Tyler Michaels is perfectly cast as the infamous imp Peter Pan
Photo courtesy of Dan Norman
It's no secret that I'm a Tyler Michaels fan, but I promise, there's a reason: he's just so darn good.
Especially when it comes to musical theater. It's very difficult to find people who are equally great actors, singers, and dancers; Tyler is not only all of those things, but an accomplished acrobat as well.
Which is why, when I heard he had been cast in the new Peter Rothstein production of Peter Pan at the Children's Theater, I rushed to attend. I wasn't disappointed.
Photo courtesy of Dan Norman
This was my first time at the Children's Theater, and I can now confirm: the hype is true. This was a beautifully produced show with astonishing attention to detail. The sets were gorgeous and perfect for kids, a winsome mix of Dr. Seuss and Eric Carl come to life. Costumes were equally appropriate, hitting the fine line between silly cartoonish and way-too-much.
Peter Pan is not stingy with effects. There is a little of everything to be found here: sword fighting, dancing, STOMP, fairy dust, acrobatic tricks, and most spectacularly, flying. Michaels literally glides through the air, pirouetting with a grace that is rarely seen in a harness. His astonishing acrobatic talents totally sell the Peter Pan effect, despite the fact that you can see ropes and other props helping him out.
Photo courtesy of Dan Norman
The ensemble cast was also terrific, Michaels aside. In particular, Reed Sigmund (as a blustery Mister Darling and a simpering, devious Captain Hook) and Alanna Saunders (as silver voiced Wendy - honestly, she's a gorgeous singer) were standouts. The lost boys and other child performers were great too, and clearly well rehearsed; they flipped around on-stage with the precision only a Rothstein rehearsal can imbue. Performances are always more fun when the actors themselves are having a good time, and it's clear that this cast is having a blast.
Photo courtesy of Dan Norman
It's a testament to the quality of the show that of the innumerable children in the audience, not one made a peep throughout the performance. There was no crying, no talking - not even fidgeting. Each kid was completely entranced with the vision of Peter Pan, and it was super fun to witness.
The classic TV show comes to the New Century Theater
2015 seems to be the year of television-as-stage-art. First there was I Love Lucy; one could argue that variety shows such as Motown are riffs on the ever popular singing reality shows such as The Voice or American Idol; and now we have Happy Days.
This production is a mash-up of multiple episodes of the popular show; fans will recognize several main themes. The combination translates surprisingly well, with very little feel of skipping over important points or missed plot elements.
Photo courtesy of Hennepin Theater Trust
This is a very young cast, many of whom have performed in this year's past productions at the New Century Theater. Comebacks include Kameron Nelson, Gregory Adam, Jill Iverson, and Andrew Newman. Newcomers play the leads, including Eric Heimsoth as Richie and Kory Pullam as Chachi; both are musical standouts and absolutely carry the show.
Photo courtesy of Hennepin Theater Trust.
Audience favorites, of course, included Quin Shadko as a feisty Pinky and John Zeiler as the infamous Fonzie. Both are a little pitchy in their parts, but they portray them with gusto and an enthusiasm that totally sells it. Their energy is infectious, and it drew the audience in.
Sets and costuming leave a little to be desired, although some of that is the double edged sword of the space; audiences are so close to the stage at New Century that it's easy to notice minute flaws that would be impossible to detect in a larger theater. Be aware of this if you attend.
Bizet's masterpiece gets a modernized setting at the Minnesota Opera
Many may disagree with this, but I think opera is the most international of all art forms. Nowhere else will you find a story about Spain, told in French, that is then subtitled in English for a live audience. There are all sorts of artistic and athletic cross pollination that can be found in our post-internet 'flattened' world, but opera remains one of the few art forms that people flock to view in its original language and context, and that was intended to be multilingual and cultural from the outset.
Carmen being arrested; Photo courtesy of the MN Opera
The Minnesota opera has modernized the setting for this Carmen, from its original fin de siecle oeuvre to a bullfight in the age immediately after fearsome dictator Francisco Franco's death. The setting works, in particular the gorgeous light work with ominous and sinuous shadowing; it takes a while to notice, but once you do it's mesmerizing.
Carmen smoking in her mountain hideout; Photo courtesy of the MN Opera
As one of the most famous operas, I won't bother retelling the doomed love story; you can find all you need to know in the photo montage throughout this article. It was interesting, however, to think about how much the way we define things changes our perception of it. For example, operas like Carmen are most often viewed as tragedies, in which a woman 'loses her morality' and pays the price for it. I believe we can just as easily name Carmen a feminist triumph, in which a woman defies authority and social mores to live the life best for her, and eventually becomes the victim of unflinching societal standards. It's an interesting thought, and a question that I foresee growing as audiences and casts become more diverse and settings become increasingly modernized.
Carmen and her toreador; Photo courtesy of the MN Opera
Nora Sourouzian is lovely as Carmen, with a deceptively sinuous voice that pulls you through the show, particularly through the infamous Habanera that has been covered by everyone from ad execs to Stromae. Her cast mates keep up, especially her lovers Morales (Gerard Michael D’Emilio) and toreador Escamillo (Kyle Ketelsen). Standout voice of the production goes to the gorgeous tones of Marita K. Sølberg, who plays jilted lover Micaela.
Morales pleads for Carmen to return to him; Photo courtesy of the MN Opera
The ensemble cast is a little looser, particularly the children. I found myself wishing for a little more of the precision of an Osmo Vanska or Peter Rothstein here; the production is good, but could reach great with just a little more crispness in execution. It's also extremely long; there are three intermissions, so be prepared for an all-night experience. Still, this is Bizet, and it's impossible not to like this most gorgeous, gorgeous of operas. Habanera is just as well known as the Torreador bit, or any of the orchestration throughout the piece (if you'd like a closer explanation of why Carmen is such a masterpiece, check out this excellent video from the Minnestoa Opera).
Morales kills Carmen; Photo courtesy of the MN Opera
'Little Girls' shine in this wonderful production of Annie
It's always great to see old musical favorites get a spit-shine. The lovely new production of Annie at the Orpheum does just that.
This is a magical cast, beginning with the headliner. Issie Swickle is capital A Awesome as Annie, with a crystal clear voice and near perfect pitch that will break your heart. She's exceptional on every song; it's hard to pick a favorite, but if you twisted my arm I'd give it to "Maybe" and "I Don't Need Anything But You."
Her castmates are equally fabulous; this is a super, super strong group of little girls. Each of them has fully individualized her character, and their youthful but strong voices put a spring in the show's step.
The grownups are great too. Gilgamesh Taggett is gruffly winning as Oliver Warbucks, and Lynn Andrews puts all thoughts of Carol Burnett out of your mind as she swills her way through Miss Hannigan. Even supporting members such as Garret Deagon (Rooster Hannigan) and Ashley Edler (Grace Farrell) are terrific.
The pit is very tight as it carries each performer through the show, and the sets and pacing are well edited to keep the plot moving. It's worth noting that this production is slightly different from both the original movie and the new one; expect to see some small differences in the plot and songs.
It's always nice when a show surprises you, and this Annie did. I've seen several versions of the show and it had become somewhat careworn for me, but this beautifully executed production and spunky cast lent a whole new shimmer - in fact, it may be my favorite show so far this season. If you have a chance, make sure you see it. For more information about Annie and other coming shows, click on this link.
It's a jolly holiday at the Chanhassen Dinner Theater
Photo courtesy of Chanhassen Dinner Theaters
Is there a more beloved actress than Julie Andrews?
Over the years, Andrews has been responsible for a plethora of iconic roles - who can forget fresh as the driven snow Maria von Trapp? Or the two faced Victor/Victoria? Or the Queen of Genovia?
But perhaps no role has been more defined by Andrews than that of Mary Poppins, which has yet to be re-imagined or even become one of Hollywood's ubiquitous film re-makes; it's that good.
So it's hard, then, for other actresses to be their own 'Mary's on stage, without constantly being compared to Dame Andrews herself. Thankfully for Chanhassen Dinner Theaters (CDT), it becomes quickly apparent that this won't be their problem in their new staging of Mary Poppins. Ann Michels is delightful in the title role, and has a magnificent voice (and the rosy cheeked spunk) that brings this iconic character to technicolored life.
Photo courtesy of Chanhassen Dinner Theater
The rest of the cast is fun to watch as well. While this show doesn't have quite the ensemble heft of recent productions such as The Little Mermaid, it still brings the quintessential CDT joie de vivre, with innovative staging (company members as living statues, a movable bag from which Mary removes her furniture) and enthusiastic song. Standout pieces include a gorgeous rendition of "Feed the Birds" and a new-to-me piece called "Brimstone and Treacle," in which Mary faces off with Mr. Banks' evil nanny Miss Andrew.
Many CDT favorites are back for this production: Mark King brings his dancing shoes with him as the loveable Burt; Keith Rice lends his typical guff to Mr. Banks; Janet Trow is appropriately simpering as Winifred Banks; and Michelle Barber stands out as the Bird Woman on the street.
Photo courtesy of Chanhassen Dinner Theater
Unfortunately, CDT simply doesn't have the facility to recreate some of the spectacular tricks in the Broadway production (which is a shame, because they have the talent to pull them off); that doesn't mean, however, that they haven't made up for it. There is a lot of magic to be found in this staging as long as you don't approach it with the hopes that it will be a carbon copy of other productions. As always, this Mary bears the classic CDT stamp of innovation and bonhomie, and it works.
Be the guest of Hennepin Theater Trust at their latest off Broadway offering
Photo Courtesy of Hennepin Theater Trust
It's amazing how the older one gets, the more one realizes how little they know.
Take Disney for instance. Like most children in the United States, I grew up watching their cartoons, particularly the princesses. Cinderella, Belle, Jasmine, Pocahontas and Ariel were each a vibrant part of my childhood.
As I got older I felt detached from Disney and stopped watching most animated films altogether. It began to feel too simplistic and easy, and I stayed away for years... until I saw Beauty and the Beast on stage this week.
All of a sudden, there's new life to be found in this story I grew up with. The execution of this production is a bit careworn; it's pared down from its Broadway extravaganza self, and the actors seem a bit more battle hardened than usual. But the props still sparkle, the songs still please, and the effects still awe. This ain't Broadway, but it's still a hell of a lot of fun.
Photo Courtesy of Hennepin Theater Trust
Standouts as always include "Be Our Guest" and a particularly feisty Gaston, played by Cameron Bond. Bond truly puts the Elvis into his character, and it's a hoot to watch. Belle (Jillian Butterfield) and Mrs. Pots (Emily Jewell) also have great voices that display familiarity with their cartoon doppelgangers. Surprisingly, the best song (vocally) of the entire show is the relatively new addition "Human Again," on which the ensemble cast sounds terrific. "Human Again" anchors a super fun second act; keep an eye out for it.
I am going to safely assume all readers have been exposed to this story, so I won't repeat the plot.
Photo Courtesy of Hennepin Theater Trust
And I'm not going to become a Disney apologist either; there are some very real criticisms that have been made of Disney stories (particularly in regards to racial and sexual orientation portrayals) that are incredibly important to keep alive in the cultural firmament in order to keep propelling their future storytelling forward.
I will add, however, that we shouldn't throw the baby out with the bathwater. There are plenty of political incorrections one can find in a story like Belle's, but there are good things I learned as a child, too. I learned to love to read, and that being a smart girl was a positive thing. I learned that it's important not to judge people by their appearances but instead by the way they treat others. I learned that it's important to be a good host, a gracious guest, and to give love and assistance to those who need it most.
Those things are still important, and I hope that kids in the future can still learn lessons like that from the stories I once loved. There's still magic to be found in the Beauty and the Beast, and it's worth a visit. For more information and ticket pricing, please click on this link.
There are certain cultural events that one can't help but remember; Toy Story, Harry Potter (the movies or the books), Michael Jordan playing for the Bulls...
One of mine is the release of Men Are From Mars, Women Are From Venus (MAFMWAFV) ((good lord could there be a longer acronym?!)) in the 1990's.
I've never read it, but even as a little kid I remember hearing it being discussed. It was EVERYWHERE. News, Oprah, coffee club chats - you name it, someone had an opinion about it.
This stayed somewhere in a dusty file at the back of my mind until the appearance of a comedic, partially animated one-man show of the same name appeared at the Pantages last weekend. I knew I had to see it, if only to know what the heck all the grownups had been talking about years ago.
It turns out that there was something to all the hype. As told by Peter Storey, MAFMWAFV is valuable because it gets quarreling couples to think outside of their own perspective. And despite the narrative's heavily heterosexual/pro-marriage preferences,** the point is something we all should remember: you yourself are never the center of anything.
There are always multitudes of perspectives, and problems, and blessings to consider in any relationship, and a number of ways of expressing oneself in regards to them. Happiness is achievable in any relationship as long as both parties approach it as a work in progress, keep lines of communication open, and from time to time can truly lay down their swords to hear and respect what the other partner needs.
Storey presented his information with a wink, and it was a gratifying way to spend a Saturday evening. I would love to see this come around again and for a longer time, but be expanded to reflect more relationship and gender-ed perspectives. Underneath the stereotypes, there is a lot of truth to be found here, and it deserves to be shared.
**Not that there's anything wrong with either of those things - just that more perspectives need to be validated and included, such as homosexual relationships or transgendered partners or expanding the definition of what a 'man' or a 'woman' is.
