The Orpheum Theatre is Alive With The Sound of Music in This Fantastic Production, Highly Recommended!

Kevin Earley (Captain Georg von Trapp) with the von Trapp Children (with guitar) Ariana Ferch (Liesl), (seated) Luciana VanDette (Gretl). Also pictured: Haddie Mac (Brigitta), Ruby Caramore (Marta), Benjamin Stasiek (Kurt), Eli Vander Griend (Friedrich), Ava Davis (Louisa) in The Sound of Music. Photo by Jeremy Daniel.

A strange thing happened as I sat in the theater tonight watching the touring company of The Sound of Music. A wave of nostalgia washed over me, and unlike the typical wave that comes and goes, it stayed with me. I’m not sure my eyes ever fully dried; they just kept leaking. Why was this? There is something about art that affects us in a unique way, particularly those works that are our gateways.

The film version of The Sound of Music was a yearly viewing event in my family’s house. Beginning in 1979, NBC began airing the film yearly, usually in February. I can clearly remember the first time I saw it during the 1979 broadcast. I was seven years old. It wasn’t my first film musical; I’m sure that was The Wizard of Oz, but I honestly don’t think of that as a musical for some odd reason, because clearly it is. But it’s a children’s fantasy first and foremost. The Sound of Music was an adult film, and everything about it moved me profoundly.

For years, I thought the dance between Liesl and Rolf during “Sixteen Going on Seventeen” was the most beautiful dancing I’d ever seen. I think Charmian Carr, who played Liesl, was my first celebrity crush. Little did my seven-year-old brain know that by that time, she wasn’t just nine years older than me, surely a number we could work through, but by the time I saw the film, she was 30 years older than me.

So tonight, I think all of those memories, of staying up way past my bedtime, of falling in love with Liesl, of that wonderful dance, and of all those beautiful songs, flooded back into my heart. I was reminded of that first pure love of a musical, long before I had a critical eye with which to view things. I don’t know that any other musical could have had as deep an impact as this one did. Tonight, I was reminded of all of that, and I think I was weeping for all of the reasons above, but also because I had been reminded of my love of the musical as an art form. These songs are like old friends, and seeing the show felt like coming home.

I think for some, The Sound of Music falls under the heading of shows they know well and think they don’t need to see again. To that, I would simply say: You’ve heard Meat Loaf’s Bat Out of Hell a bunch of times. Does that mean you never need to hear it again? Of course not! And that’s why my fellow bloggers and I go and see shows we’ve already seen productions of, because the great shows are like a favorite album. They are a joy to revisit, and they remind you of who you were when you first saw them. Each production is like hearing something new on a well-known album.

Now, fans of the film who have never seen a stage production may also be surprised by several differences. There are two songs in the stage musical that do not appear in the film. They flesh out the roles of Max and Elsa. Truth be told, they were no real loss from the film. But all the songs you know and love from the film are here, though sometimes not when you expect them to appear. “My Favorite Things,” for example, is sung by Maria and Mother Abbess before Maria leaves the Abbey. Missing from the stage musical is “I Have Confidence,” which was written for the film. Oddly, “Something Good,” which was also written for the film, does appear in this version in place of the original song “An Ordinary Couple.”

The changes are ones we note mentally and then let wash over us. They work where they are, just as they worked in the film, where director Robert Wise and screenwriter Ernest Lehman moved them to. There is very little in this production that doesn’t work. It was not just nostalgia that provoked the reactions I was having; it was also a response to this production.

One of the standout elements is the scenic design by Douglas W. Schmidt. Something as simple as following Mother Abbess through the Abbey in the opening is made dynamic by the set pieces that move along with her. The transitions are expertly timed and executed by director Jack O’Brien and the stage management team. There are some gorgeous backdrops, and the final set piece, depicting the grounds of the Abbey and the mountains the von Trapp family escapes Austria by climbing over (which they actually do in the show), is brilliantly designed.

The children are all great, as is Kevin Earley as Captain von Trapp. Ariana Ferch, who plays Liesl, is a standout. She is constantly adding little movements that give the character added awareness and depth. When she first plays the guitar in front of her father, sensing his protest, she moves forward in a way that conveys a new sense of defiance and agency, it’s silent, but it speaks volumes.

Lisa Howard plays Mother Abbess with a stunning voice that brings the theater alive with the sound of music. The real stunner, though, was Sydney K. Borchers as Maria, who is in as the understudy. It’s hard not to think we lucked out in getting the understudy, because it’s hard to imagine anyone playing the role better.

Borchers is absolutely a revelation in the role. This is Maria as we know and love her, but she’s also different. There is a freshness, a youthfulness, possibly even a slightly more modern edge to her. No, “edge” is the wrong word. She is not edgy in the slightest; she is sweet, good, loving, joyful, wise, all of those things, but without any of the cornier aspects those words summon.

I’d love to see this production again while it’s in town, but I’d be worried we wouldn’t have Borchers, and at this moment, I have no desire to see anyone else in that role. She is that good. Watching her, I completely forgot Julie Andrews’ performance, and that is really saying something, as Andrews is so ingrained in my mind as Maria.

There was just one casting choice that was all wrong: Dylan Bradford, who plays Rolf. He is supposed to be 17; Liesl is 16, and Ferch looks like she could easily be 16. I’m sure she is really in her twenties, but she doesn’t look it. Bradford looks 34, and it feels weird and just pulls you right out of the play for a moment. You can cast someone who’s 34, but they need to at least be able to pass for 17-ish.

Fans of The Sound of Music, don’t sit back and let this one come and go. Grab your tickets; you will not be disappointed. If you are a fan of musicals but haven’t ever seen The Sound of Music, it’s a musical you absolutely need to see, and this is probably the best stage version you’ll ever see.

The Sound of Music runs through October 25 at the Orpheum Theatre in downtown Minneapolis. For more information and to purchase tickets, go to Hennepin Arts.

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The Rocky Horror Show is an Absolute Joy of Overloaded Spectacle From Mixfit Theatre at Lush Lounge & Theater

Mixfit Theatre’s production of The Rocky Horror Show is unlike any other production I’ve seen, which is in keeping with the oddity that is the legacy of The Rocky Horror Show. A love letter to genre sci-fi and horror films, it is best known to the general public through the film adaptation, which, after a poor initial theatrical release, found new life during midnight screenings. Due to the popularity of those midnight screenings, in which the audience interacts with the film, shouting lines and throwing rice, it has become the longest-running theatrical release in film history. Now, this production doesn’t want you throwing rice, but the cast may ask you to participate, which is a nice nod to the film’s traditions. But fear not, introverts! You will be asked at the entry if you wish to be interacted with. If you select no, you will be given a red glow necklace to wear.

This is the second show I’ve seen at Lush this season, and they have both been a blast. The theater at Lush is primarily used for their drag shows and isn’t really designed for full-on staged musicals. So there is literally nothing in terms of set, but there are costumes, video projections, props, and an assortment of aerialist equipment. The show is billed as a burlesque circus cabaret, but that seems to imply it doesn’t tell the story of the show, which it absolutely does. But there is a lot going on at any one time. As characters are singing the songs, there is usually someone either on stage or out in the center of the audience performing aerial acts that are jaw-dropping. Throughout the show, you will literally not know where to be looking from moment to moment. It is complete sensory overload, but in the best possible way. To say I was wowed by some of the circus performers’ aerial choreography would be an understatement.

The show starts with the song “Science Fiction/Double Feature,” the lyrics of which string together titles and facts from various sci-fi and horror films. Director Siddeeqah Shabazz has utilized projections that exactly mirror the content of the lyrics of the song. We get a really well-edited montage of shots from many films, including The Day the Earth Stood Still, Night of the Demon, and the old Flash Gordon serial starring Buster Crabbe, all with a very queer-feeling color overlay. I knew from the first moment that montage appeared that I was going to love the show.

For those familiar with the show, you may already be aware that the first act is the strongest. All the best songs are in the first act, and the story is relatively easy to follow, even in this unique staging. The second half can be a little muddled in terms of plot, but again, there is so much going on in the space that, while you might be a little fuzzy on what is happening, you will be completely entertained. Even when the songs are not that strong, the band, led by Musical Director Bradley Beahen, wins you over with their clean, tight sound.

The cast has a lot of performers who are new to me, including El-Sara Duopu as Dr. Frank-N-Furter, whose vocals and stage presence are equally powerful. Lee Garr, as the Narrator, is full of strut and coolness as he dips in and out of the story to give us a guiding voice. The cast also has some Stages of MN favorites, including Monty Hays in the dual role of Eddie and Dr. Scott, who really makes the song “Whatever Happened to Saturday Night?” his own. Nora Sonneborn, as Riff Raff, is a powerhouse. Her vocals are always top-notch, but this role is a million miles from what I’m used to seeing her in, and I thought she was fantastic here. And another really strong performance comes from Caitlin Sparks, who brings a new edge to the character of Janet. That was really fun. She plays it big, which works perfectly for this production, where mousey would have been lost in the cacophony of the show.

This is one to attend with friends, have some drinks, and just relax and enjoy the spectacle. But hurry, the show is selling out its short run quickly. The Rocky Horror Show runs through October 24 at Lush Lounge and Theater in Minneapolis. For more information and to purchase tickets, go to https://www.mixfittheatre.org/tickets.

Annie Returns to Chanhasen Dinner Theaters in Fantastic New Production With Rising Star Eve Scharback as Annie

Annie acts as sort of a stealth missile of a musical. Everyone knows it, either from the movie or having seen it previously on stage. Just about every theater company has mounted a production, particularly community theaters. So when it comes up, there is an instinct to dismiss it or, when choosing between two shows, go with the less familiar. What we forget is just how good a production of Annie can be. Case in point: Chanhassen Dinner Theatres’ new production is the best I’ve ever seen! The cast is phenomenal, with a special emphasis on the juvenile performers who make this classic musical feel fresh and new!

As with all long-running professional productions featuring school-age performers, the children’s roles are double-cast. The performance I saw featured Eve Scharback as Annie. Scharback had already impressed me in multiple productions at Theatre Latté Da as Small Alison in Fun Home and Young Alice in their Next Festival reading of Alice in Neverland. It’s unclear if she is trying to corner the market on roles that begin with the letter “A,” but if that is her goal, I’ve no doubt she will achieve it. My prediction is that we are seeing the start of a career actor, one destined to be one of the Twin Cities’ go-to performers. Want to see a star born? Get out to CDT’s production of Annie. Eve Scharback is already shining with a brilliance akin to the North Star. I’d love to go back and see the show with the other cast as well, if they are as good as this, I’d say CDT has locked in the best young performers in the area.

Scharback is surrounded by six or seven other young actors, any of whom would outshine most performances in any community theater production. Special mention has to be given as well to Lucy Anderson, who played Molly this night. Director Tamara Kangas Erickson has guided Anderson straight into the hearts of the audience with her perfectly timed moments of comic relief. The audience was eating out of her hand as she was wheeled offstage in her bed while changing into different poses.

The adult cast is stellar as well. The role of Miss Hannigan, played to perfection by Carol Burnett in the film version, must be a daunting role, knowing that much of the audience will subconsciously be measuring your performance against hers. Serena Brook easily overcomes any resistance to her performance, and it is the standout of the adult cast. Also very impressive, as always, is Anna Hashizume as Grace Farrell, whose voice stands out due to her complete control of every note and the fullness of her sound. In the role of Daddy Warbucks was Dante Jamar Lamonte Murray, whom I’m unfamiliar with, but he’s a welcome surprise, with a nice, rich voice and an easy chemistry with Scharback’s Annie.

If you don’t know the story of Annie, all you really need to know is that it’s a show perfect for the whole family. Kids will love it, adults will love it, even the family dog will love it, though they probably aren’t allowed in. Annie’s dog Sandy is played by Addison, a professional “Sandy” who has performed the role all over the country. The role is small, but when Addison is on stage, she always hits her mark.

Annie runs through February at Chanhassen Dinner Theatres in Chanhassen. For more information and to purchase tickets, go to https://bit.ly/ANNIECDT. The wonderful thing about CDT is that not only do you get a great show, but a delicious meal as well. And don’t forget to add a dessert. I can personally vouch for the tiramisu and the salted caramel cheesecake, both are to die for.

Lizzie The Rock Musical Returns to Take Another Whack at Open Eye Theatre MUST SEE PRODUCTION

Grace Hillmyer and Lux Mortenson Photo by Bruce Silcox

Last year Open Eye Theatre struck gold with Lizzie: The Rock Musical; it sold out the entire extended run. Its popularity was so strong that the decision was made very early on to bring it back this year, locking in the same amazing cast. I loved the show so much last year that I went back for a second time, a luxury I can rarely afford to do with my schedule. This October is very busy, and I’m going to have to miss a week or two of shows in the middle of it, but there was no way I was going to skip this show even though I saw it twice last year. It’s that good.

Last year I declared that this one is an all-time favorite, and that holds true more than ever. It’s like a Wes Anderson movie: it gets better every time I see it. Lizzie: The Rock Musical is the high we theater junkies chase. When every element, from music and lighting to performance and design, collides at the intersection of awe and adrenaline. Like last year, I left the theater absolutely buzzing. Tonight, as I left the theater, I had the same thought I did the previous two times: I want to go again!

You may not know what to expect from a musical about the infamous Lizzie Borden, who was acquitted in 1892 of the axe murders of her father and stepmother. Open Eye Theatre’s program describes it as a “Victorian punk homage” to the notorious figure, and that fits perfectly. It’s important to understand that this is a fictionalized retelling of the true-crime story, inspired in part by the childhood rhyme:

Lizzie Borden took an axe
Gave her mother forty whacks.
When she saw what she had done,
Gave her father forty-one.

The musical assumes Lizzie’s guilt, as does pretty much everyone throughout history. It suggests her father’s “affection” may have crossed unsettling boundaries. It also explores a romantic relationship between Lizzie and her friend Alice Russell, what Lord Alfred Douglas once called “the love that dare not speak its name.” Amid all the blood and thunder, it’s the softer songs between Lizzie and Alice that linger. Numbers like “Will You Stay” and the haunting “Will You Lie?,” which is a response to the former, offer moments of tenderness, grace, and humanity that add layers to the characters.

Grace Hillmyer, Lux Mortenson, Abilene Olson, and Marley Ritchie Photo by Bruce Silcox

Lux Mortenson plays Lizzie in a ferocious, take-no-prisoners performance. They slay every moment and every song. Their chemistry with Stages of MN favorite Grace Hillmyer as Alice is electric: their scenes are tender, tentative, and deeply moving. Mortenson’s powerhouse energy drives the show like a drumbeat, while Hillmyer’s quiet strength and lyrical vulnerability provide the emotional melody. Abilene Olson as Lizzie’s sister Emma and Marley Ritchie as the family’s servant Bridget “Maggie” Sullivan complete the quartet with precision and presence. This cast is so perfectly aligned that future productions will inevitably pale in comparison. I’m so grateful that Open Eye was able to secure the entire cast from last year. I cannot imagine it with anyone else in the roles.

Helping elevate Lizzie to such heights is Joel Sass, who serves as both director and set designer. Open Eye Theatre consistently delivers exceptional design work, and Sass’s design is another example of its excellence. Michael Murnane’s lighting design adds a striking atmosphere, while Amanda Weis’s music direction ensures a tight, thunderous sound from the band. This is a small theater, but it’s a big sound coming through, and it’s also exceptionally clean sounding. Samantha Haddow’s costumes beautifully balance period detail with punk-rock attitude. The result is a production that’s a full sensory feast, sights, sounds, and emotion working in perfect harmony.

When Lizzie makes her final rockin’ entrance and the rock anthem swells, there is a shot of electricity that goes through the entire theater. In that moment, we are all one, sharing the kind of communal experience you rarely get, and that is unique to smaller intimate venues like Open Eye. I had the telltale Stages of MN tear sliding down my cheek. This is joy, and it wasn’t just me. You could tell by watching them that the cast was having a blast, too, and loving the audience’s reaction.

What is it about this show? From the moment they enter the stage wearing those creepy-as-hell doll masks, I’m all in! Maybe it’s the music, which definitely has a late-’70s, early-’80s vibe. There is a Jim Steinman feel to some of Steven Cheslik-DeMeyer and Alan Stevens Hewitt’s songs. It doesn’t simply rock, it fuckin’ rocks like a Bat Out of Hell!

You know how the Guthrie puts on A Christmas Carol every year, it’s a Twin Cities tradition right? Can we get Open Eye to do that with Lizzie every October? Because chances are I’m not going to have this same high until I see it again. Though, of course, I’ll keep trying. I’ll keep chasing the dragon, and I’ll be sure to let you know where you can get your fix.

Lizzie: The Rock Musical runs through November 1 at Open Eye Theatre in Minneapolis. For more information and to purchase tickets, go to https://www.openeyetheatre.org/lizzie-the-rock-musical. But don’t wait. I’d be very surprised if many, if not all, of the performances sell out again this year. There probably isn’t a better musical to see in the Twin Cities this entire month, probably the rest of the year that this!

Head Over Heals From Minneapolis Musical Theatre Has the Beat @ LUSH, So Much Fun You’ll Think You’re On Vacation

Head Over Heels is a musical that could easily lead you down the internet rabbit hole. I started down it myself before I came to my senses. It is a musical featuring the songs of The Go-Go’s and Belinda Carlisle. It is based on The Arcadia by Sir Philip Sidney, though the playbill doesn’t reflect whether it is The Old Arcadia or The New Arcadia. This 16th-century literary landmark also inspired some of Shakespeare’s work as well. And I think it’s fair to say that Shakespeare inspired some of the dialogue in this show. The show was conceived and the original book written by Jeff Whitty and then adapted by James Magruder. Just Google every other word of the above and spend a fascinating three to five hours on Wikipedia. You’re welcome, or I’m sorry, depending on how you feel about those lost hours.

So what is Head Over Heels? I can sum it up in two words: a blast! Is it Les Mis, Hamilton, or even Mamma Mia? Oh, Lord, no. It’s the music of The Go-Go’s, who were an iconic 1980s band, but they had like four songs you can remember. The level of recognizable songs grows to six when you add in Carlisle’s solo career contributions. This has to be the thinnest catalog of songs to ever spawn a jukebox musical. To be fair, the six songs are really bitchin’. And honestly, most of the songs worked well; they just weren’t familiar to this teenager of the ’80s.

The story is as follows. In the kingdom of Arcadia, a royal family discovers that love, gender, and identity don’t always follow the rules. When a series of prophecies from the non-binary Oracle Pythio start coming true, they realize the kingdom is in danger of losing its magical “Beat.” Add disguises, mistaken identities, and forbidden romances, and you have a queer Shakespearean comedy with an ’80s sensibility and a late-2000s social conscience. In the end, Arcadia learns that maybe the best way to save the kingdom is to stop worrying so much about who people are supposed to be and let them be who they are.

The queer nature of the musical makes LUSH Lounge & Theater in Northeast Minneapolis the perfect venue. The acoustics, to be honest, are not ideal, but that is made up for by the unique staging, which has cast members not only playing out along a long stage protruding phallically into the audience like a fashion-show runway, but they also enter, exit, and sometimes dance through the audience. This is a small mainstage, and it was a wise choice for Director Kari Steinbach to utilize the runway and block the characters out in amongst the audience. It allows for the show to open up. Choreographer Michael Terrell Brown, who has been doing some really exciting work out at Lyric Arts lately, faces the spacing challenge and comes out the victor. The movement is very fun, and the cast does a great job of not looking like they are crowded on the stage.

The cast is filled with folks I’m not familiar with; only two members of the cast are ones I know I’ve seen multiple times. I am always surprised when I come across someone I didn’t know by name who’s really good, and there were several folks here who were too good to have flown under the radar. There are essentially two would-be couples, the two princesses and their loves. Each of the quartet has some really strong moments. But we all know lists of who was great get old quick, so I’m going to hold myself to a moment that, amidst all the fun and energy of the show, caught me spellbound.

It’s toward the end, when Philoclea thinks her love has been killed. Ellie Turk, who plays the character, sings “Here You Are.” This is a show where you are always looking around; there is always something happening on or off stage, and then all at once you are instantly zeroed in on Turk. Her voice is perfect for this song, her performance draws your focus immediately, and you simply cannot take your eyes off of her. It’s a goosebumps moment.

There are a lot of standout moments in this show. Sometimes it’s the vocals on a song; sometimes it’s the hilarious performances from the cast. Is it RENT? No, but it isn’t trying to be. It had a Broadway run, but where this was always really meant to be performed were venues like LUSH, where the audience is loose and ready to have a good time. Children of the ’80s will have a blast remembering some of these songs and have acid-washed-jeans-induced flashbacks to some of the ’80s aesthetic. It’s one of those shows you need to see with a crowd, and one of those where you are tempted during the end number to get up and dance along.

Head Over Heels is an infectiously fun musical with an upbeat 1980s new-wave pop vibe that’s totally rad! This is the show that’s perfect to go out to with a bunch of friends. You’ll have such a great time that you’ll decide to make it a monthly thing. It’s also a great show for the LGBTQ+ readers among you; it has some beautiful messaging about love and gender.

Head Over Heals runs through October 10th at LUSH Lounge & Theater in NE Minneapolis. For more information and to purchase tickets go to https://www.aboutmmt.org/2026-27/

Merrily We Roll Along at Lyric Arts is a Chance to See This Sondheim Musical That is Having it’s Moment Live!

Noah Hynick, Brendan Veerman, and Maureen O’Malley Photo by Dan Norman

Stephen Sondheim’s musical Merrily We Roll Along is having a moment. 2023 saw the Off-Broadway revival transfer to Broadway, starring Jonathan Groff, Daniel Radcliffe, and Lindsay Mendez. You can actually stream a recording of that revival, which was released theatrically in 2025. There is also a feature film in the works from director Richard Linklater, who is shooting it over a 20-year period so that the actors can age with the characters. It began shooting in 2019, so watch for that in 2039 or 2040. Tickets are not on sale yet. I recommend not waiting for the film and getting out to see it at Lyric Arts.

This is not one of Sondheim’s better-known works. In fact, it was a bit of a flop when it made its Broadway debut in 1981. To be fair to audiences then, it has been extensively rewritten since. So what we see now is not what the 1981 audience saw that caused the show to close after 16 performances. This version buries that reputation and allows fans to experience what a musical would look like if Christopher Nolan directed one.

Merrily We Roll Along’s book is by George Furth, with music and lyrics by the late, great Stephen Sondheim. The story is told in reverse chronological order, following the relationships and careers of three friends: Frank and Charley, who collaborate on musicals together, and Mary, who is a writer. So we start with a Hollywood party celebrating the release of Frank’s new movie. His old friend Mary is there, and they discuss their friend Charley, who does not appear, as he and Frank are estranged. Mary drinks too much, it’s revealed that Frank is having an affair, and he and his wife are not happy together. Ultimately, Frank declares that if he could go back to the beginning to write with Charley and give all his success up, he would, because he’s not happy.

Each successive scene is a time jump backwards. We see the moments that destroyed friendships and marriages, and then we see the ones that began to fracture them. The play ends with the moment that Charley and Frank met Mary for the first time.

In a way, this feels like Sondheim’s commentary on the musical form. He has the theatrical producer Joe comment on Frank and Charley’s musical audition, saying that they need to add a melody to the songs, give the audience something to hum and tap their toes to. This attitude is presented as the sellout commercial view. Frank and Charley’s songs reflect Sondheim’s own approach to music, which is far more complex than verse, bridge, chorus.

The structure is a 50-year-old realist’s version of the way to give your show a happy ending. The older we get, the more we come to terms with, like the characters in Merrily We Roll Along, what our life has been and what it’s leading towards. Rarely do we realize all of our ambitions; rarely does our love life play out like the great romance we envision when it begins.

The way to achieve the happy ending that a musical audience wants, but maintain the reality of the world, is to tell it in reverse. In the movies, the climax is the high point of the story. In life, we find, as we look back, that most of the exciting stuff was the beginnings. What’s more exciting, the first kiss or the 2001st? Why do so many people who achieve success seem to feel unsatisfied? Because it is the effort to succeed that is exciting. The success is the end, it’s a period at the end of an exciting sentence that you thought would be an exclamation point.

It begins with the old, disillusioned, drunk, and absent, then ends with the young, idealistic, and hopeful. It’s the age-old cautionary story of the cost of success. Frank is successful at the beginning, but at the cost of many things, most dearly of which is happiness.

The show has a great trio leading the cast. Brendan Veerman as Frank was in good voice. I really enjoyed his quieter moments of song, such as in “Not a Day Goes By (Reprise)” and the final song, “Our Time.”

It appears that Lyric Arts has renewed their contract on Noah Hynick. It’s a smart move, as it will keep people coming out from the city to see his performances. Hynick plays Charley and does what he always does, which is make it his own. No one reacts or speaks dialogue quite like Hynick. There is always something special in everything he seems to do. It’s subtle, but constant. I’ve dubbed it the Hynick Nuance. He’s great as always, which may sound boring, but it isn’t.

But the big question, and not even the folks at Lyric Arts seem to know the answer to, is: Who is Maureen O’Malley, who plays Mary? The program says, “Bio coming soon?” I’m sure I’ve seen her before in one of the Christmas at Pemberley plays. Well, whoever she is, she does a great job, particularly in conveying her unrequited love for Frank, which is apparent in every glance.

There are several other familiar faces in the cast that it’s always nice to see, including Emily Grodzik, Steven Ramirez, and France A. Roberts. Also great to see Faith Winship Smith and Nykeigh Larson, both of whom I feel like we haven’t seen much from lately, but have always been notable additions to any cast.

Merrily We Roll Along is a very good production of a less well-known Sondheim work that is enjoying a well-deserved reappraisal. Engaging, funny, moving, and thought-provoking, it makes us confront our own unfulfilled dreams but also gives us that all-important happy ending.

Merrily We Roll Along runs through October 4th at Lyric Arts in Anoka. Make the trip; you won’t be sorry. For more information and to purchase tickets, go to https://www.lyricarts.org/merrily-we-roll-along

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