A Voluptuous "Valentino"

What happens when an entire industry is waylaid by the advent of technology?

In a way, American society is experiencing this phenomenon today. Outsourcing has eliminated hands-on, uneducated work; offices are emptied due to overseas call centers; machines are able to perform the essential tasks of a blue-collar employee. 

While Valentino, the new feature at the Minnesota Opera, isn't quite about societal advancement or displacement (a la Singing in the Rain or The Artist), it very much showcases what happens when a human commodity of any sort (be it an actor, secretary, CEO, or mechanic) becomes unwieldy and ultimately replaceable. 

Based on the life of the silent film superstar Rudolph Valentino, the opera Valentino chronicles an immigrant's rise to and epic fall from the entertainment firmament. Valentino's blessing at the start of his career (a firm belief in his talent and value) becomes his downfall (a pride unable to be overruled despite good reason). As a beautiful, untarnished young man, Rudolph is a highly desirable property in the emerging visual juggernaut of Hollywood. When several moguls and savvy players seize upon this potential, Rudolph's internal character (and thus his career) are destroyed by the mechanics of fame.

In many ways, Valentino is a new venture for the Minnesota Opera. The most obvious reason is that it is naturally set in a far more modern era than those in which most opera is portrayed; as such, the set is much harsher, more electric, and cold than the lush backdrops of, say, the 18th century royals might be. In this, as always, the Minnesota Opera succeeds; the set perfectly backdrops the narrative, and for any opera goer it is an exciting departure from the usual trappings. 

Musically, it's also a departure - but not a favorable one, in my opinion. The orchestra and vocalists both provide lovely performances, but rarely seem to agree in their efforts. I'm not sure if it's a musical attempt to echo the times and/or Joyce (aka an intentionally dissonant and abrasive tone), or simply a difficulty with the range of the original cast, but Valentino struggles with cohesion.

That's not to say that it's bad, though - there are still lovely moments, particularly between James Valenti (Valentino, *appropriately*) and Brenda Harris (as June Harris, and who, notably, last had a SPECTACULAR turn as Queen Elizabeth in Mary Stuart).  Their duets are the star of the story, and it's a pleasure to watch them interact. 

The Minnesota Opera has a fabulous cast, fabulous set and costume designers (in my opinion, some of the best in the Twin Cities, in fact), and this is an engaging narrative. Is it what you would expect from an opera, particularly musically? Not at all. But it is still enormously engaging, and very worth a trip. Check out the details and the rest of the season here by clicking on this link.

A Magical "Mamma Mia"

Sometimes, a musical isn't about the music at all. 

 

There. I said it. 

This might be musical theater heresy, but I had to admit it: sometimes shows that are not vocally strong are just as or more enjoyable than shows featuring players with a bright set of pipes. 

The recent return of Mamma Mia to the Orpheum Theater (and Hennepin Theater Trust's latest Broadway season) is just such a show. I can think of scads of performances I've seen with better vocalists. But were they as much fun as this one? Unlikely. 

For those who don't know, Mamma Mia is the musical designed to stitch a narrative into Abba songs, resulting in a hippy-fied storyline of a fatherless daughter, an independent and lonely mother, three past suitors (and possible fathers), and six best friends of varying character and age converging upon an idyllic Greek island to put on a true white wedding. 

Sophie (the fatherless daughter, played this time by Chelsea Williams) is the definition of a young rebellious persona. Raised by her mother and with no clue to her paternal parentage, Sophie reads her mother's diary and invites every candidate she believes might be her father to attend her wedding, hoping it will result in a sudden epiphany about her life. As you might imagine, shenanigans ensue.

Williams feels a bit old for the role of Sophie, although after she warms up (it takes a little while) she anchors the show vocally. When paired with Chris Stevens (Skye, Sophie's fiance), they present a mildly frat-life couple; odd considering Mamma Mia's flower love mentality, but still appropriately in sync with each other. 

As Donna, Sophie's freewheeling mother, Georgia Haege is a lot of fun. Like much of the cast, her voice seems a bit untraditional for a nationally touring musical; but she still provides musical highlights (such as a gorgeous rendition of "Slipping Through My Fingers") and, more importantly, creates a fairly realistic/believable portrayal of Donna. 

This is important: when so much of musical theater lies in the fantastic and imaginative (and nothing's wrong with that; everyone wants to take a turn down the yellow brick road or see singing teapots at some point), it's pretty rare to find a show (and more importantly a cast) who feel like they're not only having fun, but portraying real, live, people. This Mamma Mia always retains that feel; the audience seems to have stepped straight into a real family, with real heartbreak, and real joy, and it gives this Mamma Mia a well-loved patina that is enjoyable no matter how many times you've seen it. 

Ironcially perhaps, the cast's standouts are in fact Dona's past suitors, as witnessed immediately upon their appearance in "Mamma Mia!". As Donna's long lost love Sam, Don Winsor somehow hits the perfect aesthetic median between Pierce Brosnan and Steve Carell and showcases way better pipes on either side. Donna's other suitors, Harry (Mark Harmon) and Bill (Michael Colavolpe) are equally fun to listen to. 

Donna's best friends Tanya (a magnificently blunt Gabrielle Mirabella) and Rosie (powerhouse Carly

Sakolove) provide fabulously funny segues between scenes. Mirabella's vocals aren't standouts, but she is deliciously raunchy and absolutely hilarious; she had the audience cavorting out of their seats. Sakolove provides the hands-down best female voice of the show, and her terrific rendition of "Take A Chance on Me" is one of Mamma Mia's best. 

Musically, other standouts include "Gimme! Gimme! Gimme!" (far and away the most Abba-like of the show), "One of Us," and the closing notes of "I Have a Dream."

Set and costume-wise, there's not much to add to what's been said about previous shows; it hasn't changed much. Costumes in particular are still a riot, and first time attendees will love the fab encore ensembles. 

Mamma Mia has always been a heart-warmer, and this rendition is no exception. Check it out and find further information about the Hennepin Theater Trust's wonderful season by clicking on this link.

Reviewed in Brief: "Shakespeare's Will"

Sometimes, all it takes is a first impression. 

Photo courtesy of the Jungle Theater.

Shakespeare's Will is gorgeous from the start, with a starkly different set than one often sees at the Jungle. Spare, sparse, and periodically accurate, it provides a perfectly inconspicuous backdrop to direct the audience's full attention toward Cathleen Fuller, whose engaging personification of the independent medieval woman's life struggle directs the entire show. 

Maybe I should back up: Shakespeare's Will isn't actually about Shakespeare at all. Instead, it is grounded and narrated entirely by his wife Anne Hathaway (Fuller), who (as is widely accepted) Shakespeare left abandoned in their hometown of Stratford in order to seek fame and fortune in London. In the show, Shakespeare has died not long ago and left a will, which Hathaway refuses to read, instead telling the complicated story of their life together.

Fuller is fully up to the task of embodying an independent, strong portrayal of Hathaway, luring the audience into her scintillating Stratford life with darkly comic and suggestive asides. According to this Hathaway, neither Shakespeare was an innocent, neither happy, but both lead the fullest, most independent lives they could afford at the time - and the life Fuller breathes into it is a strong demonstration of her acting prowess.

Hathaway's strength makes her utterly likeable, and the subsequent disappointing revelation we find at the end, inside Shakespeare's will, is infuriating. At a clippy 90 minutes or so, the show is well worth a quick side trip and is another fascinating guesstimation of the life of one of the most storied men - and more importantly, his wife - in history. More information about the show and the Jungle's season can be found by clicking this link.

"Evita" Blows Sunshine Through the Polar Vortex

If your days were numbered, how would you choose to live?

Just such a question faced Evita Peron, "Spiritual Leader" of Argentina and a notorious public face of the 1940's. While she never lacked ambition, her numbered days certainly gave her extra drive. 

Evita is essentially a musical biopic, following the life of one of the most legendary political figures of early post-colonial Argentina. Evita (Eva) Peron was born into the working class, and through strategic connections and a knack for the radio climbed her way to the upper echelon of Argentinian society. Her political ambition knew no bounds and was only restricted by terminal cancer, of which she died at age 33. 

Of course, Evita cannot be separated from politics, and the darker elements of post-colonial South America underpin the entire show. It helps to enhance how Evita's young, bright facade could make an entire country turn a blind eye so quickly. 

It's a sexy story and great fodder for a stage musical (and movies starring Madonna, and...). Argentina itself is almost a character in Evita, and every moment hums with the conviction that things are done differently there. 

It takes a while for Caroline Bowman to warm up to her role as Evita, but when she does, watch out. Bowman sines on solos "You Must Love Me" and the post-mortem "Lament," which is her best moment of the show. She's also well matched with Sean MacLaughlin (Peron), and their duets (including "I'd Be Surprisingly Good for You") are lovely. 

Josh Young is a mixed bag as narrator Che. Young has a wonderful voice, which stands out in "Peron's Latest Flame" (among others); but at times his voice appears almost TOO powerful, battling with the rest of the company. 

The show's biggest surprise, however, is a spectacular turn by Krystina Alabado as the nameless Mistress. In just one song ("Another Suitcase in Another Hall"), she manages to inject all of the clarity and feeling that the rest of the first act lacks. It's a stunner; make sure to look out for it.

Dancing is a particular highlight of Evita, compiling the best of Argentina's rich history of tangoes into one sensuous, sexy whole. "Buenos Aires" marks a definite dance showstopper.

Act II definitely surpasses the first act, with a wonderful solo by Che on "And the Money Kept Rolling In" and a nice turn by Peron on "She is a Diamond." Part of the first act's slowness is inevitable due to perplexingly muddy sound mixing, which makes it nearly impossible to decipher the lyrics and dialogue. It's frustrating, especially for those previously unfamiliar with Evita's story; here's hoping that it gets ironed out at the next tour stop.

In our mire of snow and cold, it's nice to escape for a while to sunnier climes, however fleeting or tempestuous they may be. Evita provides just such an escape, and a welcome one.

"Out There" with Clement Layes

Never ask "why?" at the Walker. 

Photo Credit: The Walker

As an avid devotee of their "Out There" series, I have learned that it is best to lay all pre-conceived notions of the structure or content of a show at the door, instead leaving my mind open as a blank slate to whatever it is I'm about to see. 

And it's a good thing I did when watching Clement Layes in his one man show Public in Private. With 35 of the 45 minute show performed in total silence as Layes inexplicably paced the stage with a water glass on his head, continually dumping water into and out of buckets, bottles, and jars, wiping a chalkbboard, soaking up puddles, and rearranging a table nad a samll plastic tree, there was little else to go upon. 

Essentially a living infographic, Public in Private can be virtually summed up in Layes' brief monologue at the end of the show, which finished with these words:

"I work, I sleep, I dance, I'm dead."

Public In Private is really a series of symbolic, metaphorical equations which use time, attention, mechanics, technology, and life - among other things - to explain virtually any natural phenomena or experience. It would help the audience immensely to have an infographic or pictorial definition of the meaning of each prop, but as it stands, is still a totally new way to convey a political message, merging spoken word, lighting, sound, movement and novelty into an engaging sequence. 

A delightful experiment in terms of theatrical possibility, "Out There" is required viewing for avid theater goers, introducing them to new and endless ways live theater can be portrayed and stories can be told. "Out There" is currently performing its final show; for more information, click on this link.

Run to see "Cabaret"

Peter Rothstein's magnificent adaptation of the classic musical is a must-see show. 

Credit: Hennepin Theater Trust

How would you behave if the world was ending? 

The question may seem silly or extreme, but it was a real one facing Germans as they neared the end of the Depression, the rise of Hitler, and headed towards another (but unthinkable) world war. Their answer was often to live brashly and vivaciously, as told magnificently through art, theater, and film. 

Sandwiched between two world wars, Weimar Germany is often forgotten in history lessons that focus on the American experience of the great Depression - which is a pity, considering how rich and utterly unique a subject it is. Thankfully, the world of music theater remembers.

Cabaret is a complex, fascinating snapshot of life in Berlin in late Weimar Germany, where sex and politics were boiling in every crevice of the city. Led by a clownish Emcee, the audience creeps through Berlin's seedy underbelly as we follow Clifford Bradshaw (Sean Dooley), an aspiring American author who lands at the Kitty Kat Club in the middle of this turbulent environment. Cliff engages in a doomed relationship with nightclub performer Sally Bowles and unhappily witnesses the rise of Nazism before returning to America. It's a sad story, although true (at least in its larger political details), and an enlightening exploration of human nature.

Credit: Hennepin Theater Trust

Tyler Daniels (last seen stealing the show as Fyedka in Fiddler on the Roof at Chanhassen) is dynamite as the Emcee, finally starring in a role that can display his incredible talent (as a notable aside: you can understand every. single. word. that he sings). As usual, Daniels' voice is gorgeous, lubing up the audience to allow the final harsh realities of the show to make a softer landing. He's particularly good in the show's best number "I Don't Care Much," in which he slithers through the song while performing acrobatics on a swing flying above the tense and violent action on stage below him. Daniels takes his time through every scene, making the high paced action feel as if it's just another stroll in the park. He makes it look easy, and every moment is sinfully delicious. 

The rest of the cast are no schlumps, either. Kira Lace Hawkins lends a Chicago-an Catherine Zeta

Credit: Hennepin Theater Trust

Jones flavor to Sally Bowles, with a riotous voice and saucy British humor. She's delightful and a perfect fit. Veteran Sally Wingert is excellent as Fraulein Schneider, and although her singing never quite catches up to the rest of the cast, she is the solid moral ground that the show stands on. James Michael Detmar is heartrendingly winning as Herr Schultz and a wonderfully hopeful foil to Wingert's realistic pessimism.

Rothstein's direction is precise yet expansive, with the show clipping along at a little over two hours (not including intermission) yet never feeling hurried. In fact, that is probably one of the most remarkable elements of this Cabaret; with the enormous range in musical numbers, costume changes, plot twists, and so on, it never once feels rushed, instead letting the audience luxuriate in the complex incongruity that the world of Weimar cabaret requires.

The set is lovely, equal parts Moulin Rouge and Chicago, and it's used acrobatically to great effect. It helps that this production is in the Pantages, a spectacularly gorgeous theater that was used for vaudeville and closed in 1930 as the world of cinema swept the country (don't worry; it was beautifully renovated in 2002 and is worth the trip alone). Costumes are changed constantly and are about as suggestive as it gets (if you're not a fan of unconcealed ass or the bra-less, this is not for you), lending a necessary flash of color to the otherwise muted set. Mention must also be made of the superb lighting, which made the stage appear water-colored at all times.

Since seeing is believing, I encourage you to check out either of the Hennepin Theater Trust's great videos behind the scenes as Cabaret was rehearsed. This one features Micheals:

Cabaret is equal parts campy hilarity and heart-tugging realism, and absolutely a theatrical highlight of 2014. Be sure to check it out (it runs through Feburary 9); more information can be found by clicking on this link.

"Out There" with "The Room Nobody Knows"

Pan's Labrynth? Child's play. 

If you want to see magical realism from an Eastern perspective, look no further than Niwa Gekidan Penino's The Room Nobody Knows. 

Credit: The Walker

I jest somewhat, but there really is a Guillermo del Toro-ness to Penino's play that simultenously lends it a familiar yet impossible feel. 

Set inside the dreams of a young man,  The Room Nobody Knows portrays everything from prison like cells to horned elf-slaves to ubiquitous phallic imagery to a highly eroticized relationship between two middle aged brothers. It's entirely in Japanese, entirely improbable, and entirely captivating. 

I'm not sure how to describe a "plot" as such, since this play is a dream sequence - but let's just leave it as a man's unhealthy obsession with his brother manifested as a room created explicitly for erotic hero worship. Oh, and there are penis flutes, which are played by elves and humans alike in a rousing rendition of "Pachelbel's Canon."

Credit: The Walker

It is highly probably that the world Niwa Gekidan Penino has created for The Room Nobody Knows is unlike anything you've seen on a stage before. The horizontally split set is at once jarring but fascinating, and something I'd like to see more productions use. The vertical interplay (rather than the typical horizontal staging with asides) lends itself to creating the dream effect, suggesting an almost Inception-like quality.

At a brisk 60 minutes long, it's an in-and-out kind of show, but one that will leave you pondering for much longer. The Room Nobody Knows is a Japanese twist into the world of magical realism and fantasy - check it out if you get a chance.

With the end of Penino's run, the Walker's "Out There" series is halfway complete. A delightful experiment in terms of theatrical possibility, "Out There" is required viewing for avid theater goers, introducing them to new and endless ways live theater can be portrayed and stories can be told. "Out There" runs through the end of January; for more information, click on this link.