Beauty and the Beast is Back

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.

Reviewed in Brief: Men Are From Mars, Women Are From Venus

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. 

"Pippin" is Full of Magic

The beloved musical gives audiences a taste of theater at both extremes

Photo Courtesy of Hennepin Theater Trust

I don't know about you, but when I see live theater (especially musical theater), I want to be blown away by magic.

There's something about watching Mary Poppins "fly" over an audience, or a Beast change into a Prince before your eyes, that brings a little more wonder into the world, and it's something we could all use more of.

Pippin delivers plenty of wonder, told through the story of a boy finding his way in the world. Pippin fights in the crusades, murders his father and wanders the earth, desperately searching for the key to happiness. What will bring Pippin satisfaction? It's not lust, war, or glory; instead, contentment is found in a life of working with one's hands, caring for others, and otherwise focusing on simple things. By making light of extraordinarily dark subject matter (crusades? patricide? elitism?), Pippin gently guides us an actual happy ending; it may not be what we expected, but it's better for that.

The number of spectacular effects to be found in Pippin is too large to list here; instead I can say that although this story sounds ordinary, the cast goes out of its way to bring (literal) magic to us all. Pippin is also remarkable for allowing audiences a glimpse behind the masque; the show ends with the illusion of theater being stripped away, and all we see is a theaterfull of possibility.

Photo Courtesy of Hennepin Theater Trust

There are some spectacular voices among the cast members, in particular Sasha Allen (a former competitor on The Voice). Allen could carry any show, but her lithely acrobatic singing really pushes Pippin forward; she is of a rare caliber and beyond worth going to see. Her work in "Glory" and "On the Right Track" is chilling in the best way.

Another standout is Minnesota native Kristine Reese (formerly seen here on stage in Wicked). Reese has a surprising voice, and lends charm to a role that otherwise could be relatively uninteresting.

Priscilla Lopez is an audience favorite as Pippin's grandmother Berthe. The sneakiest star, however, is John Rubinstein as King Charles; not only is he fabulous in the role of the powerful king, but he is also the original Pippin from the show's first run in 1972. He's wonderful and I only wish he were a more present part of the second act.

Costumes and sets strike a balance between a Holy Grail and burlesque circus show vibe. It shouldn't work, but it does; there is so much to look at, so much surprising detail that you can't help but get caught up in it all. I would recommend trying to get seats in the center of the theater if you can so you can see all of the action, but it's a spectacular show either way.

Photo Courtesy of Hennepin Theater Trust

A little Monty Python, a little Gilbert and Sullivan, a little Cirque du Soleil, and a whole lot of heart, Pippin is a spectacular revival and I highly recommend it. People of any age can enjoy it, but I think it's especially fit for those who have lost their wonder and need a little help with inspiration. Click here for more information about the show and buying tickets.

An Outstanding "Oliver!"

The classic musical retains its magic and message in a new production through Hennepin Theater Trust's 'Broadway Re-Imagined' Series

Orphans in the Work House
Photo courtesy of Hennepin Theater Trust

It is often said that the way to define a truly classic piece of art is to see how well it stands the test of time.

By that standard, most art is relatively temporal; movie stars fade and die, albums are forgotten, Pulitzer winners crumble to dust in long forgotten bookshelf corners.

It is lucky for us that the work of Charles Dickens was not destined to fail the time-test.

Over a hundred years after publication, Oliver Twist proves as relevant a tale as ever, and this is clearly evident in the excellent new production of the Broadway musical Oliver! at the Pantages Theater in downtown Minneapolis.

Oliver Twist is an orphan in 1860's London, caught in between the budding schemes of imperialism,

The Artful Dodger and Oliver Twist
Photo Courtesy of Hennepin Theater Trust

industrialism, child labor laws and the socialist revolution. He has a horrifically unfortunate life (involving, among other things, a child labor workhouse and funeral parlor) until he meets a friendly thief named Artful Dodger, who brings him to relative safety. The trouble is, Dodger works for another thief (Fagin), who is equal parts philanthropist (taking in the city's numerous orphans and feeding/sheltering/clothing them) and pimp (training the children as thieves and whores to earn their keep).

Oliver eventually makes his way to the home of a rich man, and the rest of the story entails the struggle between rich and poor, Fagin fighting to reclaim Oliver from his luxurious new home, Fagin's lackeys (including the beautifully sorrowful prostitute Nancy) caught in between, and the eventual triumph of good (and money) over evil.

Peter Rothstein went all out with this cast; orphans are played by the Minnesota boys choir, Nate Turcotte is a winsome Oliver, and Lauren Davis lends a new sheen to Nancy.

A few actors, however, made the show and are a great reminder that any 'old' material can be made fresh. Alec Fisher is slyly fabulous as the Artful Dodger, with more than enough spunk for the entire gang of thieves. James Ramlet unveils a spectacular bass voice as Mr. Bumble, and his appearances are a consistent delight. And Bradley Greenwald is a revelation as Fagin, lending his signature sarcastic charm and versatile voice to a part that deserves his swagger. Greenwald also performs several special 'magical' stage effects in his role; kids and grownups alike are sure to enjoy it.

Bradley Greenwald as Fagin
Photo Courtesy of Hennepin Theater Trust

Oliver!  is an enduring tale, especially in an age when class, race, and politics are so fraught with conflict. The value in Oliver! is its existence in the gray space between these tensions, showing what happens to those who are caught in the spoke of an onward moving society. It's a morality tale packaged in a sprightly musical, and it's a great show for people of any age. This production has the benefit of being locally grown and running for a while; click on this link to make sure to get your tickets now. 

Artist of the Week: Miwa Matreyek

Just take a look at this: 

It's astonishingly beautiful, and a still of one of the most interesting visual displays I've seen in a long time.

Miwa Matreyek is currently performing her unique blend of animation, collage and live silhouette choreography at the Walker, and it's gorgeous. I'm not quite as on-board with her films thematically (Expanding the Frame is supposed to tell the history and evolution of the earth and its environment - love the concept, but felt pretty 'meh' about the execution), but there is no denying that they are spectacularly beautiful. Just check out some of the images - and a sample of her film, shown at a TED conference - below.

Reviewed in Brief: RED-EYE to HAVRE de GRACE with "Out There"

Do you like creepy things? Can't get enough of ghosts and insanity and the dank books of the 19th century? 

If so, then Red-Eye to Havre de Grace, the Walker Art Center's current "Out There" performance, is most definitely for you. Following the last five (and heavily eccentric) years of Edgar Allen Poe's life, Red-Eye weaves together dance, stilts, optical illusions, park rangers, poetry, and a gaggle of instrumental backdrops (seriously, it's strange - clarinet, bassoon, two pianos played with at least four different techniques, etc.) to bring Poe back to life.

Red-Eye is by far the most traditional, narrative piece I've seen at an "Out There" performance, and for the most part it's a hodgepodge that works. Most Americans have at least heard of Poe at some point, and the masterfully constructed introduction to the show is invaluable in helping understand the narrative (in other words: don't be late! It's the best part of the entire production, and absolutely hilarious. It's about time someone "roasted" Poe). However, Red-Eye is just a little too long for the subject matter to keep your interest (90 minutes), and to be entirely honest, isn't fully engaging if you're not super into Edgar Allen Poe. There are things to enjoy, but it can feel too scattered.

This is the last of the "Out There" performances, and it ends this weekend - catch it while you can! Learn more by clicking on this link. 

A Lively Lucy

Desi steals Lucy's thunder in this sweet new show about the brazen comedienne

Photo Courtesy of Hennepin Theater Trust

It's always tricky to do a performance about a beloved character.

This can apply to any kind of person - screen sirens (Marilyn), royalty (QEII), etc. - but it's especially difficult in the comedy world, where great performances are already hard to pull off. Trying to emulate the success of something that became famous for it's unpredictability to start with can be a nightmare.

Successfully retaining the spontaneity of great humor while keeping it true to form AND fresh and funny is exactly the struggle of I Love Lucy: Live on Stage, a new pastiche portraying the eternally beloved I Love Lucy show as it is being filmed. Fans of the television show will pick it up quickly, but they may be hesitant to get into it - and in the beginning, that's fine. It takes a while for this Lucy to kick off.

Photo Courtesy of Hennepin Theater Trust

After it hits its stride, though, it can be a mighty fun ride, in particular in Act II. Unlike the original television show, the Desi in this Lucy is by far the star - Euriamis Losada is fabulous as Lucy's lisping paramour - and he gets much more 'screen time' as the show moves on. He carries most of the comedic timing, but the real standout is his incredible singing voice. This is not a musical, but I found myself wishing it were for the benefit of hearing more of Losada's luxurious voice. He's lovely, and worth the show alone.

Thea Brooks does a fine job as Lucy Ricardo; she's no Lucille Ball, but let's be honest: who could be?! Brooks brings her own swagger to the character, and once one forgets the original television cast, it works just fine.

The costumes are unequivocally true to period and gorgeous. (ModCloth could make *a lot* of money capitalizing on those designs!) The set, unfortunately, does not keep pace and provides a relatively drab backdrop for the otherwise lively action on stage.

The show runs without intermission (a welcome surprise), and time passes quickly; make sure you stop by before it's done running! Learn more and buy tickets by clicking on this link.