The Prom at The Orpheum is For Everyone!

The Prom opened last night at the Orpheum Theatre as part of the Broadway on Hennepin theatre season. This show is simply the best! A musical about inclusiveness that never feels like a lecture. A musical that pokes gentle fun at the actors profession while not making you feel like an outsider. It has powerful songs, funny songs, Zazzy songs, fantastic dancing, and at the center of it all is an unruly heart that brought this theatergoer to tears, tears of joy. The Prom shows us peoples worst traits and behaviors and then shows how we overcome those tendencies. It gives hope that we can all do better and it does it in a way that makes you want to get up and dance the night away. I haven’t left the theater this high on a show since Come From Away, and before you say that wasn’t that long ago, I’ve seen 30 shows since then. This is a show I wish I could attend every night of it’s run bringing a different group of friends with me each time. I had seen the film version and I really enjoyed it. I’ve also been listening to the cast recording for about two or three years so I knew it would be good. It exceeded my expectations, it’s everything you want in a modern musical comedy. It’s everything you want from a night at the theater. Go early and go often, you’ll always regret it if you don’t go to The Prom.

The Prom tells the story of a small town in Indiana that has cancelled prom rather than let a high school student, Emma take her girlfriend as her date. It opens with Dee Dee and Barry, actors who are past their prime, headlining a show, Eleanor! The Eleanor Roosevelt Musical, whose opening night is also going to be its closing night. They grasp onto the story in Indiana as a way to raise their profiles and rehab their image. Along with fellow actors Trent and Angie, thespians descend upon a meeting where Emma along with her Principal Mr. Hawkins are trying to convince the PTA to reverse their decision. What begins as a co-opting of Emma’s dilemma for their own narcissistic reasons, will ultimately help all of them deal with their own issues. Emma will have her ups and downs as will her closeted girlfriend Alyssa Green, whose mother is the head of the PTA. It’s a story that pokes gentle loving fun at theatrical types while also dealing with the very real issue of intolerance towards and the need for inclusion of LGBTQ identifying indivuduals.

The outstanding cast is spearheaded by Kaden Kearney as Emma, they are the outstanding. The best surprise was their dancing skills, during the songs “Zazz” and “It’s Time To Dance” that gets spotlighted, moments of pure joy. Playing off veteran performers Courtney Balan as Dee Dee and Patrick Wetzel as Barry, Kearney more than holds their own. What is interesting watching the performances is that for a show that devotes a sizeable amount of time displaying the selfishness of stars, watching these actual actors performing you really feel that they are rooting for each other. Balan plays the self absorbed two time Tony Award winner with the stage presence and vocal chops of, well a two time Tony Award winner. Wetzel has a blast as the gay actor for whom Emma’s situation feels very personal. He plays it campy but not to over the top, he gets us to laugh at the self absorption of the Broadway star but also allows us to care for him.

The Prom was based on a real life incident the book is by Bob Martin and Chad Beguelin with music by Matthew Sklar and lyrics by Beguelin. It’s brilliantly structured, it’s basically a good natured parody of theater actors and a message play about what it is like to be an LGBTQ identifying teenager in middle America. Somehow it weaves these two disparate things into a perfectly flowing musical that never feels anything but organic. The theater groups songs are mainly comical, the songs focusing on Emma and Alyssa are more emotionally rewarding, but that isn’t to say they are not fun. Sklar and Beguelin have created half a dozen truly memorable songs with lines like “Note to self, don’t be gay in Indiana” and “And nobody out there ever gets to define the life I’m meant to lead with this unruly heart of mine”. There is not a single song I don’t like in the entire show and on my musical playlist where I usually try to limit myself to no more than three songs from any one show it occupies six slots. When you leave the theatre, you’ll be adding them to your playlist as well.

The Prom runs through April 17th at the Orpheum Theatre in downtown Minneapolis for more information and to purchase tickets go to https://hennepintheatretrust.org/broadway/.

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Escape to Margaritaville at the Old Log Theatre But Take a Lyft Home.

Escape to Margaritaville will be just that for many folks. It is an escapist entertainment featuring the music of Jimmy Buffet. There is nothing original about the storyline, it’s a will they or won’t they with an A couple and a B couple. But it isn’t about the storyline, it’s about the execution and I think the writers Greg Garcia and Mike O’malley know that. They include a reference to The Taming of the Shrew early on, as if to acknowledge that everything is a variation of the works of Shakespeare, and their musical is no different. A show like Escape to Margaritaville exists so that an audience can go and have a good time, and that’s the only way to measure a show like this. Did the audience I was with have a good time? For that matter did I? The answer to both is yes. If you like the music of Jimmy Buffet, it’s hard to see how you wouldn’t have a blast with Escape to Margaritaville. For Drinkers there is a fun, if covid questionable additions, to this show. If you arrive early you can purchase drinks at the bar onstage, Margaritas and Landshark beers. If you arrive too late for that neat little add-on, you can get drinks from the bar to bring into the show.

Before I get to discussing the show let me get this out of the way. The encouraging of the alcohol, while show appropriate thematically, does have a downside. I don’t know if there was an influx of people who have never been to the theater attracted by the Jimmy Buffet music or if it was the alcohol, but I’ve never experienced so much audience discussion and talking during a performance. To be fair, in a pre-show announcement the cast does encourage that if you want to sing along or dance you should feel free to do so. Some sang, thankfully no one danced, but many of them had an opinion on what was happening on stage that they felt everyone should hear. This annoyed me, it would have driven my son to walk out. I’m guessing most people will react as I did or join in, but if you are perhaps someone for whom that can ruin an experience, probably skip this one. To quote a Transylvanian Count, I never drink….wine, but I do like the music of Jimmy Buffet. If you like Buffet’s music and have a taste for icky pop, you’ll have a blast, just please plan a sober ride. And hey, I want you to have a good time, but remember there are other people in the theater and more importantly performers on stage who can hear everything you say, sing, and burp.

The story follows the staff at an island resort called Margaritaville and two tourists Rachel and Tammy who have come for a last girls week before Tammy marries the comically repugnant Chad back in Cincinnati. the “A” couple is Tully, the resorts resident entertainer and Rachel, who has chosen this resort because the island contains a volcano which she wants to collect soil samples to assist with her research, she’s a very serious, no time for fun, scientist. You kinda just gotta go with it. The “B” Couple are Brick, the resort bartender with unresolved anxiety issues, and Tammy the bride to be. Tully and Rachel, spar at first but eventually spend the week falling in love. Brick and Tammy spend the week flirting and resisting temptation. At the end of the week the girls leave, the boys are sad, and the volcano erupts! Along for the ride are the resort manager Marley and J.D. a 76 year old drunk pilot whom Marley has grounded for everyone’s safety. Will Tully, Brick, Marley and J.D. escape the island? Will Tully and Brick ever be reunited with their lost loves? Will Tammy marry Chad? Will Rachel get to do science? Will Tully ever make it big as a singer songwriter? I think you know the answer to everyone of these questions now don’t you? But, again, it’s not about the what it’s about, in the case of a musical comedy, it’s about the jokes and the performances.

I really had a great time with the entire cast, everyone equites themselves well vocally. Ryan Lee as Tully and Amanda Mai as Tammy in particular made strong impressions. Maureen O’Malley as Rachel and Same Stoll as Brick also sang well with Stoll also showing of some fun dance moves. Mike Tober as J.D. is a hoot, he and Kia Brown as Marley have several fun scenes together, foremost an interactive with the audience performance of “Why Don’t We Get Drunk and Screw”. Finally a little shout out to Max Kile who plays Chad, perfectly caricaturing the frat boy ,self centered, video game obsessed, thoughtless, and boorishly sexist slacker fiance.

Also I want to praise the wonderfully lively band under the musical direction of Kyle Baker. The music really pops and it has a fun island feel to it that oddly didn’t get anyone up and out of their seats to dance. Director Eric Morris has done a nice job of staging the show that’s basically one set, using the tables and chairs and other props to simulate every other location including a couple of plans. The second star of the show is the scenic and light design by Erik Paulson I really loved this set. The backdrop which used lighting very effectively to create gorgeous vistas for the action to play out in front of and helped create the illusion of an island resort. I really like how they used lighting to illustrate the volcano erupting, very effective.

Escape to Margaritaville runs through August 27th at the Old Log Theatre for more information and to purchase tickets go to http://www.oldlog.com/.

Jelly’s Last Jam at Theater Latté Da

Jam is right. Jelly’s Last Jam feels less like a traditional musical than sitting in on a really good jam session with talented musicians. Usually after a musical I can identify one or two songs that stood out on a first listen. If you’re like me when it comes to jazz, I’m not always sure where one song ends and the next one begins. With this, the music is all Jelly Roll Morton’s with Lyrics by Susan Birkenhead and it seems like they just keep on singing, talking, and then float on into another song, or, maybe it’s the same song. That’s what’s awesome and unique about Jelly’s Last Jam, the narrative feels like the music created by the person whose story it’s telling. I should also say that I don’t have a huge tolerance for jazz, but I was completely engaged and enthralled throughout the evening. Theater Latté Da, which makes its home at The Ritz Theater in NE Minneapolis, has produced another top notch production.

We begin with Jelly’s death and the show tells us the story of his life through the eyes of Jelly, whose vision is rose colored, and that of the Chimney Man, who sees things more truthfully through a lens at times, red with anger. The Chimney Man is like St. Peter at the Pearly gates, and he battles Jelly throughout the retelling of his life to show the truth. We learn Jelly was an innovator and musical prodigy, along with also being arrogant and ill tempered. He has a very high opinion of himself and a very low opinion of everyone else. It’s the classic tale of talent overcome by ego, the star who cannot stop sabotaging his own happiness and success. Pride cometh before the fall, it was hard not to think of Will Smith’s current situation in some moments. He’s charming at first but as the story goes on, he becomes less and less likeable. Luckily, the splot surrounds him with characters we do genuinely enjoy. Like his best friend Jack the Bear, his lover Anita, and Miss Mamie.

Reese Bitts stars as Jelly and he has the charm to sell us on Jelly’s initial successes but is also able to dig deep down and spill fourth some truly vile and repellent emotional outbursts. Probably a good time to mention there is a lot of hateful and racially charged dialogue in this show, much of it spouted by Jelly. The entire cast is splendid, and one aspect I wasn’t expecting going into the show was the dancing. Not only were all of the performers vocally and dramatically impressive but boy, they sure can dance. That was one of the surprise joys of the show, it’s not a huge dance show, but when they dance it’s in synch and outstanding. You don’t see enough tap now days and when it’s done well, as it is here, it’s a marvel to behold. Andre Shoals as the Chimney Man and second lead, was probably my favorite performance. A great voice, and his character being otherworldly, we got a lot of different flavors mixed together, a little bold, a little funny, a little spicy. You sense from before you even know what his role will be that he is in charge and pulling the strings. Alexcia Thompson as Anita tries to be the voice of reason against Jelly’s self destructive urges, and she plays the frustration and sense of futility really well. Dwight Xaveir Leslie nails the best friend sidekick role, always trying to see the best in Jelly. He really is the character I most identified with, he was always holding out hope that everyone would get along. I can’t list everyone but there was nice character work as well from Julius Collins and Cynthia Jones-Taylor.

If you’ve ever been to a Theater Latté Da production you know that every aspect of their shows is on par with any other theater in town. The Director and Choreographer of the show is Kelli Foster Warder. I’m not surprised that the same person was responsible for those two jobs because the entire staging of the show feels like it has been choreographed down to the smallest movement. The way she moves characters on and off stage, the way they move around the set feels so organic and fluid in a way that only comes from knowing exactly what you are doing moment to moment. There are a lot of names in the music department this time and the music is so good I feel like I really want to mention anyone who was involved with that aspect. We have Sanford Moore (Music Supervisor), Tommy Barbarella (Conductor), Denise Prosek (Associate Music Director), and Jason Hansen (Music Arrangements/Orchestrator) not to mention the band itself Barbarella on piano, Steve Jennings on drums, Geoff LeCrone on guitar & banjo, Joe Mayo on clarinet/flute/saxophone, and Chris Smith on bass. Wonderful Set Design by Eli Sherlock that reminded me of the abstract suggestions of some of the old cartoons where you’d just the outline of something and your mind filled in the rest. The stage is set with all these different styles of doors, and they are all that is needed to signify a different time and place. The Lighting Design by Craig Gottschalk perfectly captured the set to highlight this almost dreamlike simplification, and also used very dramatically at the Chimney Man’s command a couple of times.

Jelly’s Last Jam is playing through May 8th for more information and to purchase tickets go to https://www.latteda.org/ It’s a postmortem of a complicated artists life and a chance for one last jam session.

The Family Line Cruises Along Nicely at Capri Theatre In North Minneapolis

This is the second production from new theatre company Stage North at the newly renovated Capri Theatre in North Minneapolis. I really enjoyed their first production King of the Kosher Grocers. That play was set in the very neighborhood that the Capri theatre is located. A neighborhood that doesn’t scream “Theatre District” and a demographic for whom a night at the theatre probably isn’t a regular occasion. I noted at the time that the selection of that play for their first production was well chosen. I really like the programing decisions being made by Artistic Director Peter Moore. Smart to open with a comedy set in the area your theatre calls home. For your follow up presenting The Family Line, which is a new play by Lee Blessing, that also ties in with the city of Minneapolis, is to my mind the perfect way to capitalize on whatever community inroads were made and draw in other theatergoers.

The Family Line is a two character play that takes place almost entirely inside a car on a 24 hour road trip from Florida to Minneapolis. The characters are Finn, a mixed race 15 year old boy and Jonah, his Grandfather, whom he doesn’t know. Finn’s mother has died from Covid-19 and Jonah is bringing the boy to his father in Minneapolis, whom neither of them know. Jonah is hoping to get to know Finn a little on the journey. Finn wants Jonah to “Fuck off” and let him have his phone so he can tune out this stranger. Beyond that, I don’t want to elaborate on what we find out about these characters and the way information is revealed is the power of the piece. On the surface the play is engaging, at times funny, always natural, there is a very organic feel to the conversation between Finn and Jonah. But Blessing has a lot more going on underneath the surface of the play. It’s about these characters in this specific time and place in history. It’s also about how history repeats itself, both on a societal scale as well as the familial. The ending feels off, but on reflection that is because it doesn’t resolve itself the way most entertainments do. Probably because this isn’t just an entertainment, this is art. Blessing is an accomplished playwright, and this new work showcases his skill at creating real world characters and situations that are also capable of commenting on our world in a way that never feels forced or contrived.

Bob Davis who portrays Jonah, and Hunter Reeve as Finn, are amazingly natural together on stage. Reeve grounds his performance in a reality that any parent of a sullen irritable teanager will recognize as authentic. Thankfully, the role is more than just that and Reeve perfectly modulates maintaining that reality while not letting it be the defining characteristic of the character. I think we will continue to see great things from this young actor. Davis has to play a man who is trying to connect with someone who doesn’t want to be connected with. He does a nice job of playing the patience that requires and punctuates it nicely with moments of frustration. Particularly well handled is a conversation early on about where the name of Panama City came from, the miscommunications that come throughout feel real, this is the moment when we stop thinking of them as actors but as the characters.

Director Peter Moore has utilized a very simple but effective design to stage a play that stays carbound. The Set Design by Rick Polonek consists of a mock up of the front seat of a car and dashboard with a steering wheel. I normally try and get in the front row at a general admission theatre like the Capri, but in this case I realized I needed to be back a few rows or risk not seeing the actors full faces over the dashboard of the car. The car sits on a road that runs off into the horizon, behind it and alongside the car we have maps of the states in which they will drive on their journey. Lighting Designer Sue Berger uses a nice technique of shining a spotlight on the state they are in as the lights come up between scenes. This gives us a sense of where they are on their trek to Minnesota.

It can be difficult for new theatre companies to attract their audience. It’s especially difficult in a city as full of theatres as the twin Cities are. I hope Stage North finds it’s audience as a greatly admire the work they are doing and the company’s mission.

Stage North is a diverse and inclusive group of theater professionals dedicated to creating vibrant, live experiences that bring people together to tell and celebrate stories of urban life. We will produce three plays a year at the Capri Theatre in the heart of North Minneapolis. Our hope is that Stage North will help bring new audiences and new excitement and vitality to the North Side business district and contribute to the neighborhood’s continuing growth and expansion. As the only professional theater company on the North Side, we make live theater easily accessible to the community.
From Stage North Website https://stagenorthmpls.org/

The Family Line is playing through April 17th at the Capri theatre in North Minneapolis. There is ample free parking in a well lit lot directly west of the building. For more information and to purchase tickets go to https://stagenorthmpls.org/.

The Rape of Lucretia at the Southern Theater

Justin Anthony Spenner and Kara Morgan. Photo by Jason Bucklin

It was about this time in 2020 I had An Opera Theatre’s production of The Rape of Lucretia on my schedule, but alas it was not to be. Two years later and the company finally has a chance to perform before a live audience. An Opera Theatre is a company founded on the idea of making art available to all, focusing on works that have a social justice angle, and partnering with community organizations around the issues addressed in their work. What’s interesting and unique is that they choose to do this through Opera. My first exposure to the company was in December 2019 when they put together a program to highlight and bring awareness to World Aids Day. As with all of their programs there is a group of partner organizations that can help bring understanding of the subject matter and ways in which we can all help make a difference. I will provide links to those at the end of my review.

The Rape of Lucretia composed by Benjamin Britten with Libretto by Ronald Duncan is set in ancient Rome which is being governed by an Etruscan King. Rome under foreign rule is also at war with the Greeks. The story is told by two choruses, one male and one female who are stationed at desks and are presented as academics. The male chorus tells what is happening with the men in the story and the Female chorus takes over when we are with the female characters. The men are commenting that all of the wives of the soldiers have been found to be unfaithful with the exception of Collatinus’ wife, Lucretia. The King’s son Prince Tarquinius decides to test Lucretia himself. He rides to Collatinus’ house where the woman are preparing for bed, fearful of the Prince and his motives, they have no choice but to let him stay as he says his horse has come over lame. That night Tarquinius sneaks into Lucretia’s room, when she refuses him and asks him to leave, he rapes her.

I’ve written before of my ignorance and unfamiliarity when it comes to Opera. I know as I experience more and more Opera that excuse will become less sustainable. It is still an acquired taste, like Shakespeare, it takes a little while for the novice to tune in to the proper wavelength. For me, the first Act was about admiring the design and staging as I got accustomed again to this style of storytelling. I admired the staging in general from Director Teresa Mock. The Southern Theater can be a great venue for the right show, I’ve stated before it’s ideal use for horror plays, but it can be a tricky space. Mock uses the space and set as designed by Emily Jaques well. On either side of the stage we have the Chorus’ desks, Stage left and to the back we have the Orchestra in full view. Between the two desks and in front of the Orchestra, we have multi-use pieces that can be easily shifted about to suggest a change of place and function. Simple and very effective, it gave me the impression of an abstract artist’s rendering of ancient Rome. In Act two, I found myself more engaged in the performances, for the first time I was able to relax into the story and really notice the music. I was particularly taken with the music at the opening of the act, I believe the lyrics that accompanied the passage were “Thus Sleeps Lucretia”. After this lyrical interlude we come to the rape scene. The tension in this scene is handled very well, better than at the end of the first act when everyone is saying goodnight and you feel there should be more of an emphasis on a sense of apprehension about the Princes presence. The rape itself is handled very tastefully. After some unwanted embracing, she sings in response “Though I am in your arms, I am beyond your reach”. To illustrate this, Lucretia then stands next to the bed while Tarquinius has his way with an empty bed.

Not all of the performers had enough power to project sufficiently, but all of the main roles were quite good. Top marks go to Kara Morgan as Lucretia, not only in the vocalization but her acting in general really brought home the power of the piece. Justin Anthony Spenner’s beautiful voice and performance captured the entitlement of the Prince, Tarquinius. It helps to make the case for the parallels that could be drawn to our own world in the last five years or so. Alex Ritchie as Collatinus brought the operatic down to the human level and helped to sell the devastating finale. Also of note were Hannah Benditt and Andy Lupinek as sort of dance companions to the choruses. Dance, sitting right up on the shelf next to Opera in the things I need more exposure to section. What I can say, I liked the concept and felt it added to the production without distracting from it in any way, hats off to Choreographer Jennifer Mack. I really enjoy a nice piece of live music and particularly in the second act when I had settled into the show I found Music director Lara Bolton and her Orchestra a joy to listen to.

So the regular reader will have picked up that this was Opera week at The Stages of MN. This was the third and final Opera of the week. I found something worthwhile in all of them, and I think to some degree all of them are accessible to the average theatergoer. The Rape of Lucretia is full of ideas that can spark conversation. I encourage you to see it and to spend some time thinking about and discussing the themes and how they reflect on our current culture. There are ideas presented and attitudes that reflect the fact that the Opera was written over 70 years ago. Some of them are troubling, but I think that is what can spark conversation. I recently heard or read somewhere, I wish I could remember where, that words shape our thoughts. Thoughts shape our actions. Actions shape our destiny. Let that be your path. Go to The Rape of Lucretia, think about it then go to the links below and help shape our collective destiny.

The Rape of Lucretia runs just this weekend so hurry for more information and to purchase tickets go to www.anoperatheatre.org.

Resources:

Women’s Advocates
Violence Free MN
Advocates for Human Rights Southern Valley Alliance
Domestic Abuse Project

Ruddigore or The Witch’s Curse from The Gilbert & Sullivan Very Light Opera Company.

Poster design by Tom McGregor and Mary Olson

There’s nothing I love more than sitting in a theater as the lights dim and the the credits begin to roll, particularly when it’s a classic film from the 1940’s. After the RKO Logo and the cast and technicians are listed, you get that little text on the screen that sets the scene and then … the curtain goes up. Oh right, I’m not in a movie theater, I’m at the Howard Conn Fine Arts Center for The Gilbert & Sullivan Very Light Opera Company’s (GSVLOC) production of Ruddigore or The Witch’s Curse. I am a novice when it comes to Opera in general and with Gilbert & Sullivan, when you get down to the specific. I have seen the film version of The Pirates of Penzance along with the Mike Leigh film about G&S, Topsy-Turvy. I find myself somewhat at a loss to know what in Ruddigore is G&S and what was written by the company. Does G&S Operas have dialogue? According to Google they do. The fact that I cannot be sure of what dialogue was G&S and what was Director Joe Andrews additions, speaks to how successfully they have blended the original with their additions which draw on classic films from the golden age of cinema. Beginning with a pre-show original song in the style of G&S by three theater ushers about cell phones which was written by Holly Windle and Joe Andrews. Ruddigore is a show for classic film lovers like me as well as silly Opera fans. If you don’t laugh out loud several times or sit with a goofy grin on your face, you may want to check your pulse, I suspect you may be deceased.

Like all Opera’s it’s recommended that one arrive early and read through the plot synopsis, it’s less critical in this case because it’s really quite easy to understand the vocalizations in a G&S production. But the plots are also comically convoluted, so, yeah read the synopsis. In a nutshell, we are introduced to a village where they have a group of professional Bridesmaids who have been out of work for too long because the girl everyone wants to marry, Rose Maybud, hasn’t taken a husband yet. She’s in love with Robin Oakapple, and he with her. But, Rose cannot tell Robin because she lives by the rules set down in the little book of etiquette. Robin cannot tell Rose because he’s painfully shy and is living under an assumed name. He’s really Sir Ruthven Murgatroyd, and should be the Baronet of Ruddigore. But, he faked his death and ran away because whoever is the Baronet of Ruddigore is compelled by a witches curse to commit a crime everyday or face an agonizing death. Believing Ruthven to be dead, the Baronet title has fallen to his younger brother Despard. Robin enlists the help of his friend Dick Dauntless, they call him Dick because it’s short for Richard and he’s earned it. Dick agrees to tell Rose how Robin feels about her but once he meets her, he decides to woo her for himself. That’s about the first ten minutes. Seriously, arrive a little early and read the synopsis.

The production is mounted with, by my count, 35 performers and a full orchestra. It really is something to see and hear. I usually like to highlight one or two of the leads and comment on any of the smaller roles that either really worked or didn’t. With a cast like this, it’s difficult to single anyone out as they are all top notch. Seth Tychon Steidl as Robin and Paul Willis Jr. as Dick capture the leading man personas of the classic films they are emulating. Steidl dialing in on the melodramatic influences and Willis hammy it up as the broadly smiling matinee cheeseball. Sarah Wind Richens as Rose nimbly plays up the screwball aspects while coming across as probably the most sensible one in the room. All of them have a blast with the songs and the knowing little winks to the everything from The Wizard of Oz and Singing in the Rain to the gangster pics of Edward G. Robinson. A quick little tip of the hat to Deb Haas who’s Dame Hannah, Rose’s Aunt was a standout in a supporting role.

Joe Andrews who directed the production and is also credited with the concept and additional dialogue has really put together a hell of a show. Andrews doesn’t miss a trick when it comes to the concept of staging it like a classic film. From the pre-show Ushers and projected opening credits to “Let’s all go to the Lobby” clip that plays at intermission. Pulling the perfect film quotes and staging different scenes in style of old movies as well. It was hard not to picture Anchors Aweigh when Dick and his fellow sailors do their opening dance. Music Director Randal A. Buikema and his orchestra do justice to Sullivan’s wonderful and lively score. There were comments by my fellow Twin Cities Theater Bloggers about a strobe effect and it’s mentioned in the program, but it never materialized at the performance I attended. Set design by Larry Rostad was perhaps the one aspect that could have been improved upon, more in the execution than in the design. It had something of a highschool quality to it in the almost caricaturesque painting of the stone walls and bookcases. Still, I’d rather have the budget go towards the full orchestra than painted flats any day of the week.

Ruddigore is really a wonderfully creative concept beautifully executed by GSVLOC. So much fun, this is an opera for the whole family. It’s only running for one more weekend 4/1 thru 4/3, for more information and to purchase tickets go to https://gsvloc.org/home-2/tickets/ticket-order-startoa/.

Eugene Onegin Staged by Skylark Opera Theatre at The Museum of Russian Art

Eugene Onegin is an opera based on a novel by Alexander Pushkin, the Music is composed by Pyotr Ilyich Tchaikovsky with the Libretto by Konstantin Shilovsky and Tchaikovsky. The english version which is what Skylark is presenting is by David Lloyd-Jones. With all Opera’s, I highly recommend reading the detailed synopsis which are included in the programs. Even though this production is in english Operatic singing is very stylized of vocalization and making out every word isn’t always possible. For me, the increasing joy I’m finding as I familiarize myself more and more with Opera, is the emotions of the moment. Eugene Onegin takes awhile to get going but once it kicked in at the beginning of Act Two, I found myself fully engaged. By scene 2 of the second act I was nearly in tears. Skylark’s production is presented in a unique environment, The Museum of Russian Art. The accompaniment is a piano and the set is basically a few tables and chairs. This is grand opera paired down to a simple accessible presentation. Well acted, beautifully sung and easy to follow, this is an Opera that doesn’t feel intimidating.

The story involves a wealthy country household consisting of Madame Larina, her two daughters Olga and Tatyana, and their nanny Filippyevna. Enter Olga’s suitor Lenski and his conceited friend Onegin. Lenski is genuinely in love with Olga and the feeling is returned. Onegin is boorish and dismissive of everything that country life has to offer. For some reason Tatyana falls in love with Onegin and the next day sends him a letter confessing her love. He comes few days later to reply to the letter, telling her she is immature and should not fall in love so easily. He dismisses her feelings and does not return them, Tatyana feels utterly humiliated. Later, all of these people meet again at a party given by Madame Larina. Onegin is annoyed at Lenski for bringing him as he is bored. To get revenge on Lenski he decides to flirt with Olga and monopolizes her time to Lenski’s dismay. Onegin plays his hand a little to well and after harsh words between Lenski and Olga he is challenged to a duel by Lenski. Onegin is a thoroughly dislikeable character and the audiences sympathies lie entirely with Lenski.

I’m not equipped to write about the quality of the signing, suffice to say that I thought they all sounded wonderful. Eric Smedsrud is very effective as the odious Onegin, you get a clear sense of his sense that he went too far goading Lenski, but it isn’t long before his arrogance gets the better of him again. Elena Stabile and Melanie Ashkar play Tatyana and Olga, both have beautiful voices and I was struck by how alike they looked, making them very believable as sisters. The heart of the opera for me was from the always brilliant Benjamin Dutcher. His portrayal of Lenski is the high point of the entire production. His emotions are true at every point, his unabashed love for Olga, his jealousy, and his pain at the loss of Olga and his impending duel. Dutcher completely engages the emotions of the audience and we are heartbroken at his loss.

Director Gary Briggle has done an excellent job of staging the production in this unique environment, the transitions are simple but clear and fluid. Music Director Carson Rose Schneider is a fine pianist and does justice to Tchaikovsky’s beautiful music. I really liked the costumes by Costume Coordinator Melanie Wehrmacher, after some poorly costumes productions lately I’ve taken to noticing this aspect more and I think Wehrmacher has done really nice work here.

Eugene Onegin runs one more weekend April 1st thru 3rd at The Museum of Russian Art. Your ticket includes access to the galleries and gift shop of the Museum when the doors open, one hour before showtime. For more information and to purchase tickets go to https://skylark.booktix.com/view/2/d102b9d2203123be/