R.L. Stine’s Goosebumps: Phantom of the Auditorium is a Surprisingly Effective Production

Jack Bechard, Ani Tonoyan, Jack Bonko, and Sophie La Fave Photo by Dan Norman

R.L. Stine’s Goosebumps: Phantom of the Auditorium is a show that I went to for nostalgic reasons fully expecting to be underwhelmed and I’m delighted to say I was pleasantly surprised. This was part of a day spent walking down memory lane with my oldest son Alex. We did a Phantom Double feature, hitting the matinee of R.L. Stine’s Goosebumps: Phantom of the Auditorium at Park Square Theatre followed by the evening performance of The Phantom of the Opera at the Orpheum Theatre. Is R.L. Stine’s Goosebumps: Phantom of the Auditorium as good as The Phantom of the Opera musically or in any way? Of course not. Is that a fair comparison? Of course not! On the scale that this show is produced on, it is actually Really good.

This is a show that is geared towards tweens and teenagers, fans of the popular Goosebumps book series are it’s primary target. But the show with book and lyrics by John Maclay and lyrics, music, Orchestrations & arrangements by Danny Abosch doesn’t content itself with aiming solely for that demographic. It accomplishes what few shows geared towards that audience even seem to attempt, it is a rewarding and effective production for adults as well. My son Alex was a big collector of the Goosebumps books when he was younger his interest began before he was able to read the books on his own and so I do remember a few of the ones I read to him. But to be sure his interest in the books was as much for their covers and titles as it was for anything found on the pages.

While I never read the book this show is based on a quick look at the Goosebumps Wiki entry for the book #24 in the original book series indicates that it appears to be a fairly faithful adaptation. Brooke and Zeke, best friends and horror fans are excited to be cast as the leads of their school’s production of The Phantom. Brian, who’s new to the school and missed auditions is thrilled to at least help backstage. But when a masked figure begins haunting rehearsals and leaving threatening notes, the fun turns frightening fast. Determined to uncover the truth, Zeke, Brooke and Brian launch an investigation. Could the phantom be Tina, desperate to steal the lead role, or Emile, the odd night janitor who always seems to be lurking in the shadows? With opening night approaching, and Zeke being accused of backstage pranks and vandalism they must solve the mystery before the play becomes a real-life nightmare or is cancelled.

The show premiered in 2016 and I’m a bit surprised I haven’t seen it produced locally before. Park Square doesn’t list it as a Regional premiere so perhaps a school or community theater has produced it. I’m glad I got to see it at Park Square, but also a little surprised that Children’s Theatre Company or Stages Theatre Company hasn’t mounted a production.

This is a show that High schools should be putting on all over the country but I’m not sure I wanna sit through a high school production of this. What really made this entertaining was it’s very good cast and solid and effective production design. Jack Bechard plays Brian bringing a romantic lead vide to the show. Sophie La Fave plays Brooke with Jack Bonko as Zeke the two play off each other well, with Bonko providing clueless comedic relief throughout. Along with the three leads also very good in the cast are are Ani Tonoyan as Tina and Logan Lang as Emile.

R.L. Stine’s Goosebumps: Phantom of the Auditorium is one of those shows that you sort of go in expecting it to be underwritten and it isn’t, this is a tight script. And the songs are fun as well. It opens with the song “Goosebumps” which doesn’t start the plot of the show off but instead pays tribute to the series in general with all sorts of characters from the books making an appearance. The Costumes by Rebecca Gardner are great in particular the recreation of those classic Goosebumps characters for that opening number. The set design by Michaela Lochen seemed solid if unexceptional until we get to the sub basement of the auditorium, then I was truly impressed by what was sprung on us. There is a scene that takes place down there where Zeke, Brooke, and Brian are being pursued that Director Ellen Fenster-Gharib stages to make full use of the design, it’s creepy but also funny. With Karin Olson’s Lighting Design really helping to make that set atmospheric and adding a generally spooky element to many scenes. Lastly I do want to point out Choreographer Jack Moorman, who I assume also choreographed the fight scenes, which there are moments of sword combat that felt real, not the slowly timed and excruciatingly predictable blocking we usually get, it’s fast paced and feels dangerous.

If you were ever or have kids who are into Goosebumps this one should be high on your list of shows to see this holiday season as a bit of counter programing. R.L. Stine’s Goosebumps: Phantom of the Auditorium runs through Desember 14 at Park Square Theatre in St. Paul. For more information and to purchase tickets go to https://bit.ly/ParkSquareGoosbumps

R.L. Stine’s Goosebumps: Phantom of the Auditorium is a show I attended purely for nostalgia, fully expecting to be underwhelmed—and I’m delighted to report I was pleasantly surprised. This was part one of a Phantom double feature with my oldest son, Alex: Goosebumps at Park Square Theatre in the afternoon, followed by The Phantom of the Opera at the Orpheum that night. Is Goosebumps musically or theatrically on the same level as Phantom of the Opera? Of course not. Is that comparison fair? Absolutely not. On the scale it’s produced, this show is actually really good.

Aimed primarily at tweens and teens, especially fans of the famous book series, the musical (book and lyrics by John Maclay, lyrics, music/orchestrations/arrangements by Danny Abosch) doesn’t settle for just appealing to its core demographic. Impressively, it works for adults too. Alex was a massive Goosebumps collector growing up. His love began long before he could read them on his own, and I remember reading several aloud, though I suspect the cover art and spooky titles were the real draw.

While I never read the book this musical is based on, the Goosebumps Wiki assures me the stage version is fairly faithful to the book, which was #24 in the series. Brooke and Zeke, best friends and horror superfans, are thrilled to be cast as the leads in their school production of The Phantom. Brian, new to the school and arriving to late to audition, is happy to be part of the backstage crew. But when a masked figure starts haunting rehearsals and leaving ominous warnings, things turn creepy fast. Determined to solve the mystery, Zeke, Brooke, and Brian investigate. Could the phantom be Tina, who desperately wants the lead role? Or Emile, the strange night janitor who always seems to be lurking just out of sight? With opening night approaching, and Zeke wrongly accused of pranks and sabotage, the trio must uncover the truth before the production becomes a real-life nightmare…or gets shut down.

The show premiered in 2016, and I’m surprised I haven’t seen it done locally before now. Park Square doesn’t list this as a regional premiere, so perhaps a school or community theater got to it first. Still, I’m glad Park Square produced it, though I’m a little shocked that Children’s Theatre Company or Stages Theatre Company hasn’t tackled it yet.

This is absolutely a musical high schools should be producing everywhere, but whether I personally want to sit through a high school version? That’s another matter. What makes this production work so well is the strong cast and the thoughtful, effective design. Jack Bechard plays Brian with genuine romantic lead charm. Sophie La Fave (Brooke) and Jack Bonko (Zeke) have great chemistry, with Bonko providing much of the comedic lift. Also excellent are Ani Tonoyan as Tina and Logan Lang as Emile.

The show isn’t underwritten the way you might expect, it’s a tight script with genuinely fun songs. It opens with the musical number “Goosebumps,” which doesn’t advance the plot but instead serves as a spooky, high energy tribute to the entire book franchise, featuring iconic Goosebumps monsters. Rebecca Gardner’s costumes shine here, especially in recreating those classic characters. Michaela Lochen’s set initially seemed functional but simple, until we descended into the auditorium sub-basement, where an impressive reveal transformed everything. Director Ellen Fenster-Gharib stages the chase sequence in that space brilliantly, it’s eerie, funny, and one of the highlights of the production. Karin Olson’s lighting enhances the chills throughout, and I also want to praise choreographer Jack Moorman, whose staging includes surprisingly convincing sword combat, which elevates the action beyond standard youth theater blocking.

If you loved Goosebumps as a kid or have kids who do now, this show should be high on your holiday theater list as some spooky counter programming. R.L. Stine’s Goosebumps: Phantom of the Auditorium runs through December 14 at Park Square Theatre in St. Paul. For more information and tickets, visit: https://bit.ly/ParkSquareGoosbumps

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Natasha, Pierre and the Great Comet of 1812 Blazes Across the Stage at Elision Playhouse

Remember last month when I told everyone to get tickets to LIZZIE: The Rock Musical? Some of you listened and some of you didn’t. Then it sold out, they added a week, that sold out too, and you missed your chance. Well, here’s your second warning: get tickets to Natasha, Pierre & the Great Comet of 1812 now! It runs through November 22, but only a few performances still have tickets available. I’d be shocked if this one doesn’t completely sell out.

So, what is this unusually titled show about? Here’s the biggest surprise of all: it’s a sung through electro pop opera adapted from a 70 page section of Leo Tolstoy’s War and Peace. A word of warning to students, don’t think you can catch this show and then fake your way through a book report on War and Peace. A nice hardcover version I found on Amazon is a little over 1200 pages, so this adaptation is just telling the smallest sliver of that grand story. If you do see the show and want more but don’t have two years, seven months, three weeks, and five days to invest in reading the novel, there is an absolutely spellbinding Russian film version that runs a mere seven hours that I highly recommend. It is available on physical media from the Criterion Collection and is absolutely stunning.

This small taste of that story focuses on the romance of Natasha, who is engaged to Prince Andre who is “not here” (off fighting the Napoleonic wars), and Anatole, who is “hot” and well, here. It also follows Pierre, Andrei’s friend and Anatole’s brother-in-law, a man unhappily married and searching for meaning. Around them swirl half a dozen vivid characters, including Andrei’s eccentric father, Pierre’s unfaithful wife Hélène, and Balaga who’s there “just for fun!” In early 19th century Russia, Natasha’s affair has devastating consequences.

Theatre Elision, much like Open Eye, has a distinct artistic identity, where Open Eye is known for its inventive design, Elision is renowned for its musical excellence. Yet Natasha, Pierre and the Great Comet of 1812 bridges both worlds beautifully. Directed and designed by Lindsay Fitzgerald, the show transforms the black box space into an immersive, electrifying environment. Actors move among the audience, and high tables around the central performance area (available for reservation at an extra charge) enhance the atmosphere. Fitzgerald’s unified vision creates a fluid, exhilarating experience that exceeded all expectations. Laina Grendle’s lighting design adds surprises and depth, while the unnamed costume designer deserves special mention for the richly detailed period aesthetic. Harrison Wade’s music direction is, as always, impeccable.

The cast is uniformly excellent. Phinehas Bynum (Pierre) and Anna Beth Baker (Natasha) are outstanding, Bynum even plays the accordion during the show. Hawken Paul pulls double duty as violinist and the hilariously energetic Balaga, while Christine Wade handles three roles Hélène, vocal director, and oboist with skill and charisma. Bradley Johnson is pitch perfect as the “hot” womanizer Anatole, and it was a delight to see Kyler Chase back onstage, a familiar face from Lyric Arts several years ago. Honestly, I could name the entire ensemble, they’re all terrific, trust me.

And trust me when I say you need to get your tickets now. Like LIZZIE, this is one you’ll regret missing. Natasha, Pierre & the Great Comet of 1812 runs through November 22 at the Elision Playhouse in Crystal. For more information and tickets, visit theatreelision.com/comet.

Episode 17 is up and it’s TCHF Heavy.

Getting this post out in time for the weekend hopefully. It’s a great weekend to head out to the Twin Cities Horror Festival and so this show features that heavily. Go to their website to make your schedule and purchase tickets here https://www.tchorrorfestival.com/

Watch the episode here https://bit.ly/TSOMNEp17YouTube

Or listen to the podcast here https://bit.ly/TSOMNEp17Podcast

Episode 17 has reviews of four Horror Fest shows. A tour of TCHF central, the Crane Theater. We also hear about the Scrimshaw Curse directly from the Duck’s mouth.

Get the details on how to win tickets to an upcoming show at History Theatre thanks to Erica Skarohlid of Lettered in Theatre. You can read her blog here https://letteredintheatre.wordpress.com/ and check out the season lineup at History Theatre here https://www.historytheatre.com/

Episode 16 is Up… and Has Been for several Days. Features a Chat With Joel Sass of Open Eye Theatre About The Hit Show Lizzie: The Rock Musical

Sorry for not getting this out sooner, but there is still a day or two before the next episode is up and there are still a few tickets left for a few performances of Lizzie: The Rock Musical which has extended it’s run to 11/8. Watch the episode here https://bit.ly/TSOMNEpisode16YouTube

Or listen to the podcast here https://bit.ly/TSOMNEp16podcast

Episode 16 features an interview with Joel Sass the Producing Artistic Director of Open Eye Theatre about their latest production Lizzie: The Rock Musical which now has an extended run through 11/8 go here for tickets and details https://www.openeyetheatre.org/ We also have a review of that show as well as Chap Snatchers at Bryant Lake Bowl go here to get tickets for this weekends final performances https://www.bryantlakebowl.com/theater

Jill Schafer of Cherry and Spoon provides a Guest Blogger Review of Prime Productions To Peter Pan on Her 70th Birthday https://www.primeprods.org/ Check out Cherry and Spoons reviews here http://www.cherryandspoon.com/

We also have details on how to win tickets to an upcoming show at History Theatre thanks to Erica Skarohlid of Lettered in Theatre. You can read her blog here https://letteredintheatre.wordpress.com/ and check out the season lineup at History Theatre here https://www.historytheatre.com/

The Cherry Orchard a Co-Production By The Moving Company and Jungle Theater

Nathan Keepers, Tracey Maloney Photo by Lauren B. Photography

This was my first experience with Chekhov’s The Cherry Orchard. I’ve seen three Chekhov adaptations over the last few years, but before that, I only knew him by reputation and the titles of his plays. With this production, I’ve now seen an adaptation of what Wikipedia calls “the four outstanding plays by Chekhov.” Out of curiosity, I read the synopsis there to see how faithful this version might be, but I resisted reading any analysis or criticism as I didn’t want to be told what I was supposed to think or feel about this revered work. I wanted my reactions to reflect how I responded in the moment, not through the lens of 1902 Russia when it was written.

These are my initial gut impressions, which I think are valid if you’re deciding whether The Cherry Orchard is something you want to experience. We all want to know up front: am I going to enjoy this? I did. I found it surprisingly funny, which sent me back to the synopsis to confirm whether that was typical. I’d never heard Chekhov described as funny; I always imagined his work as dark or depressing. This isn’t a straight-up comedy, but I didn’t expect the amount of humor in this production. The internet tells me Chekhov considered it a comedy; “dramedy” might be the best descriptor. Like Shakespeare, the play seems flexible allowing directors and actors to lean into either the drama or the humor depending on their interpretation.

The Moving Company consistently delivers strong performances, and this production is no exception. Nathan Keepers, exquisitely dressed by costumer Sonya Berlovitz, is excellent as Lopakhin, a wealthy businessman who once worked for the family that owns the cherry orchard of the title. The story follows a once-wealthy family who, through denial and poor decisions, have squandered their fortune. Their land and its famous orchard are about to be auctioned to pay their debts. Lopakhin offers a plan to save their estate, but the family is too paralyzed to act.

The concept of a privileged but foolish family losing everything feels like a reflection of Russia’s shifting social order—The Cherry Orchard premiered just thirteen years before the Revolution. Director Dominique Serrand, who also plays Leonid, the aging uncle, brings both humor and pathos to the production. Alongside Tracey Maloney as Liubóv, his sister and head of the family, the two create characters we should want to shake some sense into, but can’t help pitying even as they bring about their own downfall.

I don’t know if this is a typical interpretation of the play, but I thoroughly enjoyed it and am glad to have finally experienced such an important work.

The Cherry Orchard runs through November 2 at Jungle Theater in Uptown. For tickets and information, visit jungletheater.org/the-cherry-orchard.

Don’t rely on Facebook or Instagram algorithms to keep you in the loop about great shows. Subscribe and have every post from The Stages of MN delivered straight to your inbox—it’s the best way to make sure you never miss out on the theater action. To subscribe on a computer, enter your email address on the home page (right-hand side) and click subscribe. On mobile, scroll to the bottom of the page to find the same option. You can also follow me on Facebook @thestagesofmn and on Instagram thestagesofmn.