A Dazzling Dirty Dancing

You'll be moving your mambo from start to finish. 

Photo Courtesy of Hennepin Theater Trust

We all need eye candy, right?

For fans of sci-fi, there's Star Trek; for those who prefer a side of violence with their story, it's Spartacus or Game of Thrones; and for musical and arts and general groupies of true hunks everywhere, it's Dirty Dancing.

For the uninitiated, Dirty Dancing follows the 1963-set summer camp love story of Baby, the privileged daughter of a doctor, and Johnny, a hunky (not to overemphasize, but HUNKY) dance instructor. Baby accidentally learns that Johnny's dance partner is pregnant, and not only helps her pay for an abortion but volunteers to learn her routine to allow her time to recover. Over the next two weeks, Baby and Johnny work in close enough quarters to succeed with the dance and to fall in love.

There are more details I could share, but let's be honest: this show is written for a *certain kind* of audience, and they come for one scene and one scene only: the famous "lift" at the end of the show in Baby and Johnny's dance routine. All I'll say is that they certainly deliver; the audience went wild.

Photo Courtesy of Hennepin Theater Trust

Dirty Dancing isn't a traditional musical in the sense that each character sings, and I found that disappointing as the cast has great voices. This is particularly true of Jennlee Shallow (Elizabeth) and Doug Carpenter (Billy Kostecki)[both pictured, left], who provide vocals for the show's most famous tracks, including "(I've Had the) Time of My Life." Their fab vocal chemistry adds an extra level of excitement to Dirty Dancing's universally superb dance sequences, and I craved a lot more of it.

The leads Jillian Mueller (Baby) and Samuel Pergande (Johnny) have even better chemistry and fit their parts well; Mueller is winning and winsome as idealistic Baby, and Pergande positively oozes the Patrick Swayze-an sex appeal that Johnny's character exudes from every pore. (And as a side note, ladies/gents who are so inclined: the supporting cast isn't half bad to look at either).

Photo Courtesy of Hennepin Theater Trust

On a heavier note, I have to say: Dirty Dancing was never one of my favorite movies, but this show hits just the right note between silly, romantic, and serious. I'd honestly forgotten the story's more serious subplot (regarding abortion, birth control, and who takes responsibility in relationships), and as I'm learning with other shows in revival, these old themes die hard; we live in a world where a fight over abortion's legality and desirability is constantly in question, and I found it refreshing to see that rather than indicting one perspective or another, Dirty Dancing chooses to portray a relatively honest depiction of what happens when the option isn't legally available at all. It's a perspective that is too often buried and/or forgotten, and bravo to this cast for giving the subject the delicate but serious treatment it deserves.

Dirty Dancing is great eye candy and perfect for a girls' night out getaway, even for those who think they won't enjoy it - I didn't. Catch it while you still can by clicking on this link for tickets and more information about the show.

Also, for those who are interested: I couldn't upload the video I had due to size constraints on Blogger (dumb), but the audio still works - so check it out if you're interested:

Reviewed in Brief: Eating Raoul

How far would you go to fulfill a dream? 

Photo Courtesy of Hennepin Theater Trust

That's the question Mary and Paul Bland are faced with in Eating Raoul, a musical that just debuted at New Century Theater. Faced with surmounting debt and depleting income, Mary and Paul are about to give up on their dream of owning a restaurant until Paul accidentally kills a man who attempts to sexually assault Mary in their home. When they discover his pockets are filled with cash, they realize that they can make a lot more money off of "bopping" the ever revolving door of swingers next door than they ever could the honest way.

Their plans are almost foiled when they are discovered by a suspicious but sexy charmer named Raoul, who makes it his mission to help the Blands - while also seducing Mary and skimming an extra profit for himself, of course. When Paul finds out Raoul intends to kill him, he takes matters into his own hands, and the Blands fulfill their dream.

Eating Raoul is admittedly a strange show, and while the description sounds serious and sordid, it attempts to be all laughs, all the time. It doesn't always deliver, but the show is performed with total commitment from each actor and retains a cheery tone despite the heavy subject matter.

Photo Courtesy of Hennepin Theater Trust

The cast is hit-or-miss. Jessica Holtan Breed (playing Mary) has a wonderful voice, and it's easy to see how she could launch into larger, more familiar musical roles (Disney princess, much?). Gregory Adam slips in and out of his disguise as the wiley Raoul more comfortably than a pilates instructor and her Ugg boots.  And although not the strongest in the vocals department, Anthony Sofie fits the bill as the hesitant but adoring husband Paul.

The supporting cast is enthusiastic but inconsistent, particularly in some more pitchy vocal moments. Still, they give the show all they have, and their exuberance goes a long way towards making Eating Raoul a fun experience.

Eating Raoul is great for anyone who loves campy shows - fans of the original Buffy, Rocky Horror Picture Show, or virtually any other seedy 1980s cult classic will eat this show up. More information about Eating Raoul and purchasing tickets can be found by clicking on this link.

Hooray for "Dolly"

The classic musical gets the royal treatment at Chanhassen Dinner Theater. 

Photo Courtesy of Chanhassen Dinner

Based on the play The Matchmaker by fellow Midwesterner Thornton Wilder, Hello Dolly describes an eccentric but loving widow who functions as New York City's resident matchmaker at the turn of the century. After spending several years away from the Big Apple in the small town of Yonkers, New York to arrange a match, Dolly decides to marry again to the wealthiest man in town (Horace Vandergelder). Matters are complicated when Vandergelder's niece wishes to marry an artist, his former engagement falls through, his staff runs away from his general store, and other shenanigans ensue, but Dolly achieves her goal regardless and with panache. 

Michelle Barber is radiant as Dolly, in a role that finally fits her quirky charm. With a twinkle that never leaves her eye, Barber sashays around twirling waiters, skips to the railroad and commands the audience with a single wave. Costar Keith Rice (as the pompous Vandergelder) is again in his element, lending his signature wit to the role.

Photo Courtesy of Chanhassen Dinner Theaters

Other familiar faces are prominently featured as well: Tyler Michaels shines, as usual, as store clerk Cornelius Hackl; Kersten Rodau, once again cracking us up as Ernestina; Mark King leading fabulous dance ensembles; Thomas Schumacher as fahhhhh-bulous head waiter Rudolph; and many more.

A cast standout is Cat Brindisi (yes, yes - she is related to *that* Brindisi) who is absolutely marvelous as hatmaker Irene Molloy. Her lovely, deep voice wends through the chromatics of several pieces (including "Ribbons Down My Back" and "It Only Takes A Moment," a wonderful duet sung with Michaels), and it's a pleasure to watch her - she'll be around for a while.

Photo Courtesy of Chanhassen Dinner Theaters

Set and props are imaginative as always, including a human steam train that had the audience in loud applause. The choreography is marvelous, especially the restaurant scene near the end of the show - or really, any scene featuring the wait staff. They pirouette and jeté from curtain to curtain at dizzying pace, and their scenes are the most fun of the show.

Hello Dolly is another hit for Chanhassen, and one that is certain to brighten your mood throughout the winter months. It runs through February 21; for more information or to buy tickets, click on this link.

Reviewed in Brief: My Fair Lady

The classic musical gets delightful treatment as the Guthrie's 2014 musical production

Sometimes there are shows that sell themselves. 

With a story (and music) as delightful as that of My Fair Lady, it's easy to sell seats - but it's much harder to live up to that packed audience's expectations. 

Fans have nothing to fear of the latest rendition of My Fair Lady currently being performed at the Guthrie. All of the classic elements of the famous musical - down to the soot smeared faces, Cockney accents, and glowing streetlights - are included here, as well as a fabulous cast that includes local musical wunderkind Tyler Michaels, a host of familiar faces who have migrated from Chanhassen Dinner Theaters for this production, and a sterling cadre of British actors to play the lead roles. 

Every lead is strong: Helen Anker is magnificent as Eliza Doolittle, Tony Sheldon is uproariously funny as Colonel Pickering, Jeff McCarthy is appropriately blustery as the long winded Professor Higgins, Michaels brings a new comedic side to his portrayal of Freddy, and Donald Corren is, as Higgins puts it, "deliciously low" as the blustery Alfred P. Doolittle.

The backup cast is no slouch either, singing in lovely harmonies (their interludes in fact comprise the show's musical highlights), and the set and costumes are just as elaborate and magical as one has come to expect of the Guthrie. The choreography is crisp and whimsical, and every detail seems to have been well and lovingly thought-out. 

This show is a must-see; but it won't be around for much longer! Run to get your tickets before it closes on August 31 by clicking on this link. 

A Spunky "Sister Act"

The endearing story of singing nuns rocks the house. 

Photo courtesy of Hennepin Theater Trust

What happens when two worlds collide? 

In the best case scenario, the result is something like Sister Act, a story of a witness protection program particiapent who revolutionizes the stuffy nunnery she's brought to. 

Deloris Van Cartier is an aspiring night club singer who has hit rock bottom - truly. When she accidentally witnesses her married lover Curtis killing a man outside of the club she auditions at, she immediately seeks safety from the police. Eddie Souther, one of the policemen and a former high schoool classmate, knows of a quiet nunnery nearby that is the last place Curtis will seek Deloris. 

Disguised as a nun, Deloris tries to adapt to life in the cloister but can't help shaking things up a little bit. She ends up participating in the choir, which sorely lacks soul - and Deloris has that in spades. Deloris' infusions of modern soul and pop sound into the stuffy choir revolutionize the church, bringing the singing nuns fame and a profitable congregation - but also blowing Deloris' cover. 

Ta'Rea Campbell has a voice and aura big enough to fill a church up (and more), and she shines as Deloris. It takes her a while to warm up, but once she's going - watch out. 

Photo courtesy of Hennepin Theater Trust.

The chorus of nuns are no slouches either, and the power behind their vocals as they gain confidence is breathtaking. Slight Ashley Moniz, playing novice Mary Robert, is particularly fabulous on the solo "Life I Never Led." Moniz has a rock 'em sock 'em voice packed in a tiny frame, and she's fun to watch. As Mother Superior, Hollis Resnik shows the sorrow of life as a modern day nun, and her musicality conveys a deep yearning for peace and simplicity.

Photo courtesy of Hennepin Theater Trust.

Sister Act's biggest surprise though, has to lie in Chester Gregory as Eddie Souther. Gregory plays Souther's loveable awkwardness to no end, only to unleash a powerhouse voice that is the epitome of soul on his standout "I Could Be That Guy." Keep an eye on him - he's a star. 

On its face, Sister Act is a fun show with great music that lets you romp through church in a way real life would never allow. But there is so much more to be found here - finding quiet in the busyness of modern life; proving that although differences are important - be they racial, musical, or otherwise - they are less important than what we have in common; and most of all, that there is nothing more meaningful in life than loving people and expressing it. 

Sister Act is playing at the Orpheum - check out details for shows and tickets by clicking on this link.

"Once" Deserves a Repeat

"You've got to love Dublin for dreamin', 'ey boys?"

What would you do if you had only one chance for true love?

Once tells the story of just that: a brief but inopportune moment when two people fall deeply into a love they cannot consummate. It's the best-worst kind of heartbreaking, stealing small pieces of your hope for Guy and Girl to just be together until eventually disappointing that hope in the way that only real life unrequited love can. Once's resistance to the happy ending is its greatest strong suit, and as hard as it is to watch, it's a lovely tale and totally relate-able to anyone who's had a broken heart (probably all of us).

Fans of the film may find some differences in the stage version, but it still retains its winsome charm. The music is really the star of the show here, almost all of it haunting and lyrical. "Falling Slowly" is the most famous track from Once, and it's expectedly lovely, but other tracks (such as "If You Want Me" are equally, if not more, winning.

The voices (and talents, as all of the actors play their own instruments live) are across the board great in this show; my biggest issue with Once in fact is that they sing as an ensemble so rarely (it's magic when they all ratchet up). Stuart Ward (Guy) and Dani de Waal (Girl) do an excellent job of anchoring the cast, he with a raw rock growl and she with an almost mystical, lilting Eastern European soprano.

The set and costumes are appropriately spare, with one single large mirror in the back of the bar-set providing a 180 degree vantage point for some of the more complex choreography. In addition to providing an extra perspective, the mirror almost seemed to suggest it was reflecting the audience's experiences into the show, tying all of us together in Once. It's an appropriate metaphor for the equal parts of sadness and joy that love can bring to all of us, that there is always more than one point of view. Once reminds us of all of those things, and it's a great reminder to tell people you love them - you never know when they may have to leave.

Review in Brief: Porgy and Bess

Summertime....when the living is easy.....

But is the living easy? It's unlikely that it was for Porgy and Bess in the musical of the same name, recently featured at the Ordway. 

Porgy and Bess is West Side Story meets Oliver meets Ella Fitzgerald, and I've never seen anything like it. Porgy, a crippled man, falls in unlikely love with Bess, a "loose" woman who turns to him for help after her lover kills another man. After a brief period of blissful happiness, they are separated when the negative aspects of living in poverty in the inner city come back to haunt them, and we never learn if they find each other again.

Porgy and Bess is a relatively unknown musical, which is a shame. With an extremely complex score by the magnificent Gershwins, it's also only the second musical I have ever seen with an all-black cast. I suspect this is part of the reason it's rarely performed; all I can say is that I hope it becomes a more standard part of the standard musical theater circuit.

This cast takes no prisoners, lamenting the story's sad events with haunting voices that pierce straight to the heart. Nathaniel Stampley is excellent as the perseverant Porgy, with a gorgeous voice that shines on pieces such as "I'm on My Way." David Hughey is another great voice, booming through the chorus as Jake. Alicia Hall Moran injects a coloratura tone into Bess, soaring over Stampley in duets such as "I Loves You Porgy."

Aside from the eternal classic "Summertime," other standout songs include a gorgeously robust "It Takes a Long Pull" and a beautiful spiritual interlude as the characters mourn the loss of those who die in a hurricane. The set and costumes are appropriately barebones, with some excellent lighting tricks (particularly an awesome shadow effect during "Leaving for the Promised Land"). 

Although the standard musical rotation featuring classics like Les Miserables and The Lion King is fun, it's always great to see something shake things up. Porgy and Bess deserves a wider audience, as does this cast. If you can, be sure to check it out.