Thrillist: Cape Verde Vacation Planner

We could all use a little escapism right now, right? 

Photo courtesy of Thrillist

If you agree, then check out my recent article for Thrillist about planning a trip to Cape Verde, a small island nation off the coast of West Africa that I have been wistfully longing to return to ever since leaving last June and named one of Thrillist's 20 best places to travel in 2020. Although cooped up like all of you in quarantine, I can't help dreaming about a return to sunny cocktails and sandy shores, and this is top of my list to get back to someday.

Read the full article on Thrillist here, and the copy is also saved below for posterity. Tell me - have you been to Cape Verde? What other destinations are you dreaming of escaping to in these tense times? I'd love any recommendations you might have for planning when we're all free again!

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Located 350 miles off the coast of Senegal, Cape Verde is a one-of-a-kind island nation, comprised of some of the most gorgeous tropical islands in the world. Historically, though, this wasn’t always the easiest place to survive.

Arid and uninhabited when the Portuguese landed here in the 15th century, Cape Verde's difficult ecology is an extension of the nearby Sahara Desert and multiple volcanoes. Over the centuries, each of its 10 islands developed a distinct cultural flavor, thanks to the disparate groups of people that passed through and managed to survive there. Today, Cape Verde has emerged from a history of struggle and poverty with a rich, complex culture all its own.

All Cape Verdean culture seems to include principles of yin and yang, struggle and celebration, light and dark. The music, best described as a blend of slow Portuguese Fado and Caribbean pop, often pairs happy instrumentation with pensive, deep lyrics; the food is spicy but filled with umami; and the wine is light but deeply flavorful (and shockingly cheap -- a good bottle easily knocks in at under $5 USD, even in restaurants).

Innovative Cape Verdeans have used the dry, mineralized soil to create a delicious cuisine starring bold wines, flavorful coffees, and hearty produce. Combined with fresh seafood and the nearby legacy of dishes like Senegalese thieboudienne, Cape Verdean food blends the best traditions of Portugal and the West African diaspora into flavorful, stewed dishes you’ll find nowhere else.

An increasingly popular destination for Europeans, Cape Verde still flies under the radar for Americans. But with flights to be found in the $600 range, we’re calling Cape Verde one of the 20 Best Places for a Big Trip in 2020. To make the most of your trip, we made this 10-day itinerary featuring the best things to do on the islands -- but when in doubt, find some sand and follow the music.

When to visit Cape Verde in 2020

To avoid the rainy season, plan to visit November through June. Head to the island of São Vicente the week of Shrove Tuesday (February 25) to catch Cape Verde’s celebration of Carnival, which blends the best of Brazilian party and parade traditions with West African influences. An annual crowd favorite is the performance by the Mandingas, an ethnic group from the nearby countries of Senegal and Gambia, who dress as warriors and lead parades throughout the festival. Because attendance is lower at the Cape Verdean Carnival than its Brazilian and Caribbean counterparts, it is comparatively quite affordable.

All festivals in Cape Verde place music in a starring role -- the Gamboa Music Festival on the island of Santiago is in May every year and features an eclectic mix of world-class DJs, local bands, and guest musicians from all over Brazil and Africa who perform a range of genres including salsa, Latino, zouk, reggae, and funaná.

Know before you go

It’s tough to hit every island within a 10-day time frame, and every island has a different vibe to offer, so the best strategy is to pick two or three islands and really nail it.

Visitors with US passports don’t need to purchase a visa unless you’re staying for more than a month. There’s a 31 euro fee per person upon arrival, so exchange some money into euros before leaving the States. (Cape Verde’s local currency, the escudo, is available at ATMs in urban locations around the islands).

Days 1-3: Kick off with beach time on the island of Sal, or São Vicente

Dive deep into island life and fly into Sal, the tourist hub of Cape Verde. This island is a one-stop shop for savoring the sun, sand, sea, and stars. Do as many active excursions as possible (dune buggies, sailing, horseback riding, etc.) with a local company like No Limits Adventure.

Visit a beach where turtles nest; stand in a bay of lemon sharks; and visit historic towns, like the salt-production center in Pedra de Lume for the chance to float in the world’s second-saltiest body of water. You can rent a car and guide yourself around, but to get the most bang for your buck, I recommend a formal tour with Reis Transport.

If you’d rather go somewhere a little less crowded, choose the island of São Vicente. This is the birthplace of world-renowned singer Cesária Évora. Cape Verdean music has evolved from African, Portuguese, and Brazilian influences; the primary genre is a slow, bluesy style called Morna -- Cesária Évora's specialty.

Évora’s spirit is everywhere on her island of birth; visit her home or her grave in Mindelo and savor the beautiful colonial architecture along the way. Évora often sang about São Vicente, describing it as “a little Brazil / full of joy and colors.” You’ll see why immediately while standing at the summit of Mount Verde, Cape Verde’s highest point, or driving through Madeiral, a valley that grows most of the island’s produce such as bananas, papayas, mangos, palm dates, and sugar cane, also popular Brazilian crops.

Days 4-6: Slow down on Boa Vista

On the island of Boa Vista, you'll explore a stunning diversity of beaches in a surprisingly small geographic area; there are direct flights from Sal.

Some of the best beaches include the white sand and quiet seclusion of Praia de Chaves (also a prime windsurfing spot); the golden sand of Praia de Santa Mónica, perfect for long, romantic walks or spotting whales; Praia de Atalanta, where you can explore a shipwreck in the warm, shallow water; or the Praia de Cabral, right by the city of Sal Rei, Boa Vista’s capital. Sink slowly into glowing sand with a cool drink and no plans.

If you get tired of bumming by the water, hire a quad bike through Quad Zone to take advantage of Boa Vista’s unique ecology. A must-visit is the Viana Desert, an extension of the Sahara that will take your breath away. The desert sand also contributes to Boa Vista’s reputation for excellent ceramics, so stop by the city of Rabil, Boa Vista’s former capital, to purchase some traditionally made ceramic goods.

An unforgettable visit is the Museu dos Naufràgos (Museum of Castaways), where guests pose as castaways from a recently crashed ship and are led on a journey through a mystical history of the islands. For a more academic time, hire Cau Tours for a detailed look at Sal Rei.

Days 7-8: Food, wine, and volcanic black sand on Fogo

Take a ferry or airplane from Boa Vista to the otherworldly volcanic island of Fogo, the hungry traveler's favorite stop in Cape Verde. Chã das Caldeiras, the active volcano at the center of the island, looms over all of Fogo and is responsible for the dry but nutrient-dense soil that drives Cape Verde’s wine and coffee industry.

Even the most experienced hikers should hire a local guide to take you up to the peak of the volcano. Prepare to commit -- most tours begin very early and last for a full day, leading directly to the volcano’s peak, then making several stops on the way back down at local villages, which grow excellent wine and coffee. Make sure to ask if the price of your tour includes food and drink at these stops, and bring cash -- you’ll want to haul back at least a few bottles of wine or some goat cheese.

Don’t leave without ordering some Fogo culinary specialties like djagacida (a dense, flavorful, starchy dish made of corn, fish, and beans -- think of it like red beans and rice meets mofongo), pastel de milho (a cake made of corn), bissap (hibiscus flower juice), or calabaceira (baobab fruit juice).

Days 9-10: Cape Verde’s largest island, Santiago

The largest island of Cape Verde, Santiago is home to Praia, Cape Verde’s capital and biggest city. It’s easy to get around Santiago on your own with Ubers and taxis, plus it's easier access to shopping and a wider variety of restaurants and lodging. Praia also offers front-row access to the best clubs featuring live music.

To get a tour of the full island, contact Bu Country Tours -- you’ll get a taste of everything from the Praia market to a traditional Cape Verdean cooking demonstration and a stop at a banana and coconut plantation. Another easy drive from Praia is through the lovely Serra Malagueta Natural Park at the northern portion of Santiago. Or, take a quick jaunt to Cidade Velha, an original 15th century Portuguese settlement with cobblestone streets and dazzling views of the islands.

Whatever route you take, no trip to Praia (or indeed all of Cape Verde) is complete without a night out at Quintal da Musica for a delicious dinner and an unforgettable exposure to traditional Cape Verdean music forms like morna and funaná. Close out your trip on a high note by making sure to order a caipirinha and gambas grelhadas (grilled prawns) to start, followed by a bottle of the crisp local white wine Cha Vinho Do Fogo and the arroz de polvo (octopus rice) for a meal you will never forget, much like the mournful music.

Keep it going: Get to the West African continent

If Cape Verde has piqued your interest in West Africa, now's the time to explore this region, which is uniting under the banner of ECOWAS (think of it as the European Union of West Africa, with a connected infrastructure and currency currently in progress). There are many options to travel between nations, so don't be afraid to flight hop or rent a van and hire a driver for the long haul.

One of the easiest places for Americans to start is Ghana, an English-speaking nation with several direct flights from the East Coast. Ghana has wonderful food, wildlife, and historic tours, plus a bustling African American expat community that is thriving after a successful "Year of Return," a 2019-long celebration that encouraged members of the African diaspora to return to the motherland.

Senegal is a close second choice; its capital, Dakar, is a rapidly rising arts and cultural center. Dakar has wonderful beaches, museums, cuisine, and historic sites to visit, as well as a fun club scene. For a quieter but no less enjoyable stop, consider visiting Togo, a small Francophone nation tucked between Ghana and Benin. You'll find affordable safaris, the origins of Voodoo, and arguably the best foufou the region has to offer.

Meet the Writer

Becki Iverson is a Thrillist writer and an ardent lover of all things arts, food, and travel. You can follow her wide-ranging passions on her blog, Compendium, or on social media on Instagram.  

When was the last time you were in Cape Verde?

June of 2019, at the tail end of a dream trip and honeymoon through West Africa.

What drew you there?

One of my first bonding experiences with my husband was over music. I had always loved the soulful voice of Cesária Évora, and he also loved her music right away. We played her catalog constantly -- she became such a favorite that we included multiple songs in our wedding. It became a priority for us to visit her homeland someday, and when we realized we’d be nearby for our honeymoon in West Africa, we had to spend the extra cash to make sure we made it there to pay homage.

What was the most surprising thing about the place that you didn't expect?

Experiencing the blended Creole identity that the majority of Cape Verdeans now share was striking for an interracial couple like my husband and I -- especially coming from a place like America where people tend to draw stark lines between their individual racial identities. It’s one of the few places we have not received stares out in public together (New Orleans is the only similar comparison I can think of). This story in the LA Times captures Cape Verde’s complex multiracial dynamic better than I ever could.

Number one can’t-miss recommendation for a visitor?

Visiting Quintal da Música for a long dinner, cocktails, and live music. There’s no better way to capture the spirit and contradictions of Cape Verde than spending some real time listening to morna and coladeira.

For example, Cape Verdeans have struggled to define their culture through the centuries -- are they more African? Portuguese? Or something entirely new? One of Cesária’s most famous songs is called “Africa Nossa” (or “Our Africa”). It has a very upbeat, celebratory musical tone, yet includes quite serious lyrics like these:

The sky has cleared
Consciousness has brightened
The time has come to face reality
A suffering people
Have soothed their pain
To live in peace and progress

Make sure to spend time with some songs, even before you go, to gain a richer understanding of the push-pull nature of this culture.

How easy is it to get around for English speakers?

Cape Verde has been a very stable democracy for more than 30 years and is quite safe for tourists. I recommend utilizing a local tour service to connect your destinations or help schedule tours. Travel between islands can be difficult, and spontaneous travel and lodging between islands is especially tough to navigate. Two great options are Todahora Tours or Cape Verde Vacation and Services.

If, however, you prefer to visit only one or two locations slowly on your own or don’t anticipate trying to pack in many activities across multiple islands, you can wing it with no trouble. You’ll find travel conveniences like Uber and Airbnb, especially on the more populated islands like Sal, Santiago, or Boa Vista.

What’s your top piece of advice for someone going for the first time?

This is a place where it really pays to plan ahead. Because travel between islands is relatively limited (usually just a couple flights or ferry options per day), it’s hard to spontaneously jump between them. It’s also like any other island nation where the pace is slower than urban continental life, so expect things to take longer than you’re probably used to.

What's the next big trip you have planned in 2020?

We have several friends living in Sweden and Norway, so we’re hoping to make it out to see them and explore parts of both countries I still haven’t seen (mostly the northernmost areas).

Chanhassen Dinner Theatre's Nostalgic Music Man

Sometimes, staying in your lane can be a good thing. 

Photo by Rich Ryan

When you go to the theater, do you tend towards revisiting the same shows over and over again? Or do you come seeking something new, modern, or avant garde?

I find that, like with most arts consumption, there are two wildly divergent philosophies. If you're a person who annually re-reads certain books or re-watches the same films on endless loop, you're probably in the former camp. If you're like me, you probably tend toward more of the latter - a one and done-er who doesn't re-experience a text unless there's something really different about it.

When it comes to this little hobby of theater reviewing, however, my usual approach doesn't always work. Certain plays and musicals seem to come back frequently, and with an ever-shrinking geographic range and amount of time on my hands it's not always possible to do the far ranging exploration I'd like to. Or, on a very rare occasion, I want to just show up somewhere comfy and do the absolute least (so sue me).

One of my cozy once-in-a-while comfort spots is Chanhassen Dinner Theatres (CDT). I've written before about my nostalgic love for the nation's largest dinner theater (the scope of their operation is truly extraordinary for logistics-nerds like me. Over 50 million cups of coffee served! Over 12.5 million guests who have all received multi-course meals! I mean come on, how can that not impress?!), and it stands. This was the place where professional theater was first introduced to me at a production of Brigadoon when I was 8 years old. I'll never forget seeing the graceful dancers emerge from the misty air and learning how transportive live theater could be for the first time.

It turns out that Brigadoon is an apt metaphor for CDT itself. This is not a venue of surprises; CDT knows its niche and embraces it with open arms. Rather than short run, rotating seasons of the newest cutting-edge scripts, visitors will find long-term runs of shows culled from what is known as the "golden age of Broadway," the experience of which is almost like stepping straight into a TCM screening of a Gene Kelly movie.

Take their latest production of The Music Man, which opened last weekend. The story of a traveling con man-gone-good thanks to the stubborn integrity of the people in a small Iowa town is most famous for the opening scene, which features a spoken word interlude and iconic choreography imitating a bouncy train ride across the Midwest. The plot is an oversimplified romance with an easy happy ending - no surprises here. It's full of jazzy tap scenes, kitschy slang like "swell" and "gee whiz," and a clarion portrait of the quickly disappearing ethos of the lily white world that used to be identified (at least popularly) as America itself.

Photo by Rich Ryan

I say all this to help you, potential audience members, choose whether or not you'd enjoy seeing this Music Man. If you prefer experiencing well-produced shows with familiar faces, you're going to love it. CDT favorites Michael Gruber and Ann Michels are back in the lead roles of Harold Hill and Marian Paroo, respectively. Like their performance in Holiday Inn, the two share an easy chemistry and chummy rapport reminiscent of the Fred Astaire / Ginger Rogers dynamic, but with much better singing. Peggy O'Connell is delightful as Marian's mother Mrs. Paroo, with a pitch perfect Irish accent and a charming delivery that instantly won over the audience. Tony Vierling brings his signature Kelly-esque hoofing style to Marcellus Washburn, and it's fun to watch him swan through the dance scenes. John-Michael Zuerlein, Shad Olsen, Aleks Knezevich and Evan Tyler Wilson make a lovely barbershop quartet, with gorgeously harmonized voices that smoothly move the show along. Keith Rice and Michelle Barber eagerly ham it up as the bristly Mayor Shinn and his wife Eulalie Mackecknie Shinn, and it's a perfect cameo for their skill sets.

As always, the unique challenges and benefits of CDT's low-ceilinged space are maximized to the utmost by a top-notch production design team. Rich Hamson's 1910's-era costume design is detailed and danceable, pluming the actors into a perfect period setting. Most of the set is composed of floating rooftops and strategically symbolic props, constructed by a veritable army of prop masters and artisans, carpenters, painters, and other design staff, demonstrating a true team effort and the deep bench required to make such complex numbers appear effortless. Kudos to Artistic Director Michael Brindisi and Technical Director Logan Jambik, whose close attention to detail is clearly evident in every stiffly pointed toe, meticulously curled wig and puff of "dust" from a library book.

If you haven't gathered by now, this rendition of The Music Man is not a production that is going to rock the boat. There's been no modernization of this production and it remains solidly in the realm it first appeared under Meredith Wilson's vision in 1957. If you're hoping to see Harold and Marian twirling through rows of computers or Tommy and Zaneeta sneakily setting up dates through Snapchat, this ain't the one. But it will hit every peak vision of a nostalgic, sepia-toned vision of American Gothic America for the sentimental among us.

I did a lot of thinking over the weekend about my feelings on this. After all, I also just came out of a performance of My Fair Lady that totally put me off with its blatantly sexist script; why was I more comfortable at CDT? The Music Man has problematic characteristics too, and there's nothing firmly moving this production into the modern era. It's not in my top 5 or even top 10 favorite musicals.

Some of it has to do, I think, with that 8 year old that will always be inside me when I sit in CDT's close quarters. I have an inner child there that is hopelessly nostalgic and it looks like it's here to stay. A bigger part, I suspect, is that CDT has carved a specific niche for itself that I understand fully even before I attend. This is not the Guthrie or the Walker Art Center or the Jungle; CDT has a completely different business model, locally available audience, and cast willing to audition for its shows. Like most industries, theaters are enduring the challenges of rapidly evolving audience expectations juxtaposed with a tough business model; this production fully embraces what CDT knows and does best, for better or worse.

Someday I'd love to see some more diverse shows like In The Heights, The Color Purple or Dreamgirls grace this stage. I hope that day will come, and if / when it does I trust that the CDT production machine will make a dreamy, movie-worthy production for the ages that such dynamic scripts deserve. In the meantime, The Music Man was a chance for me to just enjoy a high octane musical production at face value. Like the fellows of Brigadoon, I got to float back to my past in a smashing array of tap dances, high kicks and percussive scene transitions that was as familiar as the towering chocolate cake for two, a welcome moment of sentimental rest that is all too fleeting for me these days.

Everyone approaches theater with their own context and I'm sure readers are out there who will disagree with me on either end of this review. For myself - I liked this Music Man, I know my parents will adore it, and my friends will probably never go. I'm okay with all of those choices, and I don't regret indulging for a few hours in sunny memories, warm smiles and an oversimplified plot line once in a while. It's what I needed this weekend amid the tumult of our world and I don't think I'm alone. If you like period musicals and beautiful production design, you'll want to check out The Music Man before it closes on September 5. For more information or to buy tickets, click on this link.

A Passing Feeling for My Fair Lady

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

Photo by © Joan Marcus

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

Photo by © Joan Marcus

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

Photo by © Joan Marcus

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

Photo by © Joan Marcus

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

Photo by © Joan Marcus

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

Photo by © Joan Marcus

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

Photo by © Joan Marcus

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

Photo by © Joan Marcus

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

Photo by © Joan Marcus

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

The Band's Visit Is A Quiet Masterpiece

This is the one. The one I've been waiting for. 

Photo by Matthew Murphy

I can't describe to you how incredibly excited I was to see The Band's Visit last night. I was hooked ever since seeing Katrina Lenk's magnificent performance of "Omar Sharif" at the 2018 Tony Awards (the same night she won best performance by a leading actress in a musical). I wasn't able to see a performance with the original cast in New York City, so I was thrilled to find it coming to Minneapolis as part of the Broadway tours through Hennepin Theater Trust.

Photo by Matthew Murphy

The Band's Visit is quite simple on the surface, telling the story of a small group of Egyptian musicians who get lost on their way to perform for the opening of a new Arab Cultural Center in Israel due to a mix-up of the name of the town they are to visit (they end up in Bet Hatikva, rather than Petah Tikvah). The troupe is stranded with little money and taken in by a cafe owner named Dina, who feeds them and finds homestays for them to pass the night until the next bus to Petah Tikvah will run. Dina immediately connects with the conductor Tewfiq and contemplates a romantic relationship with him as she later gives him a tour of Bet Hatikva, a dream that seems to flourish until withering as she learns his sad past. Haled, a younger member of the band, sneaks out to enjoy a night on the town and ends up counseling a shy young man named Papi in the art of flirting. Simon, an older musician, witnesses a fight and difficult relationship between the husband and wife he is staying with. His music provides a sense of peace to them as they resolve their fight. A boy waits endlessly by a payphone for his girlfriend to call. Much like the nearby sea, life ebbs and flows in Bet Hatikva until the night ends, the band boards their bus to Petah Tikvah, and Dina's life returns to the everyday cycles it always endured.

Photo by Matthew Murphy

There has been a lot of hype about this show (it did win 10 Tony Awards, after all) and I wasn't disappointed. The success of The Band's Visit begins and ends with Chilina Kennedy who is magnificent as Dina. Kennedy has a dynamic voice and sexy, lithe presence that does complete justice to this complex character. James Rana was quietly lovely as the shy and tortured Tewfiq, and his understated performance added real power to this role. Joe Joseph blessed us with a gorgeous voice as Haled, and his smooth stylings provided welcome comedic moments and some beautiful romantic ballads. The musical standout of the show for me may have been Mike Cefalo's unexpected star as the young Telephone Guy, with a haunting solo that rose admirably into chorus to close out the show with "Answer Me." I also have to shout out the crew of silent musicians who played their instruments live on stage in various formations. They were spot-on and added a rich additional layer of perspective to the staging, almost like an extra group of friends to watch with, that I thoroughly enjoyed.

Photo by Matthew Murphy

The clever set is, like the show, much more than it first appears. Seemingly a drab collection of sandy colored buildings, each structure unfolds into varying levels of depth to provide totally new settings (for example, flip open a wall and an alleyway is suddenly a roller skating club). A turntable stage cleverly allows for dynamic choreography and scene changes, quickly transitioning us through locations and plotlines. Several well-chosen projections are also included, almost creating dreamscapes as characters describe their inner desires, and I appreciated the mystical affect they offered.

Photo by Matthew Murphy

We live in a noisy world. A disjointed world. A hurting world. A world in chaos. The success of a show like The Band's Visit, an uncomfortably quiet, emotionally haunting, darkly comedic, 90 minute meditation on finding beauty through life's hardest moments in one of the most conflict-ridden areas of the earth, is hardly assured. And yet... I couldn't help thinking in the dark theater, sitting in communion with my fellow arts lovers as the stunning strings of "Omar Sharif" wafted through the air like the most precious incense and Chilina Kennedy gracefully wended like altar smoke around the moonlit stage, that maybe The Band's Visit is exactly what such a world needs.

Photo by Matthew Murphy

This is a production that defies all attempts to classify itself into dichotomies, staying firmly put in the much messier, harder but truer, world of the liminal. There is no good or bad, villain or hero, right or wrong. Actions taken with good intentions have devastating consequences, just as actions that might be classified as bad or immoral provide some of the only moments of happiness these characters experience. I found it a moving, vital salve to the extreme noise that confronts me every time I look at my newsfeeds. Sometimes the best thing we can do for ourselves is to turn off the noise, listen to the sounds around us, and silently conduct our bodies into harmony with the natural world, weeping hearts and all. The Band's Visit is a lovely, wistful balm for what ails us all these days and highly worth a visit. Click here for more information or to buy your tickets before it leaves town on December 15.

Photo by Matthew Murphy

The Norwegians is a Dark Delight

What would happen if the Coen Brothers wrote a script for the stage? 

Photo courtesy of Dark and Stormy

After seeing The Norwegians by Dark and Stormy Productions (my first ever time!) last weekend, I think it would look similar to that.

Part whodunit, part murder mystery, part dark comedy, The Norwegians tells the story of two women who try to kill their ex-boyfriends but make the mistake of hiring a gang of Minnesotan Norwegians to do it. The Norwegians like to strut and pontificate about their fearsomeness, but when it comes down to brass tacks they've got nothing on, say, the mafia (or the Italians living in Wisconsin, as it were). This gang is much more Swedish Chef than Tony Soprano, and their consistent inability to actually do something rather than talk in circles demonstrates just how befuddled they are. Several twists reveal surprising connections between the characters as the drama unfolds and by the end we are left guessing as to who will actually follow through with the assassinations. It's a little like a farcical, more romantic version of Fargo.

The best moments of The Norwegians for me were the ones poking fun at Minnesota's deeply Scandinavian roots. As a descendant of Norwegian and Swedish immigrants myself, I found many of the jokes spot on. Luverne Seifert is especially good as Tor, the ringleader of the Norwegians and a proud Scandinavian. Seifert nails the regional accent and has several witty quips. As Tor's partner Gus, Avi Aharoni hits several emotional peaks and valleys; he's especially adept at projecting crazy eyes from beneath his parka. Jane Froiland was a little baffling to me as Olive; her emotions blow like the wind, and it could be a little hard to pinpoint the character's state of mind. Regardless, Froiland clearly relishes her role and it seemed like she had a lot of fun. Sara Marsh was chilling as the jaded, jilted Betty. I fully believed she was more than capable of assassination, and I hope I don't encounter any women like Betty anytime soon.

The scenic design by Joel Sass is bare bones: a simple table, four chairs, a table cloth, a desk lamp, and a scattering of "snow" on the floor is all it includes. It really worked for me, casting strong contrast and shadows throughout the stage (along with some innovative lighting from Mary Shabatura) that gave this show a film noir patina. The costumes by A. Emily Heaney are similarly straightforward but evocative, and it's amazing what a complete world is conveyed through such a simple and limited number of objects.

This was my first time at a Dark and Stormy Productions show, and I'm sure it won't be my last. I loved the tongue-in-cheek nature and fearless parody of Minnesota culture, which is long overdue in my opinion. There are a few meandering moments in the script, but overall The Norwegians is the #tctheater live action rendition of a Coen Brothers movie that I never knew I needed. It's a good seasonal performance that is void of the treacly holiday spirit so prevalent at this time of year, meaning: if you're also a Grinch in December, skip the holiday shows and head to Northeast Minneapolis for this darker, wryer performance instead. A word to the wise: this performance space is definitely hard to find, especially on dark winter nights, so allow yourself more time than you think you need to get there so you don't get lost (like I did... multiple times). The Norwegians runs through January 5; for more information or to buy tickets, click on this link.

The Jungle's Miss Bennet is Holiday Perfection

It is a truth universally acknowledged... 

Photo by Dan Norman

That holiday season stagings need a refresh.

Don't get me wrong; I will always harbor love for How the Grinch Stole Christmas or A Christmas Carol. That said, do we need to see them *every* year? Done exactly the same way? What about trying some new stories?

Photo by Dan Norman

That's why I'm so thrilled with the new tradition gracing the Jungle Theater's stage: a rotation of holiday themed, fan-fiction sequels to Jane Austen's Pride and Prejudice. Last year I had the great pleasure of attending The Wickhams, a rip-roaringly funny play about the servants at Pemberley while the lords and ladies of the house celebrate upstairs. It was one of my favorite plays of the entire year, in fact, and I can't wait for them to bring it back.

Photo by Dan Norman

This year I got to check out the original adaption that I missed two years ago. Miss Bennet takes place a couple of years before The Wickhams, except it is upstairs in the main house and stars all the main characters of the beloved novel. Fan fiction can get dicey; it's hard to recreate the author's signature style without veering into wildly fantastic side stories or awkwardly stilted dialogues. Thankfully playwrights Lauren Gunderson and Margot Melcon do a masterful job of channeling Austen's voice into a believable, relevant new script that I think is destined to stick around for quite some time.

Photo by Dan Norman

Miss Bennet takes place over Christmas two years after the end of Pride and Prejudice. Elizabeth and Mr. Darcy are happily married and hosting the rest of the Bennet family over the holidays. First to arrive are Elizabeth's elder sister Jane, who is heavily pregnant; her husband Mr. Bingley; and their sister Mary Bennet (the titular 'Miss Bennet'). Mary is a relative afterthought in the original book, but this play gives her her full due. An overlooked middle child with a bookish, severe personality, Mary always struggled to stand out. Fate is on her side this time, however, with the arrival of Mr. Darcy's cousin Arthur de Bourgh, who is set to inherit the now-deceased Lady Catherine de Bourgh's massive estate. Arthur is similarly awkward in company and ecstatic to find a kindred spirit in Mary. Things seem to be going swimmingly until the arrival of Lydia Wickham, the younger and most troublesome of the Bennet sisters, and the surprise arrival of Lady Catherine's daughter Anne de Bourgh. There are several delightful twists in the romantic plot between Mary and Arthur so I will stop here, but suffice it to say it lives up to the original wit and romance of Pride and Prejudice.

Photo by Dan Norman

Miss Bennet has a very talented young cast, starting with Christian Bardin as a stunningly good Mary. Bardon lives and breathes this role right down to her squinty eyes and peculiar mouth tics, and she is a master class performer. She is well partnered with Reese Britts as Arthur de Borugh; his performance is so charming I would scarcely know he is a recent UMD grad. Veteran favorite Sun Mee Chomet sparkles as Elizabeth and has heartwarming chemistry with James Rodriguez as Mr. Darcy. I was very happy to see Roshni Desai again, this time as Jane Bingley; I wish the part allowed her witty comedic side to shine a little more, but I still enjoyed her performance immensely. Jesse Lavercombe has vivacious energy as Mr. Bingley and Anna Hickey is deliciously snobby as Anne de Bourgh. Andrea San Miguel is thoroughly irritating as Lydia Wickham, and the audience clearly loved her antics. And I have to call out Jennifer Ledoux and Abilene Olson as the singing servants, who provided gorgeous music for everyone to enjoy as scenes transitioned.

Photo by Dan Norman

Sarah Bahr designed both the costumes and sets, and the cohesive, period-specific presentation is lovely. Clever details like refreshing the set by continuously decorating for the holidays throughout the show, or adjusting a costume with a smart jacket or well placed scarf, keep everyone looking consistent but fresh. Marcus Dilliard's expert lighting washes the stage with warm wintry light, and Sean Healey's sound design subtly lets us hear every line. Robert Grier shares inspired wig design, particularly with Anne de Bourgh's magnificently curled piece. And John Novak chooses careful props that add just enough detail to each scene to reveal another layer to each character.

Photo by Dan Norman

While I didn't find Miss Bennet quite as uproariously funny as The Wickhams, I still enjoyed it very much. Because it stars Mary this is a quieter sister to Pride and Prejudice, and I found that it had some real gems of wisdom to offer. Many of the much-maligned characters of the original story (especially Mary and Mrs. Bennet) struggle to get their just due, and it's wonderful to see at least one of them treated well. Miss Bennet is a charming comedy and love story brimming with wisdom and a huge heart. If I had to choose only one holiday story this season, this is the one I would go with. I highly recommend you check Miss Bennet out before it closes on December 29; click here for more information or to buy tickets. And if you don't already know the plot of Pride and Prejudice and want to check it out before seeing Miss Bennet, you're in luck! Park Square Theatre is currently showing a production of the original story. Click here to read my review and learn more.

A Punny Pride and Prejudice

Jane Austen seems to be everywhere these days... 

Photo by Dan Norman

And I suppose that makes a lot of sense, right? After all, her female-driven worlds have enchanted readers for over 200 years; in the era of #metoo, doesn't it make sense to revisit the origins of girl powered literature?

Photo by Dan Norman

Thankfully for audiences this means that we get to enjoy oodles of witty adaptations and new fan fiction works on a host of different stages. Kicking it all off is Park Square Theatre with Pride and Prejudice, perhaps Austen's most famous work, as adapted by Kate Hamill. Hamill is one of the most produced playwrights in America for three years running, and this show is a perfect way to encounter her work.

Photo by Dan Norman

As much as Austen seems ubiquitous to me, it has come to my attention that there are still many people unfamiliar with her catalog. For those to whom that applies: most simply told, Pride and Prejudice is about how the Bennets, a family of five sisters, survive the process of matchmaking as wealthy eligible bachelors move to their county. Their mother is determined to marry them off in any manner she possibly can and drives towards this goal with fearsome energy; this seems silly at first, but when considered in the context of English history (and remembering that women were not allowed to own or inherit property), begins to make a bit more sense. The trouble is that the girls are all very differently tempered and their goals do not always align with their mother's. Throw in some good old-fashioned classism, pride and classic farcical misunderstandings and assumptions, and you have a perfect recipe for romantic comedy shenanigans. By the end everyone's story lines are sorted (this is a happy story) and reveal some surprisingly profound insights into human nature that are still quite relevant in our social media age.

Photo by Dan Norman

Park Square's production of Pride and Prejudice really plays up the comedy. The dynamic young cast clearly enjoys hamming it up, and the audience was rolling in the aisles for much of the show. The tone overall was a little too loud for me at some moments - for example the constant clanging of bells felt a little overwrought and overstimulating - but that said it didn't seem to bother the rest of the audience. Several actors play multiple characters, and hats off to them because the quick switches were pulled off extremely well.

Photo by Dan Norman

I really enjoyed China Brickey in the starring role as Elizabeth Bennet. She's long deserved her turn in the limelight, and this is a great part for her to shine in. Sarah Richardson is wonderful as Jane Bennet and Lady Catherine, with a warm presence that is pitch perfect as Jane and provides a comedic highlight as both in the final scenes. George Keller makes a very good Mrs. Bennet, hitting all the levels of hysteria you'd expect while still driving home Mrs. Bennet's very realistic fears. McKenna Kelly-Eiding, who I adored in Park Square's Sherlock Holmes: Baskerville a couple years ago (which is coming back - don't miss it!), is a star as the irritating Mr. Collins and devious Mr. Wickham. She clearly relishes her gender-bending roles, and I can't imagine anyone else playing those parts. Kiara Jackson is an enthusiastic Lydia, and Paul Rutledge conveys Mr. Darcy's stoicism well. Alex Galick is charming as Charlotte Lucas and Mr. Bennet, and I found his portrayals of both quite sweet. And the clear audience favorite was Neal Beckman as Mr. Bingley, Mary and Miss DeBourgh. Beckman throws his best Abbott & Costello into these roles, and I see a bright future for him in the world of physical comedy.

Photo by Dan Norman

The production design of this show was a mixed bag for me. The set, designed by Annie Katsura Rollins, is quite postmodern, opening on a completely open stage (no curtains to disguise the wings, no scrims, no major set pieces - everything is laid bare to the naked eye) with a boxing ring taped out on the floor. This allows us to watch the characters set, tear down, and dress for each scene. While initially distracting I think it did work in the end, and helped trim a few minutes off the lengthy near-three hour run time. Hats (or bonnets, I suppose) off to properties designer Josephine Everett who has assembled a dizzying array of props to support the story. I'm not sure how they keep it straight, but they do! Because so many folks are playing multiple characters, the costumes (designed by Sonya Berlovitz) are pretty simple and focus more on suggestion and ease of transition than period-level detail. I was selfishly hoping for a little more period-piece luxury in the overall production design. What is here really works - it just wasn't the lavish old school style I was yearning for. I do think this barer approach really helps modernize Pride and Prejudice and as such will bring it to the attention of new, younger audiences, and that's an admirable goal.

Photo by Dan Norman

Pride and Prejudice was one of my favorite books growing up, and Jane Austen is an eternal favorite for me overall. She manages to wrap such profound messages into a highly digestible package, and audiences of all types can enjoy and relate to her stories. Think of Pride and Prejudice as the funnier, British version of Little Women (which is also enjoying a renaissance and has been adapted for the stage by Kate Hamill). It's got a little bit of everything you want in a play - laughs, drama, intrigue, and a whole lotta heart. It's a great family-friendly show for holiday season; click here to get your tickets at Park Square before the show closes on December 22. And if you can't get enough of the Jane Austen wave, you're in luck: stay tuned for reviews of the Jungle Theater's original Pride and Prejudice-themed holiday play Miss Bennet and the Guthrie's coming adaptation of Emma.

Photo by Dan Norman