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.

Photo by Dan Norman

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?

Photo by Dan Norman

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.

Photo by Dan Norman

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.

Photo by Dan Norman

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.

Photo by Dan Norman

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.

Photo by Dan Norman

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.

Photo by Dan Norman

Rocking Out to Hedwig and the Angry Inch

Before there was Caitlyn Jenner, or Pose on FX ... 

Photo by Dan Norman

... or any number of other famous trans faces or characters; before Janet Mock was a twinkle in the eye of Hollywood's firmament, there was Hedwig.

Photo by Dan Norman

Hedwig and the Angry Inch has been making splashes on stages ever since it first premiered over 20 years ago, perhaps most famously when Taye Diggs became the first African American to perform the role on Broadway in 2015. She's now filling every ounce of Theater Latte Da's stage in Northeast Minneapolis in a taut, high octane performance that forces you to view her straight on, loud and proud, just as she always intended.

Photo by Dan Norman

Let me back up. Part memoir, part rock and roll concert, Hedwig and the Angry Inch tells the story of an accidental trans woman named Hedwig who is trying to scrounge a living as a rock and roll star, literally caught between two worlds - man and woman, Germany and the U.S., the spotlight and the shadows. Born in a world with no defined place for her, abused and with few options, Hedwig gets gender reassignment surgery in order to "marry" an American GI and flee East Germany only two years before the Berlin Wall comes down. Quickly divorced afterwards, bereft and driftless, Hedwig builds a life as a rock star and tells the entire sordid tale of her in a flashy 90 minute performance that includes her backup band The Angry Inch and a host of sideways stories that collectively paint the tapestry of trauma and resilience that define Hedwig and help her continue on.

Photo by Dan Norman

There's not a lot of presence on-stage outside of Hedwig herself, played brilliantly by Tyler Michaels King. I've seen King do a lot of different kinds of roles, but this is his most transformative yet. He easily blends between the hyper-feminine Hedwig and her masculine rock villain Tommy, almost unrecognizable at either end of the spectrum. King's lithe voice brings a classic-meets-metal tinge to the music much like a 1980s-era Linda Ronstadt (not a bad thing at all), and he absolutely dominates the performance. Jay Owen Eisenberg is an equal (if more subtle) chameleon as the other speaking role in this show, Hedwig's partner Yitzhak. Eisenberg is deceptively subtle and showcases an absolutely gorgeous voice at several points in the show, culminating in an exquisite rendition of "The Long Grift" that is a true highlight.

Photo by Dan Norman

Hedwig prances through a dizzying spectrum of costumes and wigs, designed respectively by Alice Fredrickson and Paul Bigot. Each presents a completely different image of her, and the rapid visualization helps demonstrate how confusing - or liberating - such a wealth of options could be to someone who doesn't have a defined place in society. Abbee Warmboe's mountain of props are masterfully tied into Michael Hoover's scenic design, keeping the transitions lighting fast and providing a place for everything. Mary Shabatura's lighting design is intentionally heavy handed - a little too much so for my taste, but certainly effective - and Alex Ritter's sound design prioritizes the distortion and tense tones that define rock and roll and keep the audience on edge as well.

Photo by Dan Norman

I'd never seen Hedwig and the Angry Inch before, and there was so much more packed into this show than I expected. I'm still chewing on it days after seeing it, and I suspect I'll continue to find new themes and threads the longer it sits with me. It's an aggressive, punchy musical that is so different from the softer stories of trans lives and experiences we tend to see in pop culture these days (call it the Janet Mock effect?). I think there's a place for both of them; what's undoubtedly true is that many people feel seen because of Hedwig, and this play opened a door that needed to be for many LGBTQIA+ friends among us. I want to call out Theater Latte Da's beautifully designed program here, which includes interviews, a glossary of terms, and a bunch of other important information that helps provide context around LGBTQIA+ issues and the history of this show.

Photo by Dan Norman

One question that lingers with me is the identity of the actor playing Hedwig herself, and it's one I don't have answers to. When King was announced in the titular role months ago I heard many grumblings in the #tctheater community that it should have gone to a person who publicly identifies as trans instead. Ideologically I support the sentiment; but I have to say in practice and after seeing the show, I have more questions than answers. Should all actors auditioning for roles like this be required to list their sexuality and gender on their applications? How does that affect a right to privacy? What if there are many other trans or queer actors on-stage, but just not in that titular role (as is the case here)? Who gets to be the gatekeeper of who is "acceptable" to play certain parts? Is this a standard that could backfire when applied in reverse? How do we prioritize marginalized voices in casting productions like this without erasing them? What if King really is the best choice for this role for this company - can we say that?

Photo by Dan Norman

It's an interesting conversation, and I think the fact that we're having it shows a lot of positive progress. This show is really well produced (as is Theater Latte Da's standard), and I am inclined to think that fans of Hedwig and the Angry Inch will leave the theater happy with the show they've seen. As far as those deeper questions go, I don't think I'm qualified to weigh in on them; but I am very interested to hear the answers the LGBTQIA+ community presents. If you want to see Hedwig and the Angry Inch, make sure to click here to learn more and get your tickets before it closes on May 5.

Photo by Dan Norman

A Little Night Music Gives Us a Saucy Sondheim

This saucy show has plenty of punch for Sondheim fans. 

Photo by Dan Norman

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.

Photo by Dan Norman

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.

Photo by Dan Norman

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.

Photo by Dan Norman

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.

Photo by Dan Norman

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.

Photo by Dan Norman

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.

Photo by Dan Norman

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.

Photo by Dan Norman

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

Falling slowly sing your melody

I'll sing along

Photo by Dan Norman

Meditation. Wellness. Intention. Thoughtfulness.

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

Photo by Dan Norman

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

Photo by Dan Norman

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

Photo by Dan Norman

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

Photo by Dan Norman

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

Photo by Dan Norman

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

Sally Wingert Shines in Underneath the Lintel

Some people are just made for certain parts. 

Photo by Dan Norman

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.

Photo by Dan Norman

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.

Photo by Dan Norman

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.

Photo by Dan Norman

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.

Photo by Dan Norman

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.

Five Points is Utterly Fantastic

What Unites Us? 

Photo by Dan Norman

I'm a huge Dan Rather fan (if you're not following his news updates on his Facebook page you are seriously missing out - check it out at once!), and one of the common themes in his posts is finding ways to cross the yawning divide in American life these days.

Photo by Dan Norman

It's a noble goal, and I get great joy of seeing even the small ways Rather finds to bring a commonality to our lived experiences. Simple things like baseball games, finding hope in our youthful generations, and celebrating beauty in nature and science find a way to uplift in even the darkest moments.

Photo by Dan Norman

This theme of finding common ground or experiences between seemingly impossible differences is at the heart of the delicious world premiere musical Five Points at Theatre Latte Da, which I was privileged to see last night. Five Points takes two seemingly separate stories and diffuses them together in the way only the crucible of the American melting pot can. It's 1863 in New York City and the Civil War is in full swing. Willie Lane is a talented dancer who is shunted to the corner of society due to his black skin. John Diamond is a grieving Irish immigrant who can't stop mourning his wife Brigid enough to truly care for his young son Junior. They could all have suffered in silos, but then fate strikes: P.T. Barnum asks Willie to join his show, and John is drafted to fight for the Union. Both are required to make difficult choices of leaving their family and making money over their pride; the narrative is much more complex than this but I don't want to give too much away. Ultimately both men are forced by Barnum to compete in a dance off for a financial prize that will save either man from a desperate fate; the genius of the show is that you want them both to win and know they cannot. Hard choices are made, and the end of Five Points leaves us with a broken heart but a hopeful wish for the future.

Photo by Dan Norman

The constellation of the Five Points cast is studded with low-key local legends, and one of the best parts of the script is that each character gets at least one solo and time to truly shine (a wise choice with this talented crew). Dieter Bierbrauer, Thomasina Petrus, Shinah Brashears, Evan Tyler Wilson, Ivory Doublette and Lamar Jefferson all shine in their lead roles - more so than I have time to detail here. But let me be honest about the breakout star in my eyes: holy shit, Ben Bakken. As John Diamond, Bakken absolutely explodes off the stage with a kinetic emotive power that instantly sears the soul. Reading his bio I'm sure I've seen him before but I can't place it and it doesn't matter. Bakken is unbelievably good in this role, and his touching performance will have you at the edge of your seat the whole time. Another standout is Ann Michels, who I've seen in several shows but is perfect - literally perfect - here in Five Points. This role suits every one of her many talents, and the chorus she leads to close the show had most of us tearing up. John Jamison was an understated star as Willie's friend Cornelius; I enjoy him so much every time I see him, so can we please get him a nice showy starring role soon? And T. Mychael Rambo whips out a soul stopping solo as Willie's father Pete that was similarly searing, the best I've ever heard his gorgeous bass voice sound.

Photo by Dan Norman

The production value nails the seedy nineteenth century tenement vibe. Joel Sass's scenic design works perfectly with Mary Shabatura's lighting to instantly set the mood of the play, be it dark and violent or sunny and winsome. The period perfect costumes from Trevor Bowen allow the characters to really shine through the fine acting, and the seamless stage management from Tiffany Orr makes each act seem to instantly flash by. The visionary creative team is what really nailed the production though - music director Denise Prosek, choreographer Kelli Foster Warder, lyric and music composer Douglas Lyons, music and orchestrations from Ethan Pakchar, the book by Harrison David Rivers and ultimately the directorial vision of Peter Rothstein makes executing this highly collaborative effort seem seamlessy easy, a true feat and high bar for future productions to clear (especially for new work - this reads like a timeworn Broadway musical, not a first-time show). The true excellence of Five Points is one more testament to why we need to keep creating more original, inclusive work. There are so many stories that haven't yet been told - why not bring them to light instead of rehashing the same tired problematic shows over and over again?

Photo by Dan Norman

One of my favorite elements of Five Points is how beautifully it weaves fraught narratives together without either equating them or overdramatizing. The curse of Whiteness, especially in the insidious form of American Racism it takes, is that it doesn't simply stop at a hierarchy of color. There is no doubt that historically Irish people were treated abominably in the United States, particularly in the fraught time period around the Civil War. It's just as true that no Irish immigrant ever faced the kind of systemic horror that African Americans in chattel slavery did, and often the blame for all of the fault lines between European immigrants was placed squarely (and unfairly) on the shoulders of former slaves who were simply trying to survive. (For some movies that terrifically address some of these issues, make sure to see Gangs of New York and Glory - both somewhat forgotten but really spectacular). Both of these narratives can be simultaneously true, and Five Points holds that cognitive dissonance with nuance and finesse, allowing us to experience the heartache on each side without excusing the pain they inflicted on each other in their grief.

Photo by Dan Norman

The cultural contrast here, particularly between the Irish step dancing and African American tap dance, is also totally fascinating. I actually think we could have used a little bit more dancing - these are extremely talented hoofers and I had the sense they were actually holding back a bit - and the blackout scene in Act II depicting the dance off is easily one of the finest moments of a very fine show. The musical styles also weave together so well, with jazz and folk songs beautifully meshing to a totally new art form. It's like Once meets Shuffle Along, and it's an inspired combination.

Photo by Dan Norman

All of this to say: Five Points is lush, passionate, powerful and so worth seeing. It's a terrifically talented cast telling a new story with beautiful music - what's not to love? The entire audience was gasping along with the action on stage, and I imagine you will too if you get a chance to go. Five Points runs through May 6 at the Ritz Theater; for more information or to buy tickets, click on this link.  And even if you don't go to the show, click through to the website to listen to some of these beautiful songs - it's so worth it.

Photo by Dan Norman

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? 

Photo by Dan Norman

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.

Photo by Dan Norman

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.

Photo by Dan Norman

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.

Photo by Dan Norman

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.

Photo by Dan Norman

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.

Photo by Dan Norman

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.

Photo by Dan Norman

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."