The Cottage is a Wonderfully Light Comedy in the Style of a Noel Coward Play at the Gremlin Theatre

Corey DiNardo, Sarah Malfara, Sasha Andreev Photo by Alyssa Kristine Photography

The Cottage by Sandy Rustin is the sort of comedy Noël Coward might have written, if he were writing today, and a woman. It isn’t vulgar, but it carries a distinctly modern sensibility, freer than the comedies of manners Coward penned in the 1920s and ’30s.

The play opens in 1923 at a country cottage, where two lovers, Sylvia and Beau, have just spent a night together. We quickly learn they are both married, and, in fact are brother- and sister-in-law. In a fit of impulsive honesty, Sylvia has sent telegrams to their respective spouses confessing the affair, assuming she and Beau will simply move on and marry each other. Naturally, this decision brings those spouses, and a few surprise guests, crashing onto the scene. To reveal more would spoil the fun, but suffice it to say this is an old-fashioned farce with a decidedly modern, feminist edge.

Sarah Malfara opens and closes the play alone on stage as Sylvia. At first, her performance feels overly mannered, but it soon becomes clear this is intentional, Sylvia is “playing house,” posing within a role of her own creation. As revelations unfold, Malfara gradually strips away that façade. By the end, she has transformed from a fluttering romantic into a clear-eyed woman firmly in control of her own narrative. It’s a terrific turn from an actor I was previously unfamiliar with, and Malfara keeps the audience constantly reassessing both her performance and Sylvia herself.

All Is Calm alum Sasha Andreev puts his dashing good looks to excellent use as Beau, a man who clearly has no trouble attracting women. Andreev is as adept at turning on the charm as he is at landing sharp comedic beats, particularly in his well played exits after a confrontation with a potentially deadly visitor. Mira Davis, as the delightfully unpredictable Dierdre, makes the most of every entrance (often from unexpected places) and mines plenty of laughs from her character’s… incapacitated state. Corey DiNardo (Clarke) and Shana Eisenberg (Marjorie), the wronged spouses, most strongly evoke the classic 1920s British comedy-of-manners style, while still sneaking in some wonderfully surprising flourishes. And Chance Carroll, as Richard, delivers one of the evening’s biggest surprises with a transformation that once again upends expectations.

The Cottage is a light but thoroughly delightful comedy, packed with unexpected twists, entrances, and revelations. Just when it has exhausted its surprises, it lands on a message that feels fully earned. Director Brian Balcom captures the spirit of a Noël Coward comedy with precision while allowing Rustin’s modern voice to shine through.

The Cottage runs through August 2 at the Gremlin Theatre in St. Paul. For more information and tickets, visit https://gremlintheatre.org/the-cottage/

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Wicked at the Orpheum Theater Defies Expectations and Proves Wicked Fatigue is Not a Real Thing. It Soars!

Claudia Bennett as Glinda and Aline Mayagoitia as Elphaba Photo by Joan Marcus

From the first time I saw Wicked, I liked it, but I didn’t love it. Each time I see it, though, I enjoy it more. Going into this, my third touring production, I was curious how both the audience and I would respond. Was there potential for Wicked burnout after the phenomenal film adaptation of the first act, which I greatly enjoyed, and the decidedly less popular film adaptation of Act II, which I have not seen?

I think if fans went in thinking that maybe they were over the whole Wicked thang, they left with a rekindled love for the show. Like its most popular song, this show is “Defying Gravity.” First-timers are discovering the magic that has made it the second highest-grossing Broadway musical of all time. I know because I brought a first-timer with me, and she flipped for it. For myself, I can truly say I fell in love with the show this time. I followed the character arcs more closely, thanks in no small part to two fabulous performances in the lead roles. I also appreciated the allegorical nature of the story more, while still being wowed by the production design and effects work. I will say this, though: Act I of Wicked is brilliant; Act II is good, not great. I think this accounts for the less favorable response to the film Wicked: For Good.

Wicked is based on the novel Wicked: The Life and Times of the Wicked Witch of the West by Gregory Maguire, with music and lyrics by Stephen Schwartz and a book by Winnie Holzman. It tells the backstory of The Wizard of Oz from the point of view of Elphaba, the Wicked Witch of the West. From this perspective, The Wizard of Oz is merely propaganda designed to manipulate the population in order for the Wizard to maintain power over the people. Remember, history is written by the victors, which is the crux upon which both the novel and the musical are based. We learn the details of Elphaba’s conception and birth, and that she is shunned because of her green skin. From there, we jump to her and her sister Nessarose going off to Shiz University. Here Elphaba meets Galinda, later to be just Glinda. At first, they feel a mutual loathing, but an act of mistaken kindness creates a bond between the two. This moment also unexpectedly brought tears to my eyes.

What’s a musical without a love story or, in this case, a love triangle. They both pine for Fiyero, the Winkie Prince bad boy who isn’t as shallow as he wants everyone to think. Elphaba has a gift for magic, which attracts the attention of the headmistress, Madame Morrible, who begins to teach Elphaba how to use her gift, and at Elphaba’s insistence, Glinda as well. When the Wizard sends word for Elphaba to come see him, Glinda goes with, and they discover the truth behind the curtain. One of the things the Wizard is doing is restricting the rights of Animals, who in this world can speak and even teach at the university level. The novel was published in the mid-1990s and the musical opened on Broadway in 2003, over 20 years ago, and it’s still going strong. When they created the show, I’m sure their intention was to present an allegory that reminded us of our own world’s history, a show meant to caution us against repeating the past. Now, it seems to be speaking directly to the world we somehow find ourselves in. There’s a scene in the second act that seems to reference Eva Perón’s balcony moment in “Don’t Cry for Me Argentina” from Evita, which itself evokes a fascist regime.

In my previous review of the show, I stated that “the real star of the show are the set design, special effects, lighting, and costumes. All of which are amazing, but they are utilized in the service of the story for the most part, which is really the way it should be. Scenic designer Eugene Lee’s sets are detailed and dazzling. Kenneth Posner, the lighting designer, creates just the right look in every scene, truly enhancing the sets. Projection designer Elaine J. McCarthy and special effects creator Chic Silber work wonderfully together and with the other departments to pull off what is honestly one of the most innovative and evocative shows I’ve had the pleasure of seeing. Finally, Tom Watson on wigs and hair and Susan Hilferty as costume designer complete the picture with so many different looks and styles, sometimes borrowing motifs from the past, sometimes creating something that feels wholly original.”

That is all still true, except the part about those elements being the real stars of the show. This time around, the real stars are Claudia Bennett and Aline Mayagoitia, who play Glinda and Elphaba. Bennett particularly gets the humor just right; she is perfect as Glinda, and someone I imagine is going to have a very long career. Mayagoitia rises to the challenge of the show’s most iconic scene, bringing power and passion to “Defying Gravity,” making it not only the high point of the show but of the theater season. They are supported by a solid cast, including Tom McGowan, who played Station Manager Kenny Daly on Frasier, as the Wizard of Oz. That was an unexpected and delightful surprise.

Wicked may seem like the perfect show to take kids to, but it isn’t really. I’d say teenagers and above. It’s set in the land of Oz; there are witches and wizards and tin men and flying monkeys, but it’s also a deeply political show that deals with issues that draw clear parallels to many of today’s concerns, from restrictions of rights to fake news. But for anyone interested in the political side of things, it is a dazzler of a show, with great music, jaw-dropping special effects, and every aspect of the production layering together to create some truly magnificent environments.

Wicked runs through August 9. For more information and to purchase tickets, go to https://hennepinarts.org/events/wicked

Blithe Spirit A Ghostly Comedy Brought Effectively to Life at Theatre in the Round

Cast of Blithe Spirit Photo by Aaron Mark Photo Film

Ever worried about your ex, or your partner’s, coming back into your life? Well, Blithe Spirit takes that concern and doubles down on it, making your own worries seem trivial.

Noel Coward’s classic comedy follows novelist Charles Condomine, who invites a quirky psychic named Madame Arcati over for a séance as research for his next book. What could go wrong? Well, she accidentally summons the ghost of his first wife. And only he can see her.

What follows is a delightfully chaotic battle between the living and the dead, as Charles’ current wife, Ruth, finds herself competing with a very present ex, Elvira, who refuses to move on. Witty, fast, even at two hours and 45 minutes, and deliciously ridiculous, Blithe Spirit is a supernatural farce where the afterlife has better comedic timing than most of the living.

As Charles Condomine, James Lane seems to have completed his transition from supporting player to lead. I’ve been seeing Lane in productions all over town for years now, and his two performances this year, a supporting role in Grumpy Old Men: The Musical and the lead here, are among his best. This is a big role, and Lane makes it look easy, with perfect timing not only in his line delivery but also in his reactions to the characters around him.

As the two wives, Megan Blakeley as Ruth and Dani Pazurek as Elvira take very different approaches to their roles. Blakeley has great timing in her appalled reactions to Charles’ comments, which are directed at Elvira but assumed to be meant for her. Her slide into haggard despair at the constant presence of the deceased wife is well modulated. she primarily reacts to the world around her. In contrast, Pazurek is effortlessly superior as the ghost, able to criticize her replacement without fear of retort, since Ruth cannot hear her. She plays the role as a character above everyone else, she makes her statements and lets others react, free from their worries. She’s dead; she can focus only on what she wants, without fear of consequences.

I have seen and greatly enjoyed the David Lean film adaptation from 1945, particularly the role of Madame Arcati, played by one of my favorite character actors of all time, Margaret Rutherford, who also originated the role in its West End premiere. Janice Stone plays the role here and very much makes it her own. She is spry and full of eccentric energy, and she pulls off the difficult task of making me forget Rutherford’s performance to become a highlight of the show.

The supporting cast is also very good. Dr. George Bradman and his wife Violet, who are part of the original séance, are played by David Rinzema and Lori Constable. Constable, in particular, adds a twinkle to her character reminiscent of the great character roles of the 1930s and ’40s. Hailey Zeissler plays Edith, the perpetually high-strung maid, with the perfect deer-in-the-headlights combination of panic and stunned indecision.

Dann Peterson directs the show with an assuredness that comes from having helmed 27 productions for TRP. The play is well suited for the in-the-round space, with Elvira constantly circling the stage, leading to moments where those who can’t see her are conversing with the empty space she just occupied. Thomas L. Valach adorns the space with a well designed set, complete with French windows from which Elvira can make her spectral entrance.

It’s a very fun play and a wonderful conclusion to another great season from Theatre in the Round. I look forward to their next, the 75th season, which is filled with great shows, all with a Minnesota connection. Read about next season here, season flex passes go on sale June 23rd!

Blithe Spirit runs through July 12th at Theatre in the Round. For more information and to purchase tickets go to https://www.theatreintheround.org/blithespirit/

Monty Python’s Spamalot At The Ordway Can’t Compete With Classic Film, It Works Best When It Goes Its Own Way

Photo by Matthew Murphy and Evan Zimmerman

Monty Python’s Spamalot is a stage musical adaptation of the British comedy troupe Monty Python’s film, Monty Python and the Holy Grail. It doesn’t compare to the brilliance of that film, at least for this lifelong fan of everything Monty Python. That isn’t to say it’s bad, but the film has set a very high bar.

For me, the evening started off on the wrong foot, as it seemed that the sound was not balanced well. I had trouble hearing the vocals, even dialogue, if there was music playing as well. Struggling to hear a fun show is no fun. I’m not sure if adjustments were made during the show or if my ears were able to tune in to the actors better over the course of the evening, but I struggled less as the night wore on. Perhaps for that reason, perhaps for others, I found Act “Moo” to be much more enjoyable.

The main contributing factor, aside from the sound issue, for the second act’s success was that it seemed to deviate more from the film. When you know a film as well as I do this show’s source, it’s hard to get too excited about line readings that aren’t as good as the original. That’s no knock on the cast, I don’t think many actors would fare well in comparison to Graham Chapman, John Cleese, Terry Gilliam, Eric Idle, Terry Jones, and Michael Palin. It’s not really fair to compare them, but when you are saying the same lines they did, it’s also hard not to. The best parts of the show were when they incorporated new material. The show’s book and lyrics are by original Python member Eric Idle, so the additional material feels like it belongs.

As for the parts lifted straight from the film, it’s a testament to how well written the film was that some sections still get big laughs. But there is something that works against a show when, while you are watching it, you are thinking about the superior version. I wish Idle had taken more license to create something fresher. I think 50% less original material would have allowed the truly classic bits, the ones you can’t leave out, to feel like welcome nuggets of nostalgia rather than long sections of straight screen-to-stage translation.

So the big criticisms are the sound balance and the unenviable task of actors who have to take on such iconic material, a losing battle for anyone. That said, let me also say that I really liked the cast. It isn’t their fault they are not John Cleese or Graham Chapman. A standout for me was Major Attaway as King Arthur; one of his best moments is the song “I’m All Alone,” both vocally and comedically. Another is Amanda Robles, who plays the Lady of the Lake. She delivers some seriously funny, but also vocally impressive, moments that really brought the house down.There is a song where she does snatches of other songs that’s quite funny. Another successful bit, is a scene that pokes fun at the idea of making this film into a musical by replicating a moment from Phantom of the Opera. A nice Easter egg for fans of musical theater.

The production design by Paul Tate DePoo III relies heavily on some well-used projections. DePoo similarly utilized projections to even greater effect in The Great Gatsby, which played the Orpheum last week. I do think part of me was hoping for a little more stage magic, but when I thought about it, this is more in keeping with the film’s small budget, and I think the design approach is ultimately the right choice for the show.

Monty Python’s Spamalot runs through June 14th at The Ordway Center for Performing Arts in St. Paul. For more information and to purchase tickets go to https://ordway.org/events/spamalot/

Gorgons Take off the Kid Gloves at Yellow Tree Theatre

Christina Baldwin and Jamie White Jachimiec Photos by Alex Clark

Gorgons by Don Nigro is clearly a fictional take on the feud between Bette Davis and Joan Crawford and the making of their late-career classic Whatever Happened to Baby Jane? But in this telling, Bette is named Mildred and Joan is named Ruth, and the film they are making is called Gorgons. Why? I don’t know, maybe for legal reasons, though if someone really wanted to sue over this, I don’t think you’d have too hard a time convincing a jury whom the play is based on. But maybe it’s because, for the ending, it decides to veer into Once Upon a Time in Hollywood territory. I’m not implying there is a flamethrower or anything, it’s much more subtle, but it begins with the Academy Awards, a scene that definitely did not happen in real life.

The play is 90 minutes of two strong-willed actors trading brilliantly comic insults back and forth. I don’t know if it matters or not in terms of enjoyment, but I relished all the little Easter eggs that any student of film history, particularly the workings of the studio system and the gossip surrounding these two legends, is likely to catch. In a certain way, this is sheer entertainment, and if that’s all you get out of it, you’ll go home a happy camper. But there is also a message here about the way society encourages women to compete against each other, and I suspect that was one element that attracted director Austene Van to the material. Austene is someone who does not prescribe to the concept that the way to get ahead or succeed is by putting others down. She is of the “raise others up, because we all do better when we all do better” school of thinking, a school I’m happy to be a fellow graduate of.

Nigro, who just passed away last February, is noted as being among the most widely produced and published playwrights in the world, with nearly 500 plays to his credit. I don’t think I’ve ever seen one before tonight. is not that strange? Frankly, if they are all as well written as this is, I’m not sure why I’ve not come across one before now. Of course, as well written, sharp, and witty as it is, this one relies heavily on a cast who can do it justice. Both actors, Christina Baldwin in the Bette Davis (like) role and Jamie White Jachimiec in the Joan Crawfordish role, are up to the task. They know just how to sling an insult through a smile, and exactly when to drop the facade and just tear into the other. Watching them is like watching Benedick and Beatrice trade barbs, but without the underlying sexual tension, or is it about lesbians?

White Jachimiec has the slightly less showy role. If you’ve seen Whatever Happened to Baby Jane?, you’ll know that Crawford plays the sane sister, while Davis is the full on cuckoo for Cocoa Puffs sibling. She tries to capture Crawford, but it mostly comes down to the eyebrows; otherwise, she might as well just be playing an actress named Ruth, which, actually, she is, so it works. The only thing that makes that less effective than really seeing Crawford in her is the fact that Christina Baldwin absolutely nails Bette Davis. Granted, there is makeup and wigs used in aid of the transformation, but it is also the cadence of her voice and the way she moves around the stage. It’s kind of uncanny, but in a way that isn’t distracting but entrancing. The strange thing is, if you’d asked me to cast this show with local actors, I might have hit upon Baldwin for Crawford, but Davis never would have occurred to me. I’d have probably cast Sally Wingert, who I’m sure would be good, but I doubt anyone could surpass Baldwin in this role. To quote Kim Carnes, “She’s got Bette Davis eyes.”

This is a fast-paced, inside Hollywood comedy, with the perfect amount of genuine emotion sprinkled in to remind us that some of their bluster is meant to mask their inner wounds. Fans of old Hollywood, great acting, sharp tongued strong women, and fantasy revisionism of history will find Gorgons a delight.

Gorgons runs through June 21st at Yellow Tree Theatre in Osseo. For more information and to purchase tickets go to https://yellowtreetheatre.com/gorgons-1

The Wizard of Oz Creates a World of Magic and Wonder at the Children’s Theatre Company

Regina Marie Williams, Reed Sigmund, Aniya Bostick, and Dean Holt Photo by Glen Stubbe Photography

The Wizard of Oz probably looked like a no-brainer when it was scheduled, likely around the time Wicked was becoming a global blockbuster in movie theaters. Now, coming on the heels of its less successful Part 2, Wicked: For Good, it might not feel like quite the slam dunk Children’s Theatre Company was hoping for.

I don’t see every show at CTC. Frankly, my kids are grown, the grandkids don’t live in town, and my niece and nephew are getting a bit old for most of their programming. But I try to catch one or two shows a year, usually something that appeals to me, my wife, or one of our usual plus-ones. The other factor is cost: tickets aren’t cheap, and if I’m going to recommend a show to a family, it needs to justify that price. This one absolutely does, it’s worth the splurge for a family outing.

The production is extremely faithful to the classic film, featuring all the songs you remember and love from childhood. I’m old enough to remember when The Wizard of Oz aired just once a year on network television, an event in our house. (I want to say it was around Easter, though that might be my memory playing tricks.) Either way, it was appointment viewing, something we looked forward to every year. I revisited the film a few years ago in its converted 3D version, and it still holds up, and if you are interested in such things, it’s a really solid conversion to 3D. But I may be wandering off into the haunted forest here. What I mean to say is: this feels like event theater, something you plan for, splurge on, and remember as a family. It’s filled with humor, unforgettable music, and impressive stage magic.

The role of Dorothy is played on alternate nights by two young actors, Aniya Bostick, who performed the night I attended, and Harriet Spencer. Bostick capably shoulders the weight of the entire production. Her talent and confidence in such an iconic role make her one to watch.

The entire cast is strong, but two scene-stealers deserve special mention. First is Alfie as Toto, who earns a collective “awww” from the audience every time he trots onstage, never missing a cue or putting a paw wrong. Second is a brief but hilarious moment from Brendan Nelson Finn as one of the apple trees, he knows exactly how to land a laugh without derailing the scene.

One of the production’s greatest strengths is the casting of Dorothy’s companions. These aren’t just solid performances, they’re fully committed, energetic, and deeply entertaining portrayals that elevate the show from something aimed primarily at children to something that genuinely works for all ages. No one phones it in; every actor digs into their role, finding every opportunity for humor and heart. The result is a show that trusts its story to captivate children while delivering performances that keep adults fully engaged. Leading that charge are Dean Holt as the Scarecrow, Regina Marie Williams as the Tin Man, and Reed Sigmund as the Cowardly Lion, who may well be the biggest laugh-getter of the night.

As mentioned, this is a production rich with stage magic, something I always appreciate when done well, and it certainly is here. Credit goes to the entire design team, starting with scenic designer Adam Koch, who brings to life a sepia-toned Kansas and the vibrant, technicolor lands of Oz. Costume designer Lex Liang strikes a nice balance between originality and homage, no designs are direct copies of the film, but all are clearly inspired by it. Lighting designer Jeanette Oi-Suk Yew, sound designer Reid Rejsa, and projection designer Kylee Loera all contribute to a seamless blend of effects that create a true sense of wonder.

If your kids are begging to see Harry Potter and the Cursed Child but your bank loan didn’t come through, this is a fantastic alternative, and one that wont put a penny into the despicable J.K. Rowling’s pockets. One you can enjoy without putting your house up as collateral, though you’ll still most likely need to put it on a Credit Card and pay it off over a couple of months.

The Wizard of Oz runs through June 14 at Children’s Theatre Company in Minneapolis. For more information and tickets, visit https://childrenstheatre.org/whats-on/the-wizard-of-oz-2/

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Grumpy Old Men the Musical From Minneapolis Musical Theatre is a Rather Fun Adaptation of the 90’s Film.

Jim Ahrens, Michael Fischetti, Ward Eames, and Quintin Michael Photo by Molly Jay Photography

Grumpy Old Men: The Musical, based on the 1993 film, is a perfect fit for the theater company Minneapolis Musical Theatre, which specializes in “Rare Musicals. Well Done.” This is certainly a rarely performed musical and, as is often the case, there’s a reason for that. The show itself isn’t of the quality that a larger theater like Theater Latté Da or the Guthrie Theater is likely to mount. But what MMT does is take those not-quite-hit-worthy efforts and, as their slogan promises, do them well.

The smaller budget, the mix of professional and community theater actors, and sets that lean more on creativity than realism are exactly what make a show like this work. To see Tyler Michaels King, Erin Capello, Tod Petersen, and Roland Hawkins II perform this on the Guthrie thrust stage, surrounded by a set that cost 20 times MMT’s budget, would shine far too bright a light on the material. At this level, we forgive the show’s imperfections, in fact, they become part of its charm. I don’t know if a lavish set could be any more charming than the clever creations scenic designer Maggie Mae Sulentic has devised. Actually, I do know: it would be a step down.

This material was never meant to stand beside Les Misérables or even Legally Blonde. Just as the original film wasn’t aiming for the magic of When Harry Met Sally or Groundhog Day, it was meant to be fun, light entertainment. And if memory serves, it was. I haven’t seen it since 1993, but I remember laughing and, despite it being aimed at people much older than my then tender 21 years, finding it quite enjoyable.

That’s what this is, too. Though I will say, I don’t think most modern 21-year-olds would find it as entertaining as I did. The sweet spot here seems to be my age and older, which, thankfully for MMT, my highly scientific observational poll suggests makes up about 75% of theatergoers. The trick, as with any show, is finding that audience and making sure they know about it. So if you’re under 40 and this doesn’t seem like your cup of tea, let your parents know, they’re going to have a blast.

The grumpy old men of the title are two former friends who have been feuding for more than 30 years. Their rivalry gets a fresh burst of energy when they both fall for a new widow who moves in across the street. Her home furnishings, especially a statue of her late husband, are among the many clever set pieces that add delightful touches to the production.

There’s also a subplot involving their children that might feel unnecessary, if not for the charming performances of Jillian Bader and James Lane, who win you over completely. Jim Ahrens and Ward Eames play the titular grumps, trading barbs and insults like seasoned pros. There are also a couple of real crowd-pleasers. Punky, played by Lisa Denninger, is essentially the show’s version of Woody from Cheers, and if you don’t know what Cheers is, this show probably isn’t for you. Denninger nails the comedy, but she also surprises vocally, arguably the strongest singer in the cast, if I’m being honest (and you know I always am). The other standout is Michael Fischetti as Grandpa, the role made famous by Burgess Meredith in the film. He’s just as funny, and just as inappropriate here.

Grumpy Old Men: The Musical is a great show to take in with a group of friends, say, ages 50 to 87. It runs through April 19th at the Conn Theater in Minneapolis. For more information and tickets, visit https://www.aboutmmt.org/2025-26-season/