A Spectacularly Set Phantom

With the set of a lifetime, this show is a must-see.

Remember what I said about not fixing what ain't broke? Yeah, screw that. 

Because what Cameron Mackintosh has done to bring Phantom of the Opera (which, at 25 years and counting is now the longest running Broadway show of all time) into the 21st century is absolutely incredible. 

I've been pondering why I liked this so much more than the recently updated Wizard of Oz, and I think it's that the new Phantom is truly an upgrade. It feels sumptuously luxurious - so luxurious, in fact, that you have to pinch yourself consistently while you're watching to make sure you're not dreaming. 

The Phantom of the Opera is Andrew Lloyd Webber's exceptional adaptation of Gaston Leroux's

novel of the same name. It eliminates some characters from the book (which is highly worth reading, btw), but retains the romantic heart of the plot: beautiful Christine Daae learns to sing from a mysterious Opera Ghost (Phantom). When the opera's management shifts hands, she becomes a headliner and simultaneously the object of desire and jealousy for the Phantom and the opera's new patron, Raoul. Things begin to spiral out of control as the Phantom and Raoul vie for Christine's hand, climaxing in a showdown in the Phantom's lair deep beneath the opera. 

It's a tense story, with riveting action sequences, lush dance, opera parodies, explosions, boats, swinging chandeliers, and a great, organ-filled score. The cast here holds their own, including Mark Campbell as the Phantom and Julia Udine as Christne Daae, and as always the primadonna Carlotta (Jacquelynne Fontaine) is a crowd favorite.

But to be honest, there is only one reason, and one reason alone, that you should see this show: 

THE SET. 

Oh my god, the set. It is hands down, no-doubts-about-it the best set I've seen anywhere in my life. I'm still beating my brain trying to figure out how this production is able to travel with the sheer enormity of each set piece, but it doesn't really matter - all you need to know is that it's spectacular. 

There is a fullsize gilt framed opera house, life size replicas of Parisian statues and cemeteries, the chandelier (which drops over the audience, of course), ceiling-mirrored ballrooms, and more. My personal favorite is the path to the Phantom's lair, which now not only involves the boat floating across the lake but a descent down a stairway that grows in and out of a massive wall set, almost as if it's an alligator disappearing into a lake. I've never seen anything like it, and it's unforgettable. 

Long story short? Long-running shows like The Phantom of the Opera can begin to feel stale, boring, and not worth seeing if you've already seen a production elsewhere. That is not the case this time; it's worth every penny if you can get a ticket, and I'd even go twice if I could. Please, please check it out - you won't regret it. For information about tickets and times, click on this link.

And, for a look at some of the physical updates (although the cast is not the same as that of this Minneapolis production), check out the following video. 

A Wacky "Wizard"

An updated "Wizard of Oz" retains some of the classic film's sparkle, but new additions can bog it down.

In Oz

What is that famous phrase? "If it ain't broke, don't fix it."

I feel no phrase applies better to Andrew Lloyd Webber's update to The Wizard of Oz than this. I may be alone in my feelings, but the addition of several new tunes and the seeming burdens of technological practicality on traveling stageshows didn't leave me with the wondrous feeling I have come to expect from the great Wizard. 

I will assume all readers have seen, or at least heard enough of, the extraordinary 1939 film to relieve me of having to repeat the plot (and if not, SHAME! Go find a copy immediately, lock yourself in your apartment, and don't leave until you've seen it at least five times and cried frequently about the years you've spent in ignorance). I suspect the entire draw of even concocting a stage show is the special effects, so we can start there. 

Wizard's blessing (and unfortunately, curse) is its heavy use of the projector/scrim combo. In terms of creating a sepia effect for Dorothy's time in Kansas, it is spectacular; combined with an awesomely, bafflingly 2D (but interactive) set, it provides a gorgeous backdrop for the home-front. 

Oz, however, does not fare so well. The scrims, so convincing and movie-tastic in the Kansas

"Glinda"

portions of the show, begin to edge into Douglas Adams territory, sweeping Dorothy's house through space (?!) to Oz, showering colorful rainbow sparkles on things, and generally just becoming the go-to for any bit of "magic" Oz has to offer. Which is a pity - we know from shows like Mary Poppins, Wicked, Beauty and the Beast, and yes, even the Lion King, that it would be possible to have the Wicked Witch or her monkeys fly over the audience, Glinda arrive in a bubble, Munchkins actually be sized like Munchkins, and "animals" wear more than fuzzy pajama suits. I'm not sure if it was bedazzlement from the projector/scrim technology, or a fear of having to haul 'too many' set pieces, but there's a lack of real life wonder in this production, the "how the hell did they pull that off?" that makes Broadway so magical to all. If any show deserves it, it's this one, and I didn't find it here.

That being said, this is far from a dud, and some characterizations are especially appealing. As the Cowaradly Lion, Lee MacDougall provides some much needed comedic relief, and is clearly the sweetest of Dorothy's three wise Ozians. The surprising stereotypical 'gay' edge he adds to the Lion is also a funny twist. 

"Dorothy"

I found Danielle Wade's voice a little more "Ariel" than "Dorothy," but she grew on me as the play continued, and far and away I found her the most "authentic" to the movie of the cast. It didn't hurt that she carried an adorable live Toto with her at every turn, but her voice is lovely and winsome and just what the Wizard ordered.

Mike Jackson does a stellar physical portrayal of the Tin Man, even if his vocal characterization falls flat. And Jacquelyn Donovan is disappointing as the Wicked Witch - nowhere near shrill or terrifying enough to convince you of her evil power. 

Musical standouts included a gorgeous reprise of "Somewhere Over the Rainbow" in Act 2, and a couple of the new tunes ("Bring Me the Broomstick" and "Already Home") also fit in well. "Hail-Hail! The Witch is Dead" featured excellent choregorpahy, mixing a wide range of tangoes, Russian stomp dancing, acrobatics and more for a visceral piece. 

The long story short: take your kids. The Wizard of Oz is made for kids, and they will have a great time (whether there's too much scrim or not). If you can only afford to see one show this year, I'm not sure this is the one you'll want to see - but it's still worth a look if you can make it. After all, it is the Wizard of Oz. 

You can find information about tickets here.

"We Will Rock You" is Wild

If I'm entirely honest, I have to admit: I thought I would hate this show. 

But as long as we're being frank, I also have to admit: although it has several flaws (particularly the pretty out-there narrative), I had an extremely enjoyable time watching it.

We Will Rock You is a musical based on the music of Queen. The collection of songs are held together by a loose narrative set in a dystopian world where music is corporately commercialized, and little opportunity for creativity is allowed the general public. 

There are those who fight back, however. Galileo Figaro (Brian Justin Crum) and Scaramouche (Ruby Lewis) have never fit in with the rest of pop music, and when they connect with the underground rebel bohemian community, sparks fly. The bohemians are intercepted by the powers behind oppressive corporate music, but not before the bohemians successfully set Galileo and Scaramouche on their way towards freeing the world from its generic pop grip. To break it down: think Steven Spielsburg Indiana Jones Nazi villains meet Queen meet Sasha Baren Cohen (phew!).

Crum's voice at times bears an uncanny resemblance to Freddy Mercury's, lending an air of authenticity to his musical performances. He's eager and high energy, two traits that continually got hte crowd involved. 

The show's standout by far, however, is Lewis, whose voice definitively proves that the sometimes expressed opinoin that female voices are not suited to rock music is 1,000% false. She is hard and soft, abrasive and inviting, and every song she performed brought down the house. The show is worth attending if only to hear her sing. 

Other notable cast performances include Jacqueline Arnold as the Killer Queen, who is perhaps the most Ru Paul draglicious character I've seen on stage yet. Her performances aren't as high energy as those of Crum or Lewis, but her strutting is definitely enjoyable. For comedic relief, Ryan Knowles excels as Buddy. His droll, presumably pot-influenced bohemian is hilarious, and saves the second act when it begins to drag.

The best parts of the show, of course, are the songs (the theater interludes tend to drag We Will Rock You down). Standouts include "Somebody to Love," "I Want It All," and the balls to the walls encore of "Bohemian Rhapsody." Many songs had the audience singing, clapping, and/or on their feet, and it was great to see such a high energy connection between them and the performers. 

Against all odds, We Will Rock You is an incredibly enjoyable rock romp, and it's particularly suited to fans of classic 80's rock music. It could use some tightening in the plot and a little judicious editing, on the whole it's definitely worth it for those rock fans. 

Review in Brief: The Veterans Play Project

"You know what we don't need? Another person who says 'thank you for your service.' They don't even know where we served."

When one gets used to attending theater in typical venues, it can be nice to see it moved to a new location. 

The Veterans Play Project, a collaboration between Mixed Blood and local veterans, does just that. Set in a Fort Snelling training area, it provides a more rugged setting for its collection of vignettes about the veteran community's service (both in training and in action) and reception back at home.

Many of the players are former service members themselves, and their experience (and general lack of performance experience) lends a rawness to this project that serves it well. Although the play is a work of fiction, it's entirely based on real experiences service members have had, which were collected through an extensive interview process. 

The actors are clearly emotionally connected to this subject matter, and that raw emotion makes their stories hit home. The disconnect between general civilians and service members has been extensively discussed (particularly in recent media concerning PTSD and veteran health and mental health care), and this project is perfectly poised to help bridge that gap. 

Veterans have an understandably difficult time figuring out how to explain their experiences to the general public, and that hesitation makes it that much more difficult for the public to understand their service and try to help integrate them back into society. It's a pleasure to see a venue for those conversations to take place, those experiences (especially the negative ones) to be related, and communities to learn how to move forward in a positive way for everyone involved. 

"Service is more than just war. Only 5% of them ever see it. Please don't make a movie that glorifies war."

Each vignette is interspersed with music, some of which is quite compelling. A particularly lovely rendition of "Into the Wild Blue Yonder" is definitely a highlight.

The Veterans Play Project is a good starting point for anyone curious about the experiences of service members, and anyone interested in learning how to communicate with veterans should definitely check it out as a great starting point for those conversations. It's a respectful, informative connection, and the Fort Snelling setting fits it well. 

An Evanescent "Arabella"

The Minnesota Opera performs Strauss gorgeously

German operas are notoriously difficult to make accessible, and the MN Opera does it with such grace in Arabellla that it's difficulty becomes barely perceptible. With a mix of love, jealousy, and a hot dash of passion, Arabella is an opera that any novice can appreciate.

Arabella is the eldest daughter of a noble but poor family (seemingly the story of all of Europen aristocracy in the nineteenth/twentieth centuries - see: Downton Abbey). Her family is so poor, in fact, tht her sister (Zdenka) is dressed as a boy in order to avoid the expense of showing her well and marrying her off. 

Arabella is lovely and courted by many a suitor, but it is not until Mandryka, the nephew of a deceased (and wealthy) family friend, appears and appeals for Arabella's hand that she at last chooses a mate. 

As with all great love stories (and operas), there is an obstacle to the happy union of Arabella and Mandryka. Matteo is one of Arabella's many suitors, one who is desperately unhappy at her refusal of his advances. Matteo is ready to kill himself without Arabella's love, Zdenka is in love with Matteo, and Zdenka's last ditch attempt to find a moment of happiness with him while subsequently diverting him from suicide almost derails Arabella's entire future. 

This is a solid cast and one that seems much more accustomed to acting than many opera players I've seen in the past. Many players find ways to make their characters really pop through the dense German text and score, and it's a delight to watch them interact. 

As Arabella, Jacquelyn Wagner is slow to warm up - but when she hits her stride, watch out. She's particularly strong in Act II, simultaneously funny, strong, harsh, tender, and all around in full control of herself and her situation. It's a pleasure to see such a strong woman in an opera script, and Wagner does it right. 

Even better, and the standout of the cast, is Craig Irvin as Mandryka. Irvin swaggers and swoons across the stage, at times so raw that one wonders if he himself was jilted in the past. He has a lovely voice that is perfectly matched to Wagner, and I'd see the show again just for their moments togehter. 

Bringing an extremely welcome comedic relief is Dale Travis as Arabella's father Count Wagner. Travis can only be described as strutting like a rooster across the stage, and he is bellyachingly funny.

The most interesting aspect of the score is its particular evocation of ecumenical music. Arabella's subject matter isn't churchy at all, but the phrasing consistently feels as if one is listening to a glorious choir in an old stone church. Somehow, this feels fresh, and it's an oddly invigorating twist. 

Standout moments include an sinuously chromatic duet in Act I with Elemer and Matteo, and virtually any interplay between Arabella and Mandryka.  Their voices are perfectly paired, and their emotion is so tender, so raw, and so heart-piercing that it's impossible to witness without emotion. I have a hard time remembering another time when two skillsets were so perfectly paired, and their duets alone are far worth the price of admission. Act II as a whole is wonderful, in fact. Just go see the show!

As always, the set and costumes are lovely - no one does opulence (or in this case, stark opulence) like the Minnesota Opera. 

Anyone with the ability should jump to see Arabella. It's witty, lovely, and an all around crowd pleaser. And for anyone concerned about affordability, the MN Opera offers incredible ticket discounts - a season pass through their sexy young group Tempo allows opportunities to see shows for only $24/ticket. You can learn more by clicking on this link.

Fiddler Revisits Chanhassen

The quintessential musical still feels fresh

Can a classic musical ever get tired?

In the case of Chanhassen Dinner Theater's newest production of Fiddler on the Roof, the answer is a definite no. While keeping in rhythm with classic Fiddler choreography and characterization, Chanhassen injects a zest and enthusiasm that reinvigorates it.

Fiddler in a way is the Jewish iteration of the Italian neorealist movement forefronted by Federico Fellini. Focusing on a family in a small village (Anatevka) of poor Jews in pre-revolutionary Russia, Fiddler on the Roof melts the issues of class, racism, inter-generational conflict, and religion into a complex and enjoyable melting pot. Tevye leads us through life in Anatevka, replete with matchmakers and arranged marriages, attacks from the Russian citizens, the dawn of modern sexual and racial politics, and the rebellion of three of his five daughters.

Chanhassen veteran Keith Rice plays Tevye, and in classic Keith Rice fashion makes the role truly his own. At times, Rice seems a little overly laissez faire with his Tevye, not taking his daughter's flagrant violations of tradition and authority quite so seriously as he might. However, Rice's portrayal does allow for a more generous, modern Tevye, and the audience leaves feeling connection and warmth to him.

As Golde, Tevye's wife, fellow veteran Michelle Barber is okay. Her character portrayal is very warm and endearing, but her voice doesn't always follow through. Serena Brook is wonderful as Tzeitel, hardworking, hopeful, and perfectly matched with her lover Motel (Zachary Colton Schaeffer). Ruthanne Heyward (Hodel) hits a standout note in her solo as she leaves for Siberia, but otherwise tends to blend in to the rest of the show.

Standout numbers included "To Life," a vignette showcasing the process of arranged marriage in Anatevka, as Lazar Wolf drinks Tevye into agreeing to let Lazar marry Tevye's eldest daughter Tzeitel. Two elements make the scene immensely entertaining: the choreography, which showcases fabulous Russian kick dancing, and the absolutely angelic voice of Tyler Michaels (Fyedka). (In fact, my greatest disappointment with the entire production is that we only get to hear Michaels' voice in this scene; his pipes are SO extraordinary that I am now craving to hear him in almost anything... Chanhassen, this is a plea: PLEASE showcase him more in future productions!!)

The other standout included perennial tearjerker "Far From the Home I Love." Heyward/Hodel is desperately winsome, strong and longing in this short piece, and it is a definite tearjerker.

The greatest test of Fiddler's enjoyability is the 'Tevye's Bedroom' sequence, which can engage or destroy the rest of the show. In this scene where Tevye convinces his wife to let Tzeitel marry Motel instead of Lazar Wolf, Chanhassen pulls it off, although there is a strange use of demonic chicken costumes in Fruma Sarah (Emily Rose Skinner)'s appearance - presumably, this is to indicate Lazar's career as a butcher, but it is very confusing visually.

Fiddler on the Roof is a classic show, and no one does comfort-food classic theater like the Chanhassen Dinner Theater. It's been decades since Fiddler appeared at Chanhassen, and fans of the show (or anyone looking for an easily enjoyable night out from the winter cold) should check it out. You can find more information about the show and purchasing tickets at this link.

*All photos courtesy of Chanhassen Dinner theater/c Michal Daniel, 2013

A Bloody Good Time

Carrie The Musical shows a softer side of the classic horror tale

Like a phoenix rising from the ashes, Stephen King’s first hit Carrie has finally returned to the world of musical theater. Though the original adaptation is still considered one of the most expensive and most spectacular Broadway flops (ever), the re-worked version is being staged now at the New Century Theater, just in time for Halloween.

Carrie White is a late blooming teenager in her senior year of high school. Between being bullied at school and dominated by her overbearing mother at home, Carrie is set for a life of suffering and pain, until she discovers she can move things with her mind. Things seem to be looking up until Carrie’s schoolmates play a terrible prank on her – and Carrie’s telekinesis becomes her final, bloody weapon against her tormentors.

The benefits of putting such a story into musical form are debatable, and the results are mixed. Carrie opens with a strong ensemble performance of “In,” setting the audience up with high hopes. But the immediate follow-up, “Carrie,” is so full of awkward key and tempo changes that it’s hard to pick up the momentum.

Standout musical performances definitely include duets between Carrie and Margaret (her mother), such as “Evening Prayers” and “Stay Here Instead.” And the choreography in “The Destruction” is engaging, with all cast members somehow writhing, rolling, and slamming around in perfect time without looking at each other at all.

As Carrie, Jill Iverson shows a remarkably fluid range as Carrie. Her voice slithers between scenes, hitting high and low octaves with the full angst of a vengeful, bitter teenager. She manages to inspire empathy and pride as she takes her path of revenge, and it’s an enjoyable performance.

Philip C. Matthews is the perfect high school dreamboat as Tommy Ross; Natalie Schleusner has just the right repentant booze-on-Saturday-night-church-on-Sunday-morning pitch as his girlfriend/narrator Sue Snell. Their empathetic views toward Carrie White significantly soften the “scary” in this Carrie, but the show still manages to hit some creepy notes.

Carrie is an exercise in experimentation in just about every way. What happens when a young girl is pushed to the edge? When we give her supernatural abilities? Can a horror story work as a musical? Just like Carrie herself, it’s worth making a visit to the New Century Theater and giving it a chance.

Carrie runs through October 27 at the New Century Theater in the City Center. Click on this link to purchase tickets and learn more about the show.