It’s Only a Play is a Hilarious Love Letter to the Theater World at Park Square Theatre

The Cast of It’s Only a Play Photo by Dan Norman

I’d like to be able to say that the cast is the sole reason to see It’s Only a Play, part of Park Square Theatre’s 50-year celebration season. But that’s only one of the reasons. There’s also the elegant set design by Benjamin Olsen, the creative and sharply staged direction by Stephen DiMenna, and of course the knowingly hilarious script by Terrence McNally. It feels unfair to other shows that this one gets everything right.

The play is set in the bedroom of Broadway producer Julia Budder’s townhouse on the opening night of her first solo production. Downstairs, a party is in full swing, while upstairs a group of those involved with the play, including their friends, the help, and even a critic await the reviews. It’s filled with inside jokes for theater and pop culture fans, but the humor feels universal enough that you don’t have to be a theater nerd to enjoy it.

The cast is so strong that rather than use a more dynamic production photo, I wanted to highlight one from the curtain call featuring the entire ensemble. They’re all excellent, though I can only single out a few. Jim Lichtscheidl takes on the largest role as James Wicker, the playwright’s best friend and an actor who turned down the male lead. Not because of his TV series, as he claims, but because he suspects the show is a flop. Lichtscheidl is a master of nonverbal communication, and his body language and facial expressions add immeasurably to the character.

Sally Wingert is fascinating as Virginia Noyes, the Hollywood actress returning to the stage because no one in film will hire her anymore. It’s a role that gives her plenty of funny lines, but like Lichtscheidl, she leans into physical comedy to terrific effect.

It’s also wonderful to see Daniel Petzold back at Park Square, where I first took note of him in Airness a few years ago. His turn as the British Director Sir Frank Finger, who cannot seem to get a bad review no matter how hard he tries, reminds us why we noticed him in the first place. Hopefully, between the Guthrie and Park Square, we can keep him busy enough to prevent him from being lured away too often.

The rest of the cast is equally strong. Warren Bowles, as theater critic Ira Drew, plays the role perfectly and I can relate to his pain. Nobody likes the critic.

With such a smart script and a comedically skilled cast, It’s Only a Play makes for a terrific night at the theater. It runs through October 19th at Park Square Theatre in St. Paul. For more information and to purchase tickets, visit parksquaretheatre.org.

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The Stages of MN YouTube channel is home to the weekly Stages of MN Show. You can watch it by clicking here. Be sure to check out the latest episodes and subscribe so you’ll always know when a new one drops. Not sure you agree with one of my takes? I’m also part of the Twin Cities Theater Bloggers (TCTB), where you can find review roundups from my colleagues and me. Follow us on Facebook at @TwinCitiesTheaterBloggers.

Big Fish is an Evening of Tall Tales Told With Humor and Heart at Lyric Arts in Anoka

Kate Beahen and Ben Bakken Photo by Molly Jay

Big Fish based on the novel by Daniel Wallace and the 2003 Tim Burton film from Columbia Pictures, could be aptly titled Dad Jokes and Stories: The Musical. I saw the film in the Theater with my son Alex when he would have been about five and a half years old. It sticks with me because of a memory I have of Alex laughing his head off at a scene where a baby goes sliding down the aisle of, I want to say an airplane. I’m not 100% sure that scene exists, and seeing the show with Alex 22 years later has made us both curious to revisit the film and see if my memory is true.

Daddy and Alex at Lyric Arts for Big Fish 9/5/2025 Photo by my right hand

I don’t know how faithful it is to the book I never read or the film I barely remembered, though story details did come back to me as we watched. I feel like there is a lot of consistency at least between the film and the musical. Which also makes sense because the screenplay for the film and the book for the musical were both written by John August. The show is about the relationship between a father, who tells tall tales, and his son who expecting his own son in a few months. The father, Edward, is dying and his son Will wants to know the truth about his father who has been an embarrassment to him throughout his life, always telling wildly implausible stories. The fun of the show is the enactment of these stories, which feature mermaids, giants, the circus, and a war story in which Edward thwarts the assassination of a general. Much of the humor comes in the style commonly referred to as Dad Joke’s, which being a Dad, I loved. The heart comes from the relationships. Whether it’s the romantic and loving relationship between Edward and his wife Sandra, the attempts to connect between Edward and Will, or how the myriad of other characters with who Edward interacts create a tapestry that tells his mythology. I can’t say any of the songs by Andrew Lippa have actually stuck with me, but they were enjoyable enough as the show played out.

The cast is led by Ben Bakken, who is terrific as Edward, with boundless energy and a twinkle in his eye as he unloads every whopper of a story. The other cast member whose performance I found really touching was Kate Beahen as Edward’s wife Sandra. Beahen is a gifted vocalist, but it’s the warmth and unwavering love she displays for Edward throughout that really grounds that relationship making her the glue that binds the family together. Director Scott Ford along with Music Director Wesley Frye, and Choreographer Hannah Weinberg-Goerger, wonderfully stage everything from the tall tales to the group dance numbers. Special shout out to Costume Designer Samantha Fromm Haddow who must have 5 or 6 different costumes for each of the 21 cast members. And special little nod to two performers in small roles that absolutely put their uniques stamp on the show, Justin Betancourt and Alex Stokes.

The show runs about 2 hours and 35 minutes including the intermission, but it doesn’t feel long at all. The storyline that threads its way through the episodic stories told by Edwards keep it clipping along and allows us a variety to the storytelling that keeps it fresh. Alex and I both really enjoyed revisiting the story of Edward and Will and all the fantastical characters that populate it. Big Fish runs through September 28th at Lyric Arts in Anoka. For more information and to purchase tickets go to https://www.lyricarts.org/big-fish

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The Stages of MN YouTube Channel is home of the weekly The Stages of MN Show which you can view by clicking on this link https://www.youtube.com/@TheStagesofMN. Check out the latest episodes and Subscribe to the channel so you’ll always know when a new episode has dropped. Think I may have steered you wrong on a show? Well, I’m also a member of the Twin Cities Theater Bloggers (TCTB), where you can read review roundups of shows by m’colleagues and I when you follow us on facebook @TwinCitiesTheaterBloggers.

Singing in the Rain Will Tap its Way Into Your Heart at Artistry in Bloomington

The cast of Singing in the Rain Photo by Alyssa Kristine Photography

During the rush, chaos, and exhaustive exhilaration that is The Minnesota Fringe Festival I found time thanks to a weekday matinee to take in Singing in the Rain at Artistry in Bloomington. A longtime favorite film musical of mine, due to its subject matter revolving as it does around the transition from silent to sound movies. I had never seen a production of this early 1980’s stage version, which closely adheres to the plot of the 1952 film. There had been other opportunities but in a world where we have to choose three or four out of ten possible shows to see some weeks, I think I always opted out of this one, afraid it couldn’t live up to my fondness for the film. If you are a fan of the film you can throw those fears aside, this productions is delightful. The story for those unfamiliar with the film follows the career of Silent film star Don Lockwood who rose up through the entertainment ranks with his best friend Cosmo Brown. Now a big star alongside the,”dumb or something” Lina Lamont, Don has to navigate the changing world of cinema as the “Talkies” become all the rage. Meanwhile, Don has fallen in love with Kathy Selden, an up and coming actress, which puts Kathy in the crosshair of Lina who believing her own publicity mistakenly thinks she and Don are madly in love with each other.

The reason to see this show is the magnificent choreography by Danny McHugh who plays Don Lockwood in the show and the shows Director Kelli Foster Warder. This has some great toe tapping and heal tapping, and well…it has great tapping! A strong ensemble of precision dancers create impressive show stopping dance numbers that will wow even the most casual of dance appreciators. McHugh is great as Don Lockwood which is saying something as he’s filling Gene Kelly’s shoes. Also doing a great job is Armando Harlow Ronconi, who plays Cosmo Brown filling the shoes of Donald O’Connor. Brown’s best song in the film is “Make ‘Em Laugh” and they do a good job of translating it to the stage here. It isn’t quite as slapstick and manic, but honestly I don’t know how you could safely do that on stage night after night, they find a nice compromise. Brittany Mendoza-Peña makes a great Kathy, with a sweet voice and the stage presence to stand up to Don in the early sparring scenes of their relationship. Serena Brook is also very strong as Lina Lamont, a character who’s successful portrayal is judged on how much you can barely tolerate her speaking without actually reaching that nails on chalkboard sensation. Brook perfectly finds that line and stays just this side of it, it’s a gloriously comic performance.

There were some technical elements that I was really impressed with as well. Sarah Bahr’s scenic and costume designs were fantastic, with the costumes featuring some great period style suits and gowns. The set design features a movie screen in certain scenes that is used really creatively in multiple ways. In one scene the actors perform behind it with film grain projected on the surface to give the appearance of an old film. While in other scenes actual video footage is projected onto the screen and it’s here that there’s a special cameo for local Theater fans. As is always the case at Artistry, the music is perfectly done under the steady hand of Music Director Sanford Moore. Singing in the Rain has been extended through August 31st at Artistry in Bloomington. For more information and to purchase tickets go to https://artistrymn.org/rain

Don’t depend on a Facebook or Instagram algorithm to ensure you hear about a great show. You can subscribe and have every post from The Stages of MN sent directly to your email box. It’s the best way to ensure you don’t miss out on any of the theater action. To subscribe on your computer: from the home page on the right, enter your email address and click subscribe. On your mobile device scroll to the bottom of the page and do the same. You can also follow me on Facebook, @thestagesofmn click follow and on Instagram thestagesofmn.

I’ve officially launched The Stages of MN YouTube Channel which you can view by clicking on this link. https://www.youtube.com/@TheStagesofMN. Check out the weekly episodes. Subscribe to the channel so you’ll always know when a new episode has dropped. Think I may have steered you wrong on a show? Well, I’m also a member of the Twin Cities Theater Bloggers (TCTB), where you can read review roundups of shows by m’colleagues and I when you follow us on facebook @TwinCitiesTheaterBloggers.

The Music Man is Terrific With Capital T and that Rhymes With P and That Stands for Perfect for the Whole Family at Lyric Arts in Anoka

Pictured: Tony Potts, Ben Glisczinski, Brandon Osero, Holli Richgels, Shana Eisenberg, Cole Strelecki Photo by: Molly Jay

The Music Man is one of a few musicals where the book, music and lyrics were created by one person Meredith Willson. It is brimming with memorable songs “Iowa Stubborn“, “Goodnight My Someone“, “Wells Fargo Wagon”, “Till There Was You” and all time rouser “Seventy-Six Trombones” as well as many others. It’s one of a handful of musicals that I was very very familiar with growing up, mainly from the 1962 film version starring Robert Preston and Shirley Jones. What’s nice about this show, is that it’s fun for the whole family. I was only 8 when I fell under its spell and I hope families will use this production as a way to introduce their 8 year olds to the joys of a good old fashioned musical.

For those who don’t know, the music man of the title is Professor Harold Hill, Gary Conservatory of Music, Gold-Medal class of Aught-Five. Or at least that’s what he wants the citizens of River City, Iowa to believe. In reality, he’s a flim-flam artist who works his way across the country town by town, selling the idea of a boys band. The idea is the key word there, because he sells them the instruments and the uniforms, and then skips town with the money without teaching the boys to play a note. In fact, he doesn’t know one note from another. What he can do is keep everyone off balance long enough that they don’t realize there is never going to be a band. His first step is to create a need for a boys band. When he learns that the town has just gotten its first pool table, he uses it to rile up the citizens by pointing out the slippery slope to corruption that pool tables represent to the youth of River City. Which he points out in the song “Ya Got Trouble“, that’s Trouble with a capital T and that rhymes with P and that stands for Pool. Well, it’s hard to argue with logic like that. His second step is to introduce at a town gathering the idea of keeping the young boys out of the pool hall by exposing them to a more morally enriching activity like, oh I don’t know, a boys band? Step three, keep the Music Teacher off balance so that she doesn’t expose him as a fake before he collects and gets out of town. Of course the Music Teacher isn’t like the others he’s come across in his travels, this is “Marian The Librarian” and he will find himself as off balance as she is by the end.

Key to the success of any production of The Music Man is the casting of Harold Hill and Marion. Lyric has great performers in each role. Tony Potts has the charm and charisma necessary to sell this character’s ability to talk anybody into almost anything. He almost convinces Paul Reyburn’s Mayor Shinn to purchase an instrument for a son he doesn’t even have. The role of Marion, which is played by Nadia Frazen, requires an exquisite voice, which she certainly has. The show is filled with great supporting players as well. From the always hilarious Alex Stokes, who finds a way to distinguish himself from the other three members of the school board/barbershop quartet with his unique comic timing and performance. To the talented young folks Maddox Tabalba as Winthrop and Ava Fox as Amaryllis. But there was one performer, whom I’m not even sure had a single line of dialogue, that really wowed me and that was William Kroeger. If I had to guess I’d say he was six or seven years old at most, but he’s as precise in his choreography, maybe more so than some of his adult cast-mates. Sometimes you see a performer that just has “it”. It’s a little early to say for Kroeger, but he seems to have the natural ease on stage that makes for a great performer, if he chooses to pursue it. He’s one to keep your eyes on.

The show is directed and choreographed by Lauri Kraft who does a great job of keeping the action fluid and the cast moving in the Lyric Arts, smallish stage. The dance moves particularly in “Seventy-Six Trombones” are impressive. With that scene feeling like carefully controlled, planned, and executed chaos. I also appreciated the clever staging of how to have Hill keep trying to engage Marion in conversation while she will not stop walking. If she were to actually walk she would cross the stage before the first exchange ended, and to do all of the exchanges they would have had to have them walk in circles around the stage. Instead Kraft has them walk in place and it works very effectively. In fact the set design cleverly works along the same principle. Greg Vanselow’s design consists of just a few pieces that are reconfigured quickly creating different locals and at times are moved by cast members to help create the illusion of movement.

The Music Man is a favorite musical of The Stages of MN and Lyric Arts Production does this piece of American Musical Theater justice. Strong performances, wonderful choreography and direction and a smart and creative production design make this a great show to enjoy on the hottest summer days. The Music Man runs through August 10th at Lyric Arts in Anoka. For more information and to purchase tickets go to https://www.lyricarts.org/music-man

I’ve officially launched The Stages of MN YouTube Channel which you can view by clicking on this link. https://www.youtube.com/@TheStagesofMN. Check out the intro videos and the weekly episodes. Subscribe to the channel so you’ll always know when a new episode has dropped. Think I may have steered you wrong on a show? Well, I’m also a member of the Twin Cities Theater Bloggers (TCTB), where you can read review roundups of shows by m’colleagues and I when you follow us on facebook @TwinCitiesTheaterBloggers.

Madagascar: A Musical Adventure is Fun for All Ages at Stages Theatre Company

Madagascar: A Musical Adventure is a stage adaptation of the popular DreamWorks animated film that came out when my kids were little. I know I saw the film, but to be honest it has completely left my memory I have some memory of penguins and lemurs but that’s about it. Luckily prior knowledge of the film is not needed to enjoy this simple tale of Zoo animals who go looking for something more. As with most children’s shows there is a positive message about friendship and this one focuses on best friends Alex the Lion and Marty the Zebra. Marty is having a midlife crisis, she is 10 years old and still doesn’t know if she’s black with white stripes or white with black stripes. When she decides to leave the zoo and see what’s out in the world her friends led by Alex go after her to bring her back. Somehow they all end up in crates on a ship in the ocean. They go overboard and wash up on the shores of Madagascar. There they’re befriended by Lemurs who hope Alex will protect them from their carnivorous enemies. Meanwhile Alex is getting hungry and while his friends are content with the lemurs vegetarian diet, Alex’s instincts began to get the better of him.

I think most kids are going to have a great time with this show. The songs are fun and lively and there’s even a more poignant lament sung by Marty that’s really kind of beautiful. The cast a mix of a few strategic adults and lots of kids who do a great job. The Costume and Make-up Designer Samantha Fromm Haddow deserves full marks for the wonderful animal costumes. I loved the hoofs and headpiece on Marty, particularly the penguins which are puppets controlled by men dressed like Jake and Elwood Blues, are really well done. There’s a nice set design too by Joe Johnson effective as the Zoo and then surprisingly lush when transformed to Madagascar. If your wee ones like animals and music, they will have an adventure with this show and the audience really gets into it clapping along and dancing in their seats, or maybe they just needed the restroom. Either way it’s a fun show for families.

Madagascar: A Musical Adventure runs through August 3rd at Stages Theatre Company in Hopkins. For more information and to purchase tickets go to https://www.stagestheatre.org/madagascar-a-musical-adventure/

Cabaret at The Guthrie Theater Makes the World Go Round

The cast of *Cabaret* Photo by Dan Norman

Cabaret closes out the Guthrie season and feels like a portent of coming events. Directed by Guthrie Artistic Director Joseph Haj, this production doesn’t shy away from the ugly underbelly of the show. But it also doesn’t skint on the skin and scintillation. The period of freedom and openness and perhaps excess that allowed conservative forces to frighten the masses into regressing to an empathetic stone age is on full display. What I assume has to be an ad lib, the Emcee played to divine perfection, both wicked and tragic, by Jo Lampert says “Love is Love” and for a throw away line it’s the one that speaks the most urgent truth to our times. Sometimes I feel like every show I see has something urgent and vital to say to audiences. Even something as absurd as a musical about Endometriosis. Cabaret was designed to speak to the rise of nazism and how it stripped the freedom we take for granted away from the people who lived on the fringes or were part of a persecuted class in Berlin in the 1930’s. Written by Joe Masteroff (book), John Kander (music), and Fred ebb (Lyrics) it debuted on Broadway in 1966. That was another time of social unrest and one can see how the authors could see parallels to their world. What would they think if they could see us now?

When you step back and take away all the politics and social commentary what you have is an unusually structured musical. Whom we assume are the main characters, Cliff and Sally really seem to divide half of the spotlight between themselves and the B couple of Fraulein Schneider and Herr Schultz. The star of the show is the Emcee, who gets the second half of that spotlight. The best numbers have nothing to do with Cliff and Sally, in fact for a show that one feels should be about her, the character of Sally could disappear from the plot and you wouldn’t really lose that much. Let me be clear, I’m not talking about the performance by Mary Kate Moore, which is very strong, I’m talking about the character and the plot. It’s like there are some concessions made to the institution of musical theater, and once they included those they went to town breaking out of the traditional mold. And I think that was a bold move in 1966 and it still works like gangbusters today. The cast is terrific led by Jo Lampert who along with the Kit Kat Klub ensemble are what you will leave the production remembering. There is one scene that was an unexpected knock out for me, it’s between Fraulein Schneider and Herr Schultz they are singing “Married” and they are joined by Monet Sabel as the Chanteuse is a beautiful voice that works in contrast to the the more risque songs that pepper the rest of the show.

Choreographer Casey Sams creates some unforgettable tableaus making each number at the Kit Kat Klub unique and memorable. Jen Caprio’s costumes, again especially with the Kit Kat Klub ensemble and the Emcee are daring and creative. There is one scene where Lampert is dressed half as a man and half as a woman that’s very well executed. Marion Williams set design is well planned with the upper level used as train cars and rooms at the Kit Kat Klub. Some of my favorite technical moments came from the lighting and sound cues by Lighting Designer Josh Epstein and Sound Designer Mikaal Sulaiman. Their work helps to bring out some of the darker emotional moments with a sudden immediacy that one feels throughout their body. Mark Hartman as Music Director has his own tricks up his sleeves which I will not spoil but there’s a moment that surprises us and lands an emotional punch we aren’t quite expecting.

I’ve seen Cabaret performed three times now and this is my favorite production so far. if you’ve never seen it, this is the production to see. If you have and love it, you will not want to miss this what Joe Haj and the Guthrie have concocted. Cabaret runs through August 24th at the Guthrie Theater in Minneapolis. For more information and to purchase tickets go to https://www.guthrietheater.org/shows-and-tickets/2024-2025-season/cabaret/ for more on my coverage of Cabaret be sure to tune into episode three of The Stages of MN Show on YouTube.

Necessity requires that going forward in order to produce a weekly YouTube show and podcast that reviews will become shorter. There are only so many hours in a day, but I have no intention of abandoning the blog version. Faithful readers, you have year after year grown The Stages of MN audience. While I hope you will become viewers or listeners as well, there will always be things here that cannot be found there. This will be the place for longer reviews, though slightly shorter than before, as well as Reviews of more shows than can be covered on the YouTube and Podcast versions. Essentially there will be some overlap, but each format will have unique content.

Endometriosis: The Musical, Undoubtedly the Funniest Musical About Down There Problems Ever Produced

Nora Sonneborn as Aunt Flow and Abby Holstrom as Jane Photo by Aaron Mark Photo Film

Endometriosis: The Musical is simultaneously drop dead funny and deadly serious, not dramatically but thematically. It brings into the spotlight a painful and sometimes debilitating disease that affects 10% of all menstruating humans. It dares to sing about things that too many people are afraid to even whisper. The show created by childhood BFF’s Maria Bartholdi (book and lyrics) and Kristin Stowell (music and lyrics) began life as a 2022 Minnesota Fringe show, that was performed at Theatre in the Round. I awarded it the second ever The Stages of MN Fringe of the Day Award, it also won three other actual MN Fringe sanctioned Awards, I’m sure those are nice to have too. The powers that be at Theatre in the Round saw what everyone in the audience did that August, a show that had a life beyond Fringe. They asked Bartholdi and Stowell to continue to develop it and now three years later it has grown from a 45 minute show to over two hours. Length hasn’t dimmed it’s energy or creativity, and at nearly three times its original length it still seems to fly by in the blink of an eye. The expansion has allowed it to touch on other areas of Women’s healthcare, sharing some statistics that would be sobering if we weren’t already drunk with the potent cocktail of musical theater absurdity.

Jane played by original cast member Abby Holstrom loves “business” and has dreams of working on her employer Business, Incorporated’s “big account.” When her co-worker Brad is mauled by a bear while on his morning run (did I mention this was in the absurdist comedic vein) she gets her big chance. But as she prepares for the meeting she is stricken down by her period, which is always so painful she can barely stay standing. Throughout the play we are given glimpses of how she is dismissed by co-workers, family, and healthcare providers when she tries to make them understand how bad the pain is. Sadly this is not a fantasy, this is what really happens to women. The average sufferer will see seven providers before they are correctly diagnosed. Endometriosis: The Musical brings all of this into the light through clever songs and a hilarious script. It also adds to the cultural lexicon Pussy Porridge, a euphemism only a mother could love. Some might add a disclaimer that this show should only be seen by those over say 16, but isn’t that part of the problem? I think this show should be seen by everyone who is old enough to be entering puberty, of both sexes. We need to destigmatize (my spell check indicates I may have coined a new word there…cool!) openly talking about issues that affect around 50% of the worlds population. Maybe if we can talk about it, we can learn to finance research into finding ways to improve healthcare for every human with a uterus.

I really don’t want to leave you with the impression that this is a covert message show. The message isn’t covert, they sing about it. And while sure, you might learn a thing or two, you’ll be having too much fun to even realize it. The show is directed by one of The Stages of MN favorites Shanan Custer. Custer is the perfect fit for this material, her comedic sensibilities aline perfectly with the material. With clever and knowing winks to the audience she invites us all to let go of theatrical distance and embrace the silliness. The cast led by Holstrom is stellar including a couple folks on my must see list, such as Tara Borman and Nora Sonneborn, and a few I feel like I’m really noticing for the first time including Christopher Knutson and Jack Strub who approach their characters in very different ways, each perfect for their roles. But all of the talent isn’t on stage, there is great technical work from the production team. Sadie Ward’s Set Design includes giant tampons hanging in the ceiling. Ryan McCanna’s costumes are spectacular including an Elvis like suit with a cape adorned with a uterus. It’s hard to know sometimes which items are set design, costume, or props, but I’m giving a shout out to Prop Designer Mark Steffer as well, because I know some of the stuff that had me almost rolling on the floor must have been his. All of it is enhanced by some really nice sound and lighting cues from Sound Designer Kristin Smith and Lighting Designer Mark Webb. Last but not least Music Director Jean Orbison Van Heel gets a lot out of a three piece ensemble.

I’m not sure I’ve ever seen a musical at Theatre in the round before. Likely one of you faithful readers will correct me, but if there have been, they are few and far between. It’s so great to see the cities oldest running Community Theater host a world premiere of such a fantastic musical. This is a must see and one I’m very tempted to try and see again, which is even harder now due to The Stages of MN’s expansion into the audio visual world, more on that at the bottom of this review. Endometriosis: The Musical runs through July 13th at Theatre in the Round Players in Minneapolis. For more information and to purchase tickets go to https://www.theatreintheround.org/endometriosis-the-musical/