scene at the confessional and showing empathy for Don Quixote's plight when others are only ready to laugh. Andre Shoals bring mesmerizing presence as the Governor who puts Cervantes on trial, and Sara Ochs lends operatic gravitas to her role as the Housekeeper. The ensemble's impressive musical prowess is on full display by the end of the show, in which a rousing reprise of "The Impossible Dream" leaves the audience with full hearts and damp cheeks.

Photo courtesy of Theater Latte Da

The costumes are ingeniously designed by Rich Hamson and feature delightfully macabre masks for each scene set in the fictional La Mancha. I was fixated on the masks, which are somewhere between a Hamlet skull and Dia de los Muertos attire and are utterly transformative. The swift costume changes are simple but completely metamorphic, and Hamson's work is a testament to the value of truly thoughtful design. Hamson's work is greatly assisted by the fabulous lighting from Marcus Dilliard, which transports the story to new dimensions. Deceptively complex operations such as placing the characters into top-lit chessboard squares or washing the entire frame in a violent crimson hue instantaneously alters the tone and provides the transition feeling usually assigned to scene changes, which aren't really present here. Mason and Dilliard's work in concert is all the cast needs to elevate Man of La Mancha to a whole new level, and they succeed swimmingly.

Photo courtesy of Theater Latte Da

It's amazing how context changes the tone of everything, and this Man of La Mancha is no different. It's become a tired, overused cliche to talk about the difference in the world since our recent presidential transition. I don't mean to harp on it, but Don Quixote's apparent madness really seems so much more complex in light of current events. What could seem more pressing than the story of a man who is so delusional that he lives in a totally alternate universe, to the consternation of all who encounter him? Or conversely, and perhaps more relevant: how mad is it, really, to turn away from the cruelty and suffering of the real world and instead work with all of your heart and might to create a better, more beautiful one, even if it should cost you your sanity in the end? After all, as Cervantes writes:

“When life itself seems lunatic, who knows where madness lies? Perhaps to be too practical is madness. To surrender dreams — this may be madness. Too much sanity may be madness — and maddest of all: to see life as it is, and not as it should be!” 

This Man of La Mancha is not to be missed; the music is lovely, the staging is tight as a drum, and you'll see a whole new side to a classic work of literature and theater. Man of La Mancha runs at the Ritz Theater through October 22; for more information or to buy tickets, click on this link.

Trademark Theater Impresses with Premiere of The Boy and Robin Hood

An impressive debut from a dynamic new company, The Boy and Robin Hood is an engrossing play and marks Trademark as a company to watch

Photo by Rick Spaulding

What would you create if you could create anything?

I've thought about that question many times. I like to fancy myself an artist of sorts, but at the end of the day I haven't really ever built a major project. Sure, I have some sketches and paintings and scribbles here and there, and I have this blog (of course), but I've never really taken on a visionary project and assembled it from start to finish.

You know who has created something marvelous? Tyler Michaels, who launches the premiere performance of his new company Trademark Theater this weekend with The Boy and Robin Hood, showing at the Ritz Theater through June 11. Michaels is joined by Tyler Mills, who pens the plays, and Michaels' wife Emily Michaels King, who handles their (beautiful) social media and graphic design (I mean really, their program is inspired! And their website is worth a peek as well). So, the Trademark gang founded a company; why not write, choreograph and score a completely brand new show while they were at it too? #ambitious

Photo by Rick Spaulding

The result is the familiar yet singular show The Boy and Robin Hood, which covers a very new perspective on who Robin Hood (and the rest of the infamous constellation of characters around him) really was. This is a much darker Robin Hood than you may be used to; there is no attempt to oversimplify the story or to lionize his myth. We come to Robin through a boy named Much, who escapes into the forest after he witnesses the Sheriff of Nottingham commit a murder. Much quickly adapts to life with Robin's crew (particularly Robin's right hand man Alan) and through Much's curiosity, we learn many stories about how Robin came to be in the woods, watch him rob the king, and settle into the familiar story. Things take a dark turn when Much informs Robin that Robin's mother is the woman he saw the Sheriff kill, and the ensuing action not only breaks the merry band but little Much and Robin himself. It's a powerful cautionary tale about the vagaries and corrosive capabilities of power, both in the sense of popularity and wealth, and it couldn't be more timely. Accompanied by a gorgeous score from local composer David Darrow, The Boy and Robin Hood is a full circle theatrical event with something for everyone - friendship, sword fights, heartbreak, action, laughter, and everything residing in between.

Photo by Rick Spaulding

This cast could be a little more diverse, and the show unfortunately doesn't pass the Bechdel test, but don't let that discourage you from going; these actors are excellent and clearly well rehearsed. The entire show clips along without a pause in the action, and although it's two and a half hours in length it never drags or feels long. This is thanks mainly to the gorgeous choreography from Tyler Michaels and fight choreography from Annie Enneking, and the painterly lighting from Mary Shabatura. This piece will truly have you gasping in your seat at some of the cinematic dioramas and nimble footwork, and the excellent attention to the minutest detail keeps the story feeling fresh. All of these elements make it feel like you're living inside of the story, and The Boy and Robin Hood really wraps you up into the fold.

Photo by Rick Spaulding

Riley McNutt swaggers on stage like a lanky Tony Goldwyn as Robin, and his fiesty spirit is perfect for the part. He is well matched by the rest of his merry band - Paul Rutledge (holding down the role of John with gravitas); Theo Langason (loveable as Friar Tuck and radiating a Questlove level of warmth from the stage); Ryan London Levin (a firecracker as the energetic Will; he really reminded me of The Princess Bride's Inigo Montoya); and Nathan Barlow, who absolutely steals the show as Alan, Robin's right hand man. In fact, I would go so far as to say that Alan is really the hero of the show entire - brave, strong, kind, thoughtful, surefooted, and Barlow plays him with such strength and vivacity that it is impossible to look at anyone else while he's on stage. He's an inspired member of a very strong cast, and worth the show alone.

Photo by Rick Spaulding

Jason Rojas and Dan Hopman are deliriously devilish as the rotten Sheriff and his hired assassin Guy of Gisborne, respectively. Hopman in particular brings a Game of Thrones level darkness to his baldly bad guy, and he provides an excellent antithesis to Robin's bands' relentless positivity. Kendall Anne Thompson is inspiring as Marian and the Hermione of the Hood; Thompson is wonderful in her part, and I wish she had another woman on stage to interact with throughout the show to play up that singular female strength. Peder Lindell is a clear Michaels apprentice as the boy Much, and he gives a lively performance that helps us to truly see this world, warts and all, through a child's eyes. Lindell is quite the ingenue; keep an eye out for him in future productions around the Twin Cities.

Photo by Rick Spaulding

I don't usually list out members of the pit or chorus, but I really loved the music here and I'd be remiss if I omitted them. The dissonant, expansive vocals of Anna Beth Baker, Tim Beeckman Davis, Benjamin Dutcher, Elizabeth Hawkinson and Lars Lee provide the ideal backdrop for the riveting action on stage, and their beautiful canticles are destined for a cast recording (but really guys, can you record this stuff? It's glorious). There are only four instrumentalists backing them up - Nic Delcambre on piano, Kris Anderson on guitar, Jack Barrett on bass, and Matt Barber on percussion - something you might be surprised to know considering how lush the soundtrack is. And I'd be neglectful not to mention sound designer Nicholas Tranby as well. This is one of the first live shows I can think of where I noticed an extraordinary attention to detail in each sound effect, down to the sharpening of a sword or the tapping of a finger, and it really stood out.

Photo by Rick Spaulding

I was so ready to see something like The Boy and Robin Hood. The world is a scary place these days, the news seems to grow darker and drearier by the hour, and I had had enough. I needed a mystical universe to disappear into for a few hours and come out refreshed with a new perspective. What a blessing that in addition to providing deep societal respite, The Boy and Robin Hood has a rich set of lessons to offer as well. There is a parable for everyone here, and we need it. Some of my favorites?

• Never let your anger get the best of you. 
• Even alleged villains have hearts and goodness in them. 
• Beware lionizing your heroes; you will likely find they will disappoint you in the flesh. 
• Don't believe everything you hear in fairy tales (aka the fake news). 
• Face your fears head on and you will have nothing left to dread. 
• Preserve your innocence, as you can never get it back once it's lost. 
• Listen to the women in your life. 
• And best of all: love harder, look deeper, and expect more of the world around you; if we all did that, maybe we'd be a little better off like the Merry Men of Robin's forest. 

The Boy and Robin Hood is a rich, rewarding retelling of one of British mythology's favorite legends. It's a crowdpleaser for audiences of all types, particularly those who like swashbuckling swordfights, but may be a little scary for young kids. The Boy and Robin Hood is a truly impressive debut, particularly considering the fact that it's an epic, originally authored piece, and I can't wait to see what else Trademark comes up with.  Kick off your Memorial Day weekend right with a viewing at the Ritz Theater; more information and tickets (ranging from $15 - $20) can be purchased by clicking on this link.