Chicago Gives Us That ol’ Razzle Dazzle at the Orpheum

Ellie Roddy as Roxie Hart in “*Me And Me Baby*” Photo by Jeremy Daniel

Chicago wowed the audience with great songs, a lively band, and fantastic dancing, but with a message that feels a little too close for comfort these days. The premise of Chicago is all about getting murderers acquitted by manipulating the truth and selling the narrative you want the jury and the public to believe. Roxie Hart and Velma Kelly are two such murderesses, represented by the razzle dazzle lawyer Billy Flynn. Flynn bends reality with ease, shaping public opinion and engineering the verdict he wants for his clients. A not-guilty ruling can be yours for the low, low price of $5,000!

Now, this is set in the 1920s, so I assume the price has gone up. You’d have to check with the current administration to know what it costs these days, but hey, you might get the added bonus of having your victim declared an enemy of the state.

Rather than get bogged down in the unfortunate resemblance to the moral cesspit we currently find ourselves wading through, I found the best strategy was to disengage from the story and focus on the music and dancing, which are superb. Once I made that mental shift, the show became much easier (and more enjoyable) to take in.

Ellie Roddy and Claire Marshall, as Roxie and Velma, are terrific across the board: strong performances, solid vocals, and excellent dancing. But the choreography truly comes alive when the full ensemble is onstage. Moving together, they function like a beautifully oiled, complex machine, fluid, precise, and endlessly stylish. The choreography credits are… complicated. The program lists Bob Fosse as the original director and choreographer, Gregory Butler for the re-creation of the original choreography, and Ann Reinking for the original New York production choreography, “in the style of Bob Fosse.” Whoever deserves the final bow, the result is sharp, iconic, and a real pleasure to watch. It’s also a testament to the athleticism of these performers that they can sing and dance at this level for so long.

Max Cervantes, as Billy Flynn, has a moment where he holds a note for what the audience seem to feel was impressive. I’ll tell you what though, you want to see the holding of a note beyond what you think is possible? Get yourself out to Artistry in Bloomington t o see Kiss Me, Kate where John-Michael Zuerlein holds a note which seemed to go on at least twice as long. Which is also to say don’t forget to also support your local theaters, that’s another classic musical running now that is filled with greta dancing!

Another standout, and a clear audience favorite, was Marc Christopher as Roxie’s long-suffering husband Amos. It’s a classic comic relief role, and Christopher absolutely nails it, especially in the show’s emotional bullseye, “Mister Cellophane.”

The show is packed with iconic songs, beautifully backed by the Chicago orchestra under the musical direction of Andy Chen. Go for the music. Go for the dancing. And if the story feels a little too real right now, feel free to tune that part out. There’s more than enough spectacle and talent on display to make the trip worthwhile regardless.

Chicago runs through February 1st at the Orpheum Theatre in downtown Minneapolis.
For more information and tickets, visit:
https://hennepinarts.org/events/chicago

Watch the 2025 TCTB Awards on the latest episode of The Stages of MN YouTube Show!! https://bit.ly/TSOMNEp25YouTube

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SHUCKED Is Hilarious Proof That Corn Can Be Sexy And Extremely Stupid at The Orpheum

The Cast of The North American Tour of SHUCKED Photo by Matthew Murphy and Evan Zimmerman

SHUCKED, the original Broadway musical that garnered nine Tony Award nominations in 2023, is a show that feels tailor-made for Twin Cities audiences. I went in knowing almost nothing, just that it involved corn, and I assumed it would be silly. What I didn’t expect was how raunchy it would be at times, or how consistently it would land its jokes. To give you some point of reference think Hee Haw after dark mixed with The Simpsons and that will get you close to the tone of the show.

To give you a reference point: imagine an R-rated version of Hee Haw and you’ll be pretty close. Much of the humor falls squarely into the “it’s so dumb it’s clever” category—nonstop wordplay groaners that somehow make you laugh while you’re rolling your eyes. The jokes come at you about a mile a minute. Then the show pulls off a real surprise: the songs aren’t just funny, they’re genuinely good, and they’re performed by a very talented cast. The result is a musical that’s funny, upbeat, delightfully silly, and more than a little raunchy at times. I was honestly surprised by just how much fun I had with this unapologetically corny show packed with songs that really pop.

The story is narrated by two storytellers who guide us through the action with songs and an endless stream of one-liners. The setting is Cob County, a place so devoted to corn that it has literally walled itself off from the rest of the world with corn. No one ever leaves, and no one outside seems to know it exists. On the day of Maizy and Beau’s wedding, just before the vows, the unthinkable happens: the corn begins to die on the stalks. Since corn is everything in Cob County, the wedding is put on hold until the cause of the corntastrophe can be discovered. Against Beau’s wishes Maizy ventures into the outside world for help. She ends up in Tampa, Florida, where she mistakenly believes a podiatrist named Gordy, who advertises himself as a “corn doctor”, can save her town. Gordy is a con man (though not a particularly good one) who realizes the stones in Maizy’s bracelet are valuable and decides to tag along to Cob County under the pretense of saving the corn, while secretly planning to steal the jewels to pay off his mob debts. Romance, betrayal, broken engagements, and new ones ensue, with Lulu (Maizy’s cousin) and Peanut (Beau’s brother) along for the ride providing commentary, chaos, and some of the show’s biggest laughs.

Danielle Wade is the engine of the show as Maizy. She has a wonderfully distinctive voice, part Southern twang, part Bonnie Tyler rasp, with real raw power behind it. Her unique sound and along with her spunky performance are spot on for the character she’s playing. Nick Bailey gives a stellar vocal performance as Beau, nailing songs that feel like classic rock power ballads. There may very likely be country music comparisons that are more apt, but not being at all versed on country music, or really any contemporary music to be truthful, those would be lost on me.

Miki Abraham is fantastic as Lulu, stopping the show with “Independently Owned,” a number that feels closest to traditional musical theater while still delivering sharp, funny commentary on self-reliance and empowerment. Mike Nappi provides pure comic joy as Peanut, the lovable idiot brother, very much in the spirit of those old Hee Haw cutaway jokes. Our narrators are played by Maya Lagerstam, a graduate of the UMN/Guthrie BFA program and Joe Moeller. Their engaging presence guides us through the narrative with wit, and knowing nods to the audience.

Local audiences are going to recognize and appreciate every layer of the humor here: the rural jokes, the meta commentary, and the sly nods to modern politics and culture. With a top-notch cast delivering big laughs, strong vocals, and genuinely smart silliness, SHUCKED proves that being corny can be a virtue.

SHUCKED runs through January 11th at the Orpheum Theatre in Minneapolis. For more information and to purchase tickets go to https://hennepinarts.org/events/shucked

Watch for the 2025 TCTB Awards to be announced on the next episode of The Stages of MN YouTube Show!!

The Stages of MN: Looking Back at the Year That Was 2025!

2025 has been a very eventful year for The Stages of MN. I want to thank you, faithful readers and now viewers, for being here. Knowing you’re out there reading and watching is what keeps me doing this. I especially want to thank those of you who come up to me at shows, introduce yourselves, and share your thoughts on what I’m putting out there. I love getting those photos together too, let’s try to ramp that up even more in 2026.

Of course, the biggest thing that happened in the world in 2025 was the launch of The Stages of MN YouTube Show and Podcast. On June 18, the first episode premiered, featuring an interview with Austene Van, Artistic Director of Yellow Tree Theatre. Since launching, I’ve released 24 full episodes as well as four mini-episodes covering the Minnesota Fringe Festival.

When I launched the show, I was unemployed and able to devote a lot of time to its creation. Even so, with the addition of the YouTube show, adjustments had to be made to accommodate the increased workload. After my application for more hours in the day was rejected, I determined that two things needed to happen: first, I needed to cut back on the number of shows I saw, and second, I needed to tighten things up. That became even more true once I acquired full-time employment. Easier said than done.

In 2024, I posted 147 blog entries, compared to 168 in 2025, though some of those were tied to episodes. The average word count per post in 2024 was 1,001 words, while 2025 saw a decrease to an average of 903, progress! Blog views grew from 72,200 in 2024 to 74,500 in 2025. Episodes of the YouTube show received 4,364 views in 2025, and the channel currently has 140 subscribers. The blog has 375 subscribers, up 160 from 2024.

Subscribers are wonderful, and we love them, but the vast majority of views come from social media. The site continues to grow steadily, which means more people are seeing the reviews, and hopefully more people are getting out to see live theater. Readers can help the site grow by following The Stages of MN on Facebook and Instagram. Like, share, and, why not subscribe? When you see a review you like, like it. When you see one you love, share it. Encourage friends to follow as well. The more visibility we have, the further the reach, and the more likely it is that someone who isn’t a regular theatergoer will stumble across a post and be inspired to check out a show.

Creating new audiences for live theater needs to be the objective of anyone in theater or anyone who loves theater. The second objective is to create or promote great theater, which hopefully leads to goal three: turning occasional theatergoers into regular theatergoers. I’m trying to do my part. I saw over 190 shows in 2025 and wrote reviews of 189 separate productions.

Now comes the moment where I share my Top Fives for 2025 in three categories: Touring Productions, Locally Produced Plays, and Locally Produced Musicals. These lists are not ranked; they are listed alphabetically.

The Stages of MN Top 5 Touring Productions:

& Juliet
Kimberly Akimbo
Life of Pi
Phantom of the Opera
The Wiz

The Stages of MN Top 5 Locally Produced Plays:

A Midsummer Night’s Dream (Guthrie)
Pride & Prejudice (Theatre in the Round)
Primary Trust (Guthrie)
Somewhere (Guthrie)
Three Sisters / No Sisters (Theatre Pro Rata)

The Stages of MN Top 5 Locally Produced Musicals:

Endometriosis: The Musical (Theatre in the Round)
Lizzie: The Rock Musical (Open Eye Theatre)
Natasha, Pierre and the Great Comet of 1812 (Elision Playhouse)
Once on This Island (Artistry)
Whoa, Nellie! The Outlaw King of the Wild Middle West (History Theatre)

Every year I add a few performers to my personal “Must-See” list, actors, dancers, and singers who stood out over the course of the year. Sometimes they’re artists I’ve never seen before; other times they’ve moved from “I really like what they’re doing” to “I need to see everything they do.” A few of the names that already adorn that list: Tyler Michaels King, Max Wojtanowicz, Joy Dolo, Shanan Custer, Daniel Petzold, Em Adam Rosenberg, Jeffrey Nolan, Allison Vincent, Brendan Nelson Finn, Grace Hillmyer, and Noah Hynick, to name just a few.

Here are the additions to The Stages of MN Must-See List for 2025:

Tara Borman (Endometriosis: The Musical at Theatre in the Round; Rollicking! A Winter Carnival Musical at History Theatre)
Dustin Bronson (A Midsummer Night’s Dream at the Guthrie; Love and Baseball at Artistry; Misery at Yellow Tree Theatre)
Antonisia Collins (Robin Hood at Zephyr Theatre; Once on This Island at Artistry)
Anna Hashizume (Grease at Chanhassen Dinner Theatres; My Fair Lady at Theater Latté Da)
Stephanie Kahle (The Crucible at Night Fire Theatre; Breach at MN Fringe; Pride & Prejudice at Theatre in the Round)
Nubia Monks (Paradise Blue at Penumbra Theatre; The Nacirema Society at the Guthrie; Primary Trust at the Guthrie)
Hawken Paul (Legacy of Light at Theatre in the Round; Bart and Arnie from Melancholics Anonymous; Natasha, Pierre and the Great Comet of 1812 at Elision Playhouse; multiple MN Fringe shows)

It was another great year for theater, and I’m very much looking forward to 2026. I hope you are as well. I write about theater and love it, but I’m not an extrovert. That said, I genuinely enjoy meeting readers and artists, so if you see me at a show, please stop over and say hi. Ask for a picture, and I’ll put you in the “At a Show With…” montage in future YouTube episodes.

The Stages of MN is always open to partnering with theaters to participate in or help facilitate pre- and post-show discussions or events. If that’s of interest, reach out. We’re also always looking for sponsors for the YouTube show. If you’re interested in sponsoring an episode, email me at robdunkelberger@thestagesofmn.com. You don’t have to be theater related, if you’re a reader or viewer with a business to promote, reach out and we’ll figure something out.

This year I also launched The Stages of MN +1 Club. I usually get two tickets to shows, but when a plus-one cancels or everyone’s busy, I text the +1 Club. Want in? Send me your name and phone number. When I have an extra ticket, I’ll text the group, and the first person to reply directly gets to come see a show with me for free. No group-text chaos allowed.

Thank you, as always, for your continued support, faithful readers and viewers. And now, in the immortal words of Carol Jackson:

“Go see a show!”

Somewhere is a Play For Us at the Guthrie Theater

The Cast of Somewhere Photo by Dan Norman

It was the best of times; it was an age of analog dreams, when imagination was golden. It was before the dawn of cable television and 200 channels, before smart screens and the instant gratification of DVD’s and DVR. It was long, long ago in a world that feels far, far removed from today, a world where there were movies you could only see when they aired on television. Some of them were so special that you could count on them airing once a year, and it was an event.

My love of musicals was born in those early years, with annual screenings of The Wizard of Oz, The Sound of Music, and West Side Story. By the early ’80s, I wouldn’t say we had cable television, but we certainly stole it. With that proliferation of channels, and the addition of the VCR more musicals found their way into my orbit. I’ve spoken before of knowing The Music Man by heart before the age of ten, and Man of La Mancha made such an impression that even today I cannot see the flaws in the film version, though others assure me they exist. As a kid who loved musicals, romance, and Batman in equal measure, West Side Story was the one I acted out most often. It had a rumble, for God’s sake. Somewhere is the story of an even earlier generation, a family as much in the thrall of musicals and popular entertainment as I was.

Somewhere takes its name from a song in West Side Story. It is a beautiful family drama about both the power and the burden of dreams. The Candelaria family moved to Manhattan from Puerto Rico so the absent father, Pepe, could pursue his dream of becoming a singer and dancer. While he travels with a band, the rest of the family struggles to survive and follow their own dreams. Inez, the mother, is the dream pusher, always encouraging her children to reach for the stars. Alejandro, the oldest child, has stepped into the role of responsible adult, making sure the bills are paid and dinner is on the table. Once a dancer with small roles on Broadway, he hasn’t danced in two years. As often happens, when everyone else lives for their dreams, one person steps up to manage reality for the rest. His younger sister Rebecca is also a dancer, and his brother Cisco dreams of being an actor. A chance reconnection with Alejandro’s best friend Jamie, who was essentially raised as a Candelaria, sparks new possibilities. Jamie works as an assistant to Jerome Robbins, the Broadway director behind West Side Story, which seems to always be in the ether of this play. The play explores the give and take between dreams and reality and the importance of living with both.

Somewhere is billed as a play with dance. There isn’t a lot of it, but what there is is terrific, and I don’t think anyone in the theater would have objected to more. Maija Garcia does an excellent job with the choreography, including an ingenious onstage costume change. It’s a moment where the very real drama of the characters takes a soaring grand jeté away from reality, if only for a moment. Director Joseph Haj has such a firm grip on the production that the moment lands perfectly, despite completely fracturing the play’s realism. It’s a bold choice, and it pays off beautifully.

Maggie Bofill, as Inez, is so buoyantly enthusiastic as the ever optimistic mother that when she softens into a remembrance monologue about how she first met Pepe, the shift in energy acts like a vacuum, pulling us fully into the moment. Preston Perez grounds the piece as the ever sacrificing Alejandro, trying to rein in everyone’s dreams just enough to protect them from heartbreak but without extinguishing those dreams altogether. He is also an impressive dancer, and along with local rising star Sam Stoll, who plays Jamie, they deliver some truly elegant footwork. It’s wonderful to see Stoll making his Guthrie debut; he’s terrific in the role.

Somewhere runs through February 1 at the Guthrie Theater in Minneapolis.
For more information and tickets, visit:
https://www.guthrietheater.org/shows-and-tickets/2025-2026-season/somewhere/

The Wiz Is So Fantastic You Should Get on Down to It at the Orpheum Theatre

Cal Mitchell as The Lion, Dana Cimone as Dorothy, D. Jerome as The Tinman, and Elijah Ahmad Lewis as The Scarecrow in the North American Tour of THE WIZ. Photo by Jeremy Daniel

I’ve never seen The Wiz performed live. I remember seeing the movie as a kid and being a little disappointed, and based on some light research, I might still feel that way about the film version. This stage production of The Wiz, though? Man, it was groovy.

The show is designed as a Motown infused take on The Wizard of Oz, so if you’ve seen the classic film or read the books, you already know the basic plot. It doesn’t stray far from that framework. What it does do is filter the story through a different cultural lens, a more modern, hip sensibility, with Charlie Smalls’ R&B influenced songs driving the energy. It puts a fresh spin on everything, including a surprising amount of humor that feels very contemporary. That may be thanks to Amber Ruffin, who is credited with additional material for this production, likely updating William F. Brown’s original book. A quick glance at the Wikipedia summary of the original musical shows that quite a few changes have been made, including cutting Toto entirely.

The cast is strong across the board. Of the four companions Dorothy, the Scarecrow, the Tin Man, and the Cowardly Lion, the weakest link might be Dana Cimone as Dorothy. Her voice didn’t feel quite as full, rich, or confident as the others, but that may also be a deliberate character choice. Dorothy is a young girl who struggles with confidence and connection, and part of her journey is discovering that she already has what she needs. Her three companions are all fantastic, with another standout being Alan Mingo Jr. as the Wiz.

I’m not usually a fan of heavy reliance on projection in production design, it often feels like a shortcut. But here, I absolutely loved Daniel Brodie’s projection design and how seamlessly it integrated with Hannah Beachler’s scenic design. The projections add a fantastical quality and are executed at such a high level that they create a striking illusion of depth. At times, I found myself trying to figure out whether there were multiple physical layers onstage or if it was all visual trickery. I don’t want projections to replace physical sets, but in this case, I’m completely on board.

This isn’t Wicked, Frozen, or The Phantom of the Opera, a revival of The Wiz simply isn’t going to have that level of budget. But the creative choices here frequently approach that level of spectacle. In some ways, the design also nods to the classic film. The show opens with a black & white aesthetic reminiscent of the Kansas scenes in The Wizard of Oz. The original film also used lush but obviously painted backdrops, and the projections here echo that two-dimensional theatricality in a clever way. At the same time, the production makes great use of low-tech magic, including an especially effective tornado created with dancers and lighting. (See the Photo Below)

Gregory Hamilton, Moriah Perry, and Kameren Whigham as The Tornado in the North American Tour of THE WIZ. Photo by Jeremy Daniel

The costumes by Sharen Davis, lighting design by Ryan J. O’Gara, and choreography by JaQuel Knight all deserve special mention. Together, these elements create a visually dynamic and consistently engaging production. My hazy memory of the film, one I probably haven’t seen in over four decades, is of something cluttered and uneven, though that may be more about the taste of a preteen raised on the Technicolor splendor of the original Wizard of Oz. This stage production is clean, lean, and well-paced. The narrative moves briskly, the design is enchanting, and the cast delivers strong vocals alongside bringing a sharp attitude and colorful humor to the characterizations.

The Wiz runs through December 21st at the Orpheum Theatre in downtown Minneapolis.
For more information and tickets, visit:
https://hennepinarts.org/events/the-wiz

The Phantom of the Opera Returns to the Orpheum Theater in Best Production in Decades

Isaiah Bailey and Jordan Lee Gilbert Photo by Matthew Murphy and Evan Zimmerman

The Phantom of the Opera returns to the Twin Cities for what must be the seventh or eighth time. This tour is billed as a revitalized production of Andrew Lloyd Webber’s legendary musical—based on Harold Prince’s original direction, with staging and choreography by Gillian Lynne, recreated by Chrissie Cartwright. The last time the show toured through Minneapolis, the staging was noticeably different from the version I remembered. While I enjoyed that iteration, I’m thrilled this production brings back the staging I first fell in love with.

For the uninitiated, The Phantom of the Opera tells the story of a mysterious, disfigured musical genius who lives beneath the Paris Opera House and becomes obsessed with a young soprano named Christine Daaé. As he manipulates the opera company to make her a star, Christine is torn between fear, fascination, and her love for childhood friend Raoul. The Phantom’s desperate obsession spirals into jealousy and violence, culminating in a confrontation where compassion becomes his final reckoning.

This is one of those musicals people tend to either love or loathe. I know plenty of musically sophisticated people who dismiss it entirely, but I’m not one of them. My love for this show goes back to my first encounter with it: a high school show choir trip to Los Angeles in 1990, where I saw Michael Crawford in the role he originated in the West End and on Broadway. That performance seared itself into my memory. It was probably the first massive Broadway caliber show I ever saw, and it left its mark. I played the cast recording endlessly, so much so that “All I Ask of You” ended up in my first wedding, which feels incredibly cliché now.

Like every version I’ve seen since, this production doesn’t quite reach the perfection of that first experience, but only just. If you’re a Phantom fan, this may be the strongest tour in a couple of decades.

The cast is solid overall, with a few minor quibbles. Daniel Lopez (Raoul) sings beautifully, though at times his constant smiling felt more like musical theatre autopilot than character driven choice. Jordan Lee Gilbert is a stunning Christine, her voice and emotional performance are exceptional. Isaiah Bailey (the Phantom) felt slightly tentative in Act I, but something clicked for him in Act II, and his performance deepened significantly. Of course, every Phantom I see ends up compared, perhaps unfairly, to Michael Crawford’s definitive interpretation. I also enjoyed William Thomas Evans and Carrington Vilmont as the new opera managers; they brought nuance and personality to roles that can easily become one-note.

As always, two things define Phantom: the music and the design. The score, depending on who you ask, is either lush romantic genius or overly popularist fluff. I fall firmly in the first camp. I find it sweeping, emotional, and unforgettable. Some of the most memorable melodies in musical theatre live here.

The production design is equally superb, truly lush in every sense. From the jaw-dropping moment when the chandelier transforms from dusty relic to blazing spectacle in under two seconds, to quieter scenes like the managers’ office framed by rich curtains, the visual world is breathtaking, theatrical, and immersive.

If you’re already a Phantom devotee, consider this a strong recommendation. If you’ve never seen it, now’s the time, if only so you can finally decide whether you’re a Phantom lover or Phantom leaver.

The Phantom of the Opera runs through December 7 at the Orpheum Theatre in Minneapolis.
For more information and tickets, visit: https://hennepinarts.org/events/the-phantom-of-the-opera

My Fair Lady at Theater Latté Da Feels Fresh and New, While Still Retaining its Classic Charms

Tod Petersen, Jon-Michael Reese, and Anna Hashizume Photo by Dan Norman

Usually, when it comes to a long runtime, I secretly wish they’d cut the overture. My thinking is, the show is already long enough, I don’t need a preview of every song I’m about to hear over the next three hours. But here, director Justin Lucero turns the overture into an unexpectedly delightful launchpad.

The entire score is played on two pianos, one musician dressed as an upper-class pianist (Joshua Burniece), the other as a working-class player (Wesley Frye). This establish one of the show’s key themes, class divide right at the top of the show. The playful interaction and energy between them makes the overture feel like a friendly dueling piano act. This was one overture I really enjoyed.

And that’s just the first of many smart choices Lucero makes to pull My Fair Lady into the 21st century. His direction doesn’t ignore the source material’s outdated gender dynamics but he doesn’t let them pass without commenting on them either. In subtle ways he works to undermine them and in doing so makes the show relevant to a modern audience. Perhaps if the producers of Purple Rain had enlisted the services of Lucero, they’d have cracked the code and their Broadway chances would seem more hopeful. The parallels between the two shows, especially in how we now view power, agency, and gender, are striking.

Without question, the heart, soul, and blazing force of this production is Anna Hashizume as Eliza Doolittle. She brings fire, dignity, and grounding to a character who has too often been framed as a fantasy version of compliant womanhood. Hashizume wants no part of that narrative. Her Eliza is sharp, funny, evolving and increasingly unwilling to accept the terms of her transformation.

She’s wonderfully comedic at Ascot, quietly heartbreaking when ignored after her triumph, and electrifying in the final scenes as she claims her autonomy. And, as always, her vocal work is stunning. This role showcases both her classical training and her musical theater skills.

Jon-Michael Reese’s Henry Higgins feels like The Kid from Purple Rain, but this time, the actor has the charisma and nuance to make the character compelling even when he’s insufferable. Reese finds humor and rhythm in Higgins’ arrogance, giving the score a fresh tone without softening who the character fundamentally is. His dynamic with Hashizume feels carefully calibrated, and the result is a very well matched pairing.

Stages of MN favorite, Tod Petersen, brings his inherent goodness, warmth, and perfect comedic timing to Colonel Pickering. His scenes with Norah Long (as Higgins’ mother) are a particular delight. Felix Aguilar Tomlinson rich voice delivers one of the night’s vocal highlights with a powerful performance of “On the Street Where You Live.”

Eli Sherlock’s set is wonderfully ingenious. It consists of two parts, a center column on which the dual pianos are situated with an outer ring that rotates around that stationary center. One side is Henry Higgins’ home with the other side standing in as various locations. Amber Brown’s costumes are exquisite, and when Hashizume appears at the top of the staircase ready to head to the embassy ball her costume takes the entire theater’s breathe away.

Also deserving of praise is the Choreography of Abby Magalee, her work on the song “Wouldn’t it be Loverly” being the standout. Which brings up one baffling thing, I wasn’t sure if I was just hearing it wrong or did they change it from Loverly to lovely? or were they just downplaying that “R”?

My Fair Lady runs through December 28, 2025 at Theater Latté Da in Northeast Minneapolis.
Tickets and info: https://www.latteda.org/my-fair-lady