Les Misérables Returns With it’s Stunningly Beautiful Production to the Orpheum Theatre

Mya Rena Hunter as Eponine Photo by Matthew Murphy

This is my third time experiencing Les Misérables, in fact it’s my third time seeing this touring production at the Orpheum Theatre. The first was pre The Stages of MN in 2018 and the second was almost two years ago in 2022. When it comes through town next, you can bet I’ll be there to review it again. As with the 2022 performance I was completely swept up and amazed by the overwhelming beauty of Les Misérables. A jaw droppingly gifted cast and production and lighting design that makes every scene look like a Rembrandt painting come to life. Inarguably one of the greatest musicals of the late 20th century, every note of music, every lyric is perfection. A powerful story, the message of which seems especially pertinent given the ever-increasing inequity in the distribution of wealth and the dispensation of Justice. For a show nearly three hours in length there is not a single moment that doesn’t drive the story forward or feel completely necessary. It doesn’t seem to matter how many times I see it I’m still stunned by this production. Even though I knew what I was getting into, somehow It still managed to surprise me with the power and artistry that unfolded before me.

Les Misérables for the unfamiliar is a musical based on the novel by Victor Hugo with music by Claude-Michel Schonberg, lyrics by Herbert Kretzmer. Set in France in the first half of the 19th century, Les Misérables tells the story Jean Valjean who after spending 19 years on the Chain Gang for stealing a loaf of bread is finally paroled. Finding himself free only to discover that no one will give him a chance at a fresh start. Beaten down and starving, he’s taken in by a Bishop, given food and a place to rest, but out of desperation he steals some silver. When he is caught and brought before the Bishop by the police, the Bishop lies to the police saying that the silver cups were gifts. Given this reprieve from being sent back to the Chain Gang, Jean Valjean breaks his parole and changes his name in order to start a new life. The story then moves eight years into the future where Jean Valjean has become a factory owner and the Mayor. In his factory we meet Fantine, who is soon dismissed unfairly, beginning the downward spiral which results in her having to sell everything she can including her hair and her body to stay alive and to send money for her daughter Cosette’s care. When she fights back against a wealthy man who is abusing her, she is on the verge being taken to prison by Javert when Jean Valjean comes to a rescue and has her taken to the hospital instead. A chance accident with a cart causes Jean Valjean to rescue a man. His act of strength reminds the policeman Javert of his former prisoner Jean Valjean he tells the Mayor of the similarity and comments that Jean Valjean has just been arrested. Jean Valjean realizing if he doesn’t say something then an innocent man will pay for his crimes goes to the court and confesses. Before he is taken back into custody Jean Valjean promises Fantine on her deathbed that he will look after Cosette. Overpowering Javert, he escapes again. He goes and finds Cosette, who is living with the unscrupulous Thenardiers, an innkeeper, his wife, and their young daughter Eponine. After paying them off he and Cosette head out to make a new start. The story picks up nine years later in Paris where all of these characters along with a few new ones converge. Cosette falls in love with young student Marius whose in turn loved without his knowledge by Eponine. It’s a time of unrest in the city and a group of students seeing themselves as revolutionaries build a barricade to have a standoff with the authorities. All the key players come together and their fates are all intertwined. It all seems terribly complicated but somehow the story is quite easy to follow. It also all sounds terribly depressing but it isn’t, it’s uplifting, it’s powerful, it is wonderous.

Nick Cartell as Jean Valjean Photo by Matthew Murphy

The cast is nothing short of amazing Nick Cartell, who has played the role over 1,200 times including in 2022 plays Jean Valjean with a vocal range equally astonishing in the deeper registers as he is in the upper. Powerful and passionate in the song “Who Am I?” where he contemplates whether to let the innocent man be tried in his place for his supposed crimes. Then, angelic in the higher pitched “Bring Him Home” where he sings to God to spare the life of Marius. I expected him to be pushing his voice to the limits but surprisingly it seemed perfectly within his range resulting in a tremendous round of applause from the audience. Everyone is of that quality in the cast. Lindsay Heather Pearce as Fantine delivers one of the shows signature songs “I Dreamed a Dream” with all the tragedy and heartbreak of her character seeping into every line. Another stand out was Mya Rena Hunter as Eponine for whom the applause after her solo song “On My Own” threatened to turn into a midshow standing ovation. It’s not hard to see why, if the character of Jean Valjean is the conscience of the show, Eponine is the heart. When she sings “On My Own” it veers towards a misstep as we genuinely find ourselves hoping that she will get together with Marius as opposed to Cosette. Nick Rehberger plays Javert and gets one of the biggest moments of audience amazement in his final scene, which I will not spoil. Rehberger is the strongest Javert I’ve yet seen his singing is powerful and clear and we sense his inner turmoil at the end more palpably than I have during other productions. Matt Crowle another performer who was in the 2022 performance and Victoria Huston-Elem play the scheming M. and Mme Thenardier adding some well timed and much appreciated comic relief.

The production design including everything from the sets, the lighting, projections, and costumes creates one of the most beautiful looking shows I’ve ever seen. On one side of the stage there’s a doorway, on the other side there’s an a Stone Archway, those elements remain constant. Throughout the play those sides Push out to varying degrees and somehow, these two openings, come to look like completely new structures. It is a fascinatingly versatile set. It’s large and impressive solid-looking and yet, it seems to flow and change and reconfigure fluidly. Set and image design is by Matt Kinley they’re inspired by the paintings of Victor Hugo. Paule Constable is the lighting designer and he doesn’t just direct and point lights he seems to paint with light. There’s such a melding of physical set design and lighting in this show and it is through the marriage of these two art forms that this painterly aesthetic is achieved. And yes, when the set and the lighting design look this good it is absolutely an art form. The projection in this show is realized by Finn Ross and Fifty-Nine Productions. I’m not a fan of the overuse of projection in shows and this was a reminder how well it can be used. This is a judicious use a projection that effectively enhances the environment and created some breathtaking illusions.

Les Misérables runs through December 1st at Hennepin Arts Orpheum Theatre in downtown Minneapolis. Fro more information and to purchase tickets go to https://hennepinarts.org/events/les-miserables-2024

Tired of missing reviews from The Stages of MN? Do you find yourself left out when all your friends are talking about that great new play that you didn’t even know about? Never fear, that need never happen again. Now you too can subscribe and have every post from The Stages of MN sent directly to your email box. No more hoping the algorithm works in your favor and you actually see a post on facebook or Instagram. No relying on so-called friends to tip you to the best shows in town. 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. You can also read some of my reviews syndicated on the MN Playlist website https://minnesotaplaylist.com/ from time to time.

Rent is an Emotional and Transporting Experience Not to be Missed at Artistry in Bloomington

Rent Is one of my favorite musicals. I’ve seen touring productions countless times, I’ve seen it done by colleges and community theater companies, I’ve seen it done in the suburbs with the whitest cast you can imagine. The last time I reviewed the show I said when you’ve seen a show as often as I have Rent, you have to let go of your preconceived notions of what characters should look like, from costumes to hairstyles, what the set should look like and how every lyric in every song should be sung. The joy of going to a favorite show is seeing how a new group of artists will approach it. Obviously, you don’t want them to sing different songs or deviate from the characters essence. But when you know something so well and can let go of some standard set by an original cast recording you’ve memorized, you notice the small changes, and rather than being frustrated by them, they become the moments that make each production unique and engaging. I love Rent and I loved Artistry’s production of Rent. I loved it so much I want to go again, but mad at all the other theater companies in town who have filled my schedule so that I can’t go again. The only date I have available is my wedding anniversary, and I’m pretty sure my wife wants to do something we don’t do every other night of the week for our tenth anniversary. I know I’ll get over it, and I know by the time I hit the Twin Cities Horror Festival I won’t be holding a grudge.

I was going to say that if you are not familiar with Rent that it is patterned off of Puccini’s Opera La Boheme. Then I realized who hasn’t heard of Rent but knows La Boheme? Yes, I’m sure there is someone out there but my guess is they are not reading this review. Essentially it’s the story of a group of friends, artists living in New York’s East Village during the late 80’s early 90’s half of whom have contracted HIV. It contains a message of love and friendship played out among characters that suffer from all the human traits that hold us back, greed, addiction, jealousy, self doubt, isolation. It reminds us there is no day but today. In it’s emotional finale the characters sing the fundamental lesson that the musical is trying to impart to its audience “There’s only us. There’s only this. Forget regret or life is yours to miss.” I can’t think of a truer or more important message and that I suspect is why it won the 1996 Pulitzer Prize for Drama. If you are not aware of the story of Jonathan Larson who wrote the Music, Lyrics, and Book for Rent I highly recommend purchasing the film version of Rent to watch the Documentary No Day But Today which is included as a special feature, it’s a heartbreaking story.

This production is Directed by Kelli Foster Warder with energy and confidence, making subtle changes like I believe cutting a portion of the song “Contact” which worked for me. Warder also choreographed the show along with Joey Miller and they did an exceptional job. The moves that Michelle de Joya as Mimi performs while singing “Out Tonight” are an example of their creativity and de Joya’s skill. In terms of staging the Actors and the use of set pieces Warder does an excellent of staying true to the simple and scaffold like design of the original Broadway run, while also changing things up and doing her own thing, putting her stamp on the show while keeping the feel and look we expect. The Broadway costumes are iconic and the reality is that regional theaters need to find their own look for the characters to some extent which they do here. The only misstep costume wise for me was the choice for Mark’s shirt, a horizontal striped pullover collared affair that shouts mathlete rather than NYC Bohemian filmmaker. It’s an odd and glaring oversight that you can see in the photo above. There is the usual solid work from Music Director Jason Hansen and his band which are tight and perfectly balanced with the vocals.

I really can’t praise the cast enough, some are stronger vocalists and others stronger in the acting department but everyone plays to their strengths. de Joya’s Mimi is a little flat occasionally when it comes to the singing with things pushed out of her ideal range, but it’s not a huge concern because when it’s in her sweet spot she kills it, and her performance and physicality are among the strongest in the cast. Mitchell Douglas, hot off a nice turn in drag in Kinky Boots at Lyric Arts, plays Angel with some dance moves that elicit gasps and admiration. The best singers in the cast are Caleb Michael who plays Roger, Quinn Lorez who plays Joanne, and Em Rosenberg who is an ensemble member but when they get their few moments to be heard outside the group songs, Rosenberg reminds us what a fantastic singing voice they have. Matthew Hall also impresses as Collins with a rich voice that straddles the deep and mid register nicely. Both Wesley Mouri who plays Mark and Ninchai Nok-Chiclana who plays Benny are better in the acting than in singing departments, though they are both capable singers, their strengths lie in the former. Maureen is played by Sara Masterson and we believe her when she says there will always be women in rubber flirting with her.

Ultimately what the show did, what it always does, is evoke an emotional response from deep within me. Every time I see the show I’m transported in my soul back to the time I first saw it, before I was old. It reminds me of a more passionate age, when I could see myself as one of them, maybe not a Roger, I was never that cool, but maybe Mark. When I see it, when I hear these characters pouring out their hearts in these songs, I feel young. Every production offers something new, but the one thing they always remind me is that, if there is a production of Rent happening, go. Never, ever miss an opportunity to see a production of this show. Rent runs through October 27th at Artistry in Bloomington. For more information and to purchase tickets go to https://artistrymn.org/rent

Scotland, PA Sizzles at Theater Latté Da

Tara Borman, Will Dusek, Katherine Fried, Deidre Cochran Photo by Dan Norman

I saw the 2001 film Scotland, PA on which Theater Latté Da’s production is adapted from on DVD as soon as it was released. I had a small child at the time and getting out to the movies wasn’t in the cards very often. But I’d read about the film in a magazine and being a Shakespeare fan, I knew it was a film I needed to see as soon as Netflix* could get it to me. Plus, I had a bit of a screen crush on Maura Tierney who starred in the film. Now besides the basic idea and the knowledge that I liked it at the time, I’ve retained little else of the movie, which allowed me to view this musical version with relatively fresh eyes. Not that it would have mattered because something this fun cannot be spoiled by any amount of fore knowledge. Besides, in case you didn’t know it’s Shakespeare’s Macbeth update to 1970’s Pennsylvania set in a fast food restaurant. The twist in the stage adaptation is that it’s become a rockin’ musical! Faithful readers know that I love the front row, well the front row is pretty loud at this one, but I loved it anyway. Who knew taking Shakespeare aging it to 1975, adding a heavy portion of rock music, a pinch of cocaine, a puff of pot, and putting it between two sesame seed buns would make such a delicious recipe?

If you’ve seen the news there has been a certain amount of tragedy surrounding this show, leading to rumors that the curse of the Scottish play has reared its head once again. Multiple cast members had to be replaced due to injuries resulting in an entire weekends shows being cancelled. Thankfully, as far as I know no one was mortally wounded, and we hope everyone recovers quickly and fully. Theater Latté Da has announced that they have extended the run of the show through the last weekend in October. As for curses, that’s strictly a backstage thing clearly because this show is fantastically entertaining. I know the cast has jostled around quite a bit but it’s hard to imagine anyone else in any of these roles. But before we get to the cast, a quick word of praise about the Production itself. I loved every aspect of the design and there are some things that shocked me with their brilliance that I’m not sure who to credit, and I don’t want to spoil the surprise for you who have yet to see it. So simply let me say that the works of all of the following artists contribute to immensely to the success of this show. Scenic Designer Mina Kinukawa, Costume Designer Zamora Simmons-Stiles, Lighting Designer Grant E. Merges, Sound Designer Kevin Springer, Hair; Wigs; and Makeup Designer Emma Gustafson, and Prop Designer Madelaine Foster. All of these technical and creative departments are perfectly in sync under Directors Lonny Price and Matt Cowart who make this production sing along with Musical Director Joshua Zecher-Ross. And putting that music to good use are Choreographers Lorin Latarro & Travis Waldschmidt.

Let’s start with the three Stoners who replace the three Witches in Macbeth, we have Tara Borman whom I’ve admired as an actor in previous shows, but I’m not sure I’d ever heard her sing front and center like she does here and she has a gorgeous voice, which only adds to the hilarity of her comedic performance by contrast. We also get Deidre Cochran and Eric Morris as the other two stoners and if you didn’t know they could sing, I’m not sure what rock you’ve been living under but welcome to the party! The leads are Will Dusek who recently played Frankie Valli in Jersey Boys as Mac, and his girlfriend Pat is played by Katherine Fried who absolutely bowled me over last spring as Percy in The Spitfire Grill. They both give their all again here and besides sounding great they bring the desperation and guilt to life quite believably. Stages of MN favorite Tom Reed, who inherited the role of Banko, Mac’s clueless best friend, plays it such that you cannot imagine anyone but Reed in the role, he gets the best song in Act 1 “Kick-Ass Party”. The best song in Act 2 is “Why I Love Football” it’s sung by Joshua Row who plays Malcolm. Row doesn’t have a lot of credits yet, but I think he is one to watch and expect big things from. As the Vegetarian police inspector Peg McDuff is Emily Gunyou Halaas who doesn’t really enter until Act 2 but makes her mark all the same. Other roles are filled by the always dependable Carl Swanson who plays three different smaller roles, all unique and they get some of the best one liners. With Kim Kivens and Timothy Thomas also doing great character work, it really feels like the perfect actor in every role.

Scotland, PA runs through October 27th at Theater Latté Da in North Minneapolis. For more information and to purchase tickets go to https://www.latteda.org/scotland-pa

* Netflix began as a video rental service that sent movies on DVD through the mail. This was before the age of streaming also known as the golden age of physical media.

But that’s not all! Think I may have steered you wrong on a show? Well, I am also a member of the Twin Cities Theater Bloggers (TCTB), where you can read roundups of shows by m’colleagues and I when you follow us on facebook @TwinCitiesTheaterBloggers. We also produce the podcast Twin Cities Theater Chat!! which you can access through this link or wherever you enjoy podcasts https://twincitiestheaterchat.buzzsprout.com/ . Now you too can be in the know about all the fabulous theater happening in and around the Twin Cities.

Marry Me a Little Small and Intimate with a Stellar cast From Skylark Opera Theater at Crane Theater

Marry Me a Little, rescheduled from earlier in the summer, is a show featuring songs by Stephen Sondheim that were cut out of or from as yet unperformed musicals. It’s a strange little show perfectly at home in the Crane Theater’s intimate space. A dialogue free musical revue, it is not however plotless. To some extent we are left to our own devices to extrapolate the details. Basically a love story about two single people living alone who meet, fall in love, marry a little, and then break up. The songs follow the arc from two lonely people to the first hints of romance and on to the decline. Most of the songs I was unfamiliar with but I enjoyed nearly every one of them. A few favorites were “Marry Me a Little“, “All Things Bright and Beautiful/Bang“, and “Pour Le Sport“. It ends with “Being Alive” from Company which is of course a favorite.

The reason to see this show is to bask in the glow of it’s talented performers Bergen Baker and Max Wojtanowicz. Two gifted musical theater talents that know how to tell a story through song. In their hands, the lack of dialogue goes unnoticed. Their body language and expressions convey to us as much as the lyrics themselves do. Is there a more warm and welcoming face in all of the Twin Cities musical theater community than Wojtanowicz? He has an instant communication with the audience as if he’s singing directly to you. Bergen and Wojtanowicz are accompanied on piano by Musical Director James Barnett and the production was directed by Nikki Swoboda. The show runs just about an hour so it doesn’t have to be a late night. It only runs one weekend with the final performance Sunday 8/11/24. Don’t miss your chance to hear Bergen and Wojtanowicz signing Sondheim. For more information and to get tickets go to https://www.skylarkopera.org/home

Disney’s Newsies at Artistry in Bloomington Features Some Very Fancy Footwork!

Surprisingly this is my first exposure to Disney’s Newsies. When the film came out in 1992 I was in college and it just didn’t interest me, and though it’s a frequently performed show of late, the stars had not aligned until now. It’s the story of Newsies (children who sell the newspapers on street corners) in 1899 New York who strike to protest the increased cost of papers and thus their lowered earnings. Led by Jack Kelly, who once rode in a carriage with Teddy Roosevelt, and with the counsel and guidance of newcomer Davey and his little brother Les, the newsies take on Newspaper titan Joseph Pulitzer. It’s a fictionalized telling of an actual historical event that is really rather fascinating. With music by Alan Menken who’s music contributed to the 1990’s Disney animation renaissance with among others The Little Mermaid, Beauty and the Beast, and Aladdin as well as the musical Little Shop of Horrors (which coincidentally is running at the Guthrie theater through August 18th) and lyrics by Jack Feldman. With Book by Harvey Fierstein who came to prominence in the early 1980’s starring in his own play Torch Song Trilogy which won him two Tony Awards, he also did the book for Kinky Boots (which coincidentally is running at Lyric Arts through August 11th). It’s a great team and they have created a solid musical, with several stand out numbers that Artistry has staged wonderfully under the direction of Ben Bakken.

What really wowed me with this production was the choreography by Renee Guittar, the entire cast executed with precision and a rowdy sense of energy. The cast is led by Will Dusek, who recently shone as Frankie Valli in Chanhassen Dinner Theatres production of Jersey Boys, as Jack Kelly. Here he gets to put that east coast street smart persona to use again, and while the songs are quite as iconic, his performance is just as impressive. His love interest is a young reporter named Katherine, played by Audrey Parker, who gets a chance to show of her dancing skills and wonderfully matches Dusek as they argue their way into an attraction for each other. Jack’s best friend Crutchie, nicknamed such because he needs a crutch to walk, is played by Tyson Insixiengmai who has a beautiful solo song “Letter From the Refuge” that’s one of the best moments in the show thanks to their performance. Also amazing in the roles of brothers are Pierce Brown as Davey and Maddox Tabalba as Les. Brown’s less street smart but idealistic while Davey is really the heart of the play and the audiences entrance into the world, as he is new to the world of newsies. Tabalba, who’s character is nine and I would guess he’s about the same age, is fantastic in his performance and especially his dancing, really getting to show of his skills in the song “King of New York“.

The music, as is always the case at Artistry, is simply top notch under the musical direction of Kate Mariana Brown. I was pleased to see a more robust set design than we’ve seen lately at Artistry. I liked the detail and feel of 1899 New York by Scenic Designer Michaela Lochen with the huge backdrop of the Brooklyn Bridge adding a real sense of scale to the production. Completing the look were the props designed by Katie Phillips and costumes by Meghan Kent all of which help to give the show a period feel. I had a great time with this show so much that I know have an interest in finally seeing the film version, and I’m immediately planning some googling to learn more about the actual historical events that inspired the show. It’s a great cast and along with some great songs, there is some really amazing dancing for fans who like some fancy footwork with their musicals.

Disney’s Newsies runs at Artistry in Bloomington through August 11th. For more information and to purchase tickets go to https://artistrymn.org/newsies

Tired of missing reviews from The Stages of MN? Do you find yourself left out when all your friends are talking about that great new play that you didn’t even know about? Never fear that never has to happen again. Now you too can subscribe and have every post from The Stages of MN sent directly to your email box. No more hoping the algorithm works in your favor and you actually see a post on facebook or Instagram. No relying on so-called friends to tip you to the best shows in town. 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. You can also read some of my reviews syndicated on the MN Playlist website https://minnesotaplaylist.com/ from time to time.

Kinky Boots Makes a Splash at Lyric Arts in Anoka

Grace Hillmyer, Mitchell Douglas, and Erik Speegle Photo by Molly Weibel

Kinky Boots might just be the best thing playing in the Twin Cities area right now. Based on the 2005 film the musical features a book by Harvey Fierstein and music and lyrics by Cyndi Lauper, that’s a winning combination and it pays off big time. They provide the basis for the show but it’s the cast that really makes this show sing. I usually prefer to use production photos in my reviews, but I wasn’t provided one that really showcased the three outstanding leads Grace Hillmyer, Mitchell Douglas, and Erik Speegle. Speegle plays Charlie whose family shoe business, Price and Sons, is not how he wants to spend his life. After his father’s sudden death he has to return home to take care of business, only to find that the business is family but no one wants well made shoes anymore, they want cheap shoes. After a chance encounter with Lola, a drag queen played by Douglas, he hits upon the idea of making the titular kinky boots, based on a suggestion from Lauren, played by Hillmyer. Rather than close down the shoe factory the decide to try and save it by catering to a niche market, crossdressing men. Will they save the factory? Will the factory workers accept Lola as the new designer? Will they even accept Lola as a person? Even if I told you the answers you’d still need to see the show, it’s not about the story it’s about the message and the way it’s delivered. Director Vanessa Brooke Agnes has made the journey to these answers one well worth taking.

If there is a flaw with this show it’s in the script which should have given the character of Lauren, played by Hillmyer, more time. Hillmyer’s portrayal is so adorably quirky, everytime she gets the spotlight she sparkles but not in a flashy way it’s more of a twinkle. It’s hard to say what it is about the performance other than it’s great character work, it’s comedic, and vulnerable and undeniably endearing to the audience. She’s in love with Charlie who doesn’t get to sparkle, he’s the one with all the responsibility and Speegle, whose new to me does a nice job playing the straight man, though at times he seems a little unsure what to do with his hands. Where he gets to shine is whenever he sings, as good as everyone in the cast is, Speegle for my money had the best voice, possibly second to Daze Bishop who as George, the factory manager and part of the ensemble, only got a brief moment of singing on their own, but it was eye opening. Undoubtedly the star of the show is Mitchell Douglas whose performance as Lola sparkles in the flashy way that Lola would not have any different. Douglas moves as if he was born wearing heels and he nails Jaclyn McDonald’s choreography. In full drag costume he is stunningly beautiful, with attitude and confidence to spare. Then suddenly there are moments in his performance of vulnerability, it’s a remarkable performance and it deserves to be seen by as many people as can get tickets. Hats off to the entire cast but particularly to those playing Lola’s Angels, his backup drag queens, they have the moves down, and it was such a pleasure to watch their performances, they all were amazing.

It’s not often with my schedule that I even entertain the idea of seeing a show more than once. But Kinky Boots is one I’m seriously considering a second trip to see. The show runs through August 11th at Lyric Arts in Anoka for more information and to purchase tickets go to https://www.lyricarts.org/kinky-boots

Once Upon a Time… Josephine Baker! World Premiere of a Brilliant New Work By Austene Van at Yellow Tree Theatre

Tolu Ekisola, JoeNathan Thomas, and Austene Van Photo by Alex Clark

Delayed from opening by a week, due to a medical issue with the artistic team, Once Upon a Time… Josephine Baker! faces is a shortened run which is a shame. This new work written by and starring the hardest working woman in Twin Cities Theater, Austene Van as Josephine Baker is a bold unflinching look at a legend. There is a line from the film The Man Who Shot Liberty Valance that goes “When the legend becomes fact, print the legend”. As portrayed in Van’s new play, or is this a musical? (more on that later) Josephine Baker takes the Orson Welles approach to personal history. Take an anecdote from your life and embellish to your heart’s content, repeat often, until even those who know better begin to believe it and thus the legend becomes fact. Deciphering what is true and what is fiction is one of the themes explored in Once Upon a Time… Josephine Baker!. Whatever the reality is, when it comes to the details, Baker led a fascinating life making her an ideal subject matter. The story is told through the conceit that Baker is writing another autobiography and that the publishers has sent a young woman named Mac to assist her. Through their conversations we learn many things about Baker’s story (including the discrepancies), along with her temperament. Through the interactions with her band member Douglas, we get clarifications that we assume are closer to the true story. A few of the remembrances are played out for us, usually with the assistance of local legend Jim Lichtscheidl playing Baker’s Manager, lovers, husbands, and even Walter Winchell.

This show began and ends with Austene Van whose script is complex yet clear in it’s exploration of this legendary woman. The question of whether this is a musical or not is a difficult yet also irrelevant one. There doesn’t seem to be enough songs to be considered a musical, the songs that are performed are sometimes instances of Baker performing for an audience, and other times the characters singing to each other. The reality is, I’d guesstimate that less than 20% of the shows running time is spent musically. Ultimately it doesn’t really fit cleanly into either category but it succeeds because it is it’s own thing. Van understands exactly how much music it needs and doesn’t try and add music unnecessarily. I’d say Van’s performance was a revelation but did anyone ever seriously have a doubt that she would be amazing? I didn’t and of course she is, with her background as a Choreographer as well as Actor, Director, Artistic Director of Yellow Tree, Writer, Time Manipulator, (I am speculating on that last one, it’s either that or insomniac) it feels like a role she was born to play. Dramatically, vocally, and movement wise she is flawless, she allows Baker to be difficult and unsympathetic at times but earns our empathy as the facades begin to fall away. The script is peppered with generous amounts of humor, that come from the characters naturally, not feeling like quick one liners. Director Maija García understands the script and how it functions creating transitions between the scenes and indeed times and places seamlessly. Staging everything on Sarah Brandners well designed two-level set with Baker’s living quarters above the club in which she performs.

Mac, the young journalist assigned to assist Baker with her book is played by Tolu Ekisola who nails the balancing act that Mac has to perform of humoring Baker and giving into her own “let’s cut the bullshit” world view. Ekisola is becoming one to watch having caught our attention this spring in The Most Spectacularly Lamentable Trial of Miz Martha Washington at Mixed Blood. She can next be seen as Motormouth Mabel in Hairspray at the Burnsville Community Summer Theatre, given her vocals here, I’ll likely try and fit in this production if I can. JoeNathan Thomas as Douglas utilizes his deep rich voice to emphasize the comedic effect of his combative exchanges with both Mac and Baker. There is something about his low vocalization combined with the booming power he puts behind it in contrast to the others that draws the audience immediately to him. It adds a sense of authority and wisdom to his dialogue that leads us to assume what he says is based on fact, whether it is or not, that is certainly what the character believes and thus so does the audience. It’s the kind of voice that can sway you to believe anything and Thomas utilizes it skillfully almost surgically to cut through the chaos of Baker and Mac’s arguments. Lastly, I do want to point out the wonderfully realized costumes by Samantha Fromm Haddow. From Baker’s Classic performance outfits, the banana dance costume and her feathered dance costume to the 1970’s period outfit worn by Mac, they are all beautifully realized.

Once Upon a Time… Josephine Baker! runs through June 30th at Yellow Tree Theatre in Osseo for more information and to purchase tickets go to https://yellowtreetheatre.com/onceuponatimejosephinebaker . And I don’t usually do this but if you’ve seen a show at Yellow Tree Theatre you probably know the quality work they produce. It’s a small theater in the suburbs that produces top-notch shows, and I believe they’re an important step on the path to creating new theater audiences. If you care about the future of live theater please consider a donation to Yellow Tree Theatre so they can continue their mission. https://yellowtreetheatre.com/support-us-2