The Snowy Day from MN Opera at The Ordway

The Snowy Day an adaptation of the classic groundbreaking and award winning children’s book by Ezra Jack Keats make for a simple but sweet Opera. As one might assume given its picture book origin, this is a short opera running a little over an hour. The subject matter and the length make it a great option for people interested in introducing their musically interested children to the art form. The plot follows a young boy named Peter who wakes up to the first snowfall of the season and the ways in which he spends that first snowy day of the season. We follow along as Peter suffers through his parents insistence that he eat breakfast, put on all his warm clothes and snow gear, and worst of all get his face smeared with Vaseline to avoid chapping. The last one was a new one on me, but I assume comes from the book which was published in 1962. Once finally allowed to go outside we see his disappointment at being told he’s too young to join the bigger kids in a snowball fight. Finding a new friend in a young girl named Amy, and with whom he sleds down a hill, makes snow Angels and a snowman. Before returning home with a snowball in his coat pocket. After lights out he discovers to his disappointment that his snowball has melted, he then has a nightmare in which all of the people he encountered that day appear and begin to melt away as well. When he awakens the next day he finds another fresh layer of snow has fallen and prepares for another day of adventures in the snow.

I’m not knowledgeable enough to discuss the performers singing other than to say for me the best vocals were from John Mburu as Peter’s Daddy, his were the vocals I could hear most clearly as well. Raven McMillon who plays Peter, was too soft to be heard much of the time but gave a very charming performance, childlike without being childish. I also really enjoyed the performance of Leah Hawkins as Mama. She plays it with just the right amount of motherly love combined with, don’t you give me that look, motherliness. They even comment of the fact that she has eyes in the back of her head, my Mom had those too! There are moments such as after Peter has left the house and we stay with Mama as she expresses love and protectiveness that seem to tread water for a little too long. But they are few and though the Libretto by Andrea Davis Pinkney is very simple, one assumes drawing directly from the book for the most part, the music by Joel Thompson is lush and enchanting. The scenic design by Amy Rubin emulates faithfully the look and style of Keats’ original illustrations. There are fun touches like the sledding hill and snowballs. While it lacks the detail and grandness of the spectacular designs we saw in Edward Tulane back in 2022, it perfectly matches this material.

The Snowy Day runs through February 16th at The Ordway in St. Paul. For more information and to purchase tickets go to https://mnopera.org/season/2024-2025/the-snowy-day/

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Parade is a Powerful and Darkly Beautiful Musical That Shines a Light on This Country’s Great Sickness at the Orpheum Theatre

The National Touring Company of PARADE, photo by Joan Marcus

Parade which opened last night at the Orpheum Theatre for a five day run is not what I was originally expecting it to be. When the show was announced as part of the 2024-2025 Hennepin Arts Bank of America Broadway on Hennepin Theatre season, I had some notion it was one of the less popular musicals from the 1940’s and 50’s featuring Judy Garland in the film version. Turns out, I was thinking of Easter Parade, which was never a Broadway show, just a film. This is probably about as far away from that Jukebox musical as you can get. What this is however, is a powerful reflection on the hatred and abuses of power on which our country was, and is run. The ignorance and fear by which people are led to do horrible things all set to a beautiful score. I know this doesn’t sound like the show anyone has the stomach for right now, but to miss it would be a mistake. It is a tragic true crime story that ends not with justice, but tragedy. There is no inspirational fanfare at the end just the applause for artists telling a difficult story very, very well. If you are like me, it’ll make you angry, but that’s a good thing. This is where art can remind us, not to be numb to the injustices around us, but to be angry and to fight. When people tell lies to make others angry and trick them into actions that defy logic, when people in roles of authority don’t care about the truth but just feeding the fear of the masses, you should be angry.

Parade tells the story of the 1913 murder of of a 13 year old girl named Mary Phagan and the man Leo Frank, whom the authorities decided should be guilty. What always upsets me about stories like this is how the authorities do not care about justice for the 13 year old girl. They know they’re manufacturing evidence to get a conviction so that they don’t look bad in the press. They don’t care about catching the person that actually did it. We here stories like this over and over again, why? I’m afraid because it really happens like this, over and over and over again. The creators of Parade, the legendary Harold Prince who co-conceived it and the Author of the book Alfred Uhry and Composer and Lyricist Jason Robert Brown have brought power and beauty to this historical event. The show premiered in 1998 winning Tony Awards, then as well as in the revival in 2023 on which this touring production is based. Director Michael Arden has staged a darkly beautiful tableau making commentary on what is happening with things as subtle as who is singing or more pointedly who isn’t. While there isn’t a lot in the way of dancing, the co-choreographers Lauren Yalango-Grant and Christopher Cree Grant clearly were integral in designing the movements of the characters outside of what we think of as traditional dancing. There are moments when three young girls are testifying that has a dreamlike fluidity, a nightmarish beauty to it. The production is sprinkled with moments like that throughout. The set design by Dane Laffrey is simple yet effective and makes great use of Sven Ortel’s Projection designs, both of which you can get a taste of in the photo above.

The cast is very strong, the leads Max Chernin and Talia Suskauer as Leo and Lucille Frank are terrific together in their two second act duets “This is Not Over Yet” and “All the Wasted Time“. Their performances as they become closer near the end and Leo begins to see that Lucille brings so much to the table that he never saw before, makes the gut punch ending ever so much more bitter. Another fantastic performance comes from Ramone Nelson who plays Jim Conley, a black janitor at the pencil factory where Leo works and where Mary’s body was found. His song at the trial “That’s What He Said” is the most damning evidence which he has been blackmailed by the D.A. into giving. Nelson is so smooth and convincing that it lends believability to the testimony, it’s a stand out number. Another favorite in the cast was Chris Shyer as Governor Slaton, who pulls a switch on the audience and turns out to be a good guy. But don’t worry, before the show ends balance will be returned to the South when the crooked D.A. get elected as the new Governor of Georgia. Wouldn’t it be great if that last sentence was a joke instead of a reflection of reality? Finally Olivia Goosman needs a mention as Mary Phagan, she only gets two scenes before she is murdered, but Director Arden, ensures that her presence is felt throughout the remainder of the show, frequently placing her high and far upstage, her presence being seen at key moments through the projection screen, a reminder of another injustice, a poor little girl that the South let go unavenged.

Parade runs through January 26th at Hennepin Arts Orpheum Theatre in Downtown Minneapolis. For more information and to purchase tickets go to https://hennepinarts.org/events/parade-2025

A Cruise-mas Carol From The Mystery Cafe Would Be a Crime to Miss

The Mystery Cafe’s new show A Cruise-mas Carol is like all of their shows I’ve seen, just good plain fun. You get a nice meal, in this case it’s like the meals on all cruise ships and served buffet style. An entertaining show filled with corny jokes and in this case a magic show. But wait! That’s not all, you also get to pit your wits against the writers of the show and try and guess the solution to the mystery. This time it’s not a murder but a theft and the thief could be anyone a member of the crew or a passenger. And there are prizes awarded to the most creative solutions as well as the Super Sleuth who solves the crime. Last year I gave The Mystery Cafe as Christmas gifts and I plan to do that again this year. It really is the perfect outing to spend with family and friends, everyone has a good laugh, and trying to solve the mystery together can be a great team building exercise for those business owners looking for something unique to try with their employees.

A Cruise-mas Carol was co-written by one of my favorite local Writer/Actor/Artistic Directors Nissa along with The Mystery Cafe Founder Brian Kelly. Nissa also brings her boundless energy and enthusiasm to the role of Sandy, the Ships Activity Director and Niece of the Captain. Pulling double duty as both DJ and Roger, the ships engineer, is another favorite of The Stages of MN Sam Landman. He plays the ships engineer as a Scotsman as all ship engineers should be, with a very passable and fun accent. His work on the soundboard is as important as his character role as there is a lot of laughs that come from sound cues. Always great to see Wini Froelich in a show, she plays a retired author and amatuer slueth Julia Flender, who is introduced with one of those above mention audio jokes, see if you can guess what it might be? Everyone in the cast of these shows is having a blast and that makes it fun for the audience as well. I did also want to acknowledge Ryan Robert Nelson who plays the ship’s Captain so openly and playfully silly. A special shout out to Markus Clegg who plays Randy the Remarkable, the magician who is the ships entertainment, his portion was really fun, particularly a shadow puppet sequence.

A Cruise-mas Carol runs through January 4th 2025 at the Majestic Oaks Golf Club in Ham Lake. For more information and to purchase tickets go to https://www.themysterycafe.com/shows/now-playing. You’ll find info about all of their current shows there as well. The Mystery Cafe is also performing another holiday themed show this season which I saw last year called I’ll Be Homicidal For Christmas. This year it is being performed at a new location, The Sheraton Bloomington along with a few cast changes. Read my review from last years production, it’s a lot of fun as well. https://bit.ly/TSOMNHomicidalXMAS

Hot pink, red and orange textured geometric squeeze wallpaper

Irving Berlin’s White Christmas Brings Holiday Cheer Early to Chanhassen Dinner Theatres

The Cast of White Christmas Photo by Dan Norman, 2024

I know what you are thinking, and I was thinking the same thing, Christmas already? It’s still Monster Month! Well, when you mount a musical at the Chanhassen Dinner Theaters, even an abbreviated run like this, you have to start a little early and run a little late. And guess what? If you want to see this production before Christmas, you’ll need to purchase tickets for an October performance because a quick perusal through the CDT website shows every show from November 1st through until New Years Eve is sold out already. The kicker is, this production, it’s really really good. The dancing alone is worth the price of admission and it will be just as spectacular in October and January as it is in November and December. Choreographer Tamara Kangas Erickson has created some brilliant dances, many for large groups, but even the duet routines contain showstopping moves. Filled with perfectly synchronized tap, the cast really gives everything and it pays off. Under the musical direction of Andy Kust, the orchestra and vocalists are as is always the case at CDT of the highest level. Long time Artistic Director Michael Brindisi shows that after over 120 productions he knows just how to stage a show for this theater and its audiences. I promise you, even the Scroogiest will come away from Irving Berlin’s White Christmas with the holiday spirit.

Song and dance man Michael Gruber plays Bob Wallace one half of a song and dance team along with Tony Vierling’s Phil Davis. These two sound and act the part of 1950’s wholesome crooners perfectly. After an opening set in 1944 Europe in which Bob and Phil are entertaining their fellow soldiers including General Waverly, whom they all would follow to the ends of the earth, we jump ahead to 1954. Bob and Phil are huge stars and on their way to Florida over the holidays to work on and rehearse a new Broadway revue. When Phil falls for one half of a sister act, who are on their way to Vermont to perform at an Inn, he tricks Bob onto the wrong train so they can tag along. It turns out the Inn is owned by their former commanding officer General Waverly, it is also financially deep in the red. When they arrive the Inn has just lost all of it’s reservation due to a heat wave that makes skiing and other winter activities unavailable. Bob and Phil decide to move their rehearsal to Vermont and mount a show, getting all their old infantry division to come over the Christmas holiday and save the General’s Inn. Of course the two sisters they followed, Betty and Judy played by Ann Michels and Andrea Mislan, are on again off again romantic interests for Bob and Phil. Misunderstandings occur to keep the couples apart until the end of course, but they continue to make beautiful music together throughout the show. Helping the General to run the Inn is Martha Watson played by Michelle Barber, who used to be a performer herself. Barber has a great bickering chemistry with Joenathan Thomas who plays the general, as well as with his Granddaughter played in rotation by Jenalia Valerio and Malee Cenizal.

The main leads all mentioned above are exceptional at recreating the light and wholesome feel of the 1954 film on which the stage musical is based. They get great support, particularly in the dancing department from the ensemble. There are also a couple of character roles that add immensely to the humor of the show. Jon Andrew Hegge plays a few different roles but it’s as the Inn’s handyman Ezekiel, who apparently came with the place when the General bought it, that he gets some of the biggest laughs of the show, all by seemingly to do very little, but very slowly. In his first scene I swear he was cracking up Michelle Barber with the pace at which he was executing his performance. Another standout is Mark King as the harried stage manager Mike Nulty, he adds a bit of comic flair with his exasperated performance throughout the five days of trying to get the show up and running. But, it’s his interactions with Hegge’s Ezekiel that bring out the best in both performers who feed of each other with a perfect comic timing.

Irving Berlin’s White Christmas runs through January 25th at Chanhassen Dinner Theatres. I’d be remiss if I didn’t mention the wonderful food that comes included with your tickets. They also have delicious beverages and desserts you can enjoy, I highly recommend indulging in the Tiramisu. For more information about the show, the menu, and to purchase tickets go to https://chanhassendt.com/whitechristmas/

Suor Angelica an Immersive Opera at The Basilica of Saint Mary by Out of the Box Opera

Out of the Box Opera’s immersive production of Giacomo Puccini’s Suor Angelica is being performed in The Basilica of Saint Mary in Downtown Minneapolis. It’s a unique experience to be sure and for fans of Opera I’m sure it will be a special treat. Faithful readers will know that I’m not afraid to dip my toes into Opera from time to time, but am also willing to admit that it is not a natural attraction for me. I find my best experiences have been Opera’s that fall to one extreme or the other, either simply performed in English in nontraditional spaces or a full on MN Opera experience with gigantic sets and costumes. This production uses three locations in the Basilica labeled the Cloister, The Chapel, and the Nave. Each location occupies about 15 to 20 minutes of time, after which we are ushered to another location. The first and last were spacious and well thought out. The middle was cramped, too warm, and some audience member couldn’t get into the room, with close to half having to stand throughout. Nothing like standing in too warm a room listening to people sing in a language you don’t know to test your opera loving credentials. You are given a bookmark with QR codes on it for each location. When scanned you can read a synopsis of what is happening in that scene. That’s something, but if I’m honest I need more, I need the text transcription projected.

This is not a show for people curious about opera or like me trying to get a feel for it. This is a show for dyed in the wool opera lovers, they will no doubt get so much more out of it than I ever could. There were aspects I admired such as the wonderful music conducted by Stephen Hargreaves. The amazing vocalizations particularly of the lead Alexandra Loutsian, when she signs in the final location which is in the cathedral of the Basilica the acoustics are something otherworldly. The beauty and the ornate carvings and stained glass windows of the cathedral were a joy to behold especially while accompanied by Puccini’s music. So those are the positive takeaways. The negatives are based on who you are. It’s like a guitar solo, if it’s really elaborate, a one minute guitar solo can just about hold my interest, but I don’t play guitar and I don’t go to concerts to just listen to the guitar, so anything beyond that is testing my patience. A guitar player will sit and watch a great 30 minute guitar solo and think it ended too soon. It’s the same with this, if it’s your jam, you’ll like it, but it isn’t the crossover hit you need to create new opera audiences. You know if this is for you or not, if you are unsure, I’d reccomend waiting for a production that at least gives you subtitles so you can follow along moment to moment.

Suor Angelica has a short run ending this weekend for more information and to purchase tickets go to https://www.outoftheboxopera.org/

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.

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The Cradle Will Rock An Opera Theatre Presentation at Heart of the Beast/Avalon Theater

* Disclaimer: On March 28th I suffered a rupture in my right bicep muscle, which has left me without the use of my right arm. I will endeavor to continue seeing and reviewing shows however the reality is that the reviews will need to be significantly shorter. For now I will attempt to provide you, faithful readers, with a few sentences that will make clear whether a show is worth your time and money. My apologies to all of the artists in front of the curtain as well as behind whose work I may not be able to comment on. Hopefully this will be a short-term accommodation, I will do everything in my power to get back to writing full reviews as soon as is humanly possible.

The Cradle Will Rock is a show I know of but had never seen, it’s sort of that kind of show. There’s an incredible true story about its staging in 1937 that Actor and Director Tim Robbins made into a film in 1999 called Cradle Will Rock, it’s a good movie and a fascinating story. You can get the general gist of what happened in An Opera Theater’s program for this show, which is packed full of captivating information and thoughtful commentary from the people behind this staging of Marc Blitzstein’s condemnation of greed and corruption. The show runs about 65 minutes and as such, it eskews subtlety being very direct and clear about its message. A message whose time has come again, not that it ever really left. The show consists of 10 scenes that play out showing us the ways in which it’s villain Mr Mister exploits, manipulates, and controls not only the people but institutions for his own personal gain. The production directed by Christina Baldwin along with Lizz Windnagel as Puppet Director/Creator is visually inventive with creative use of lighting by Claudia Errickson, and wonderfully stylized costumes by Sonya Berlovitz.

Baldwin speaks in her program notes about the importance of being silly, and it’s a lesson she has successfully instilled in her cast. Written in a very Brechtian Style, the infusion of whimsy that Baldwin brings to the piece makes it more digestible to modern audience. The cast has some familiar faces in it but also new ones. Benjamin Dutcher sounds brilliant as always but, it’s his playful, and yes, silly characterizations were the real joy of his performance. His stylistic movements as his first character Dick were a perfect match for the overcoat designed by Berlovitz for the character. Maurice Fields III is someone I had not seen before but they certainly made an impression. Fields has a wonderful tenor voice but again, it was their characterizations that really stuck out as Reverend Salvation, for example they illustrates how we got to this state we’re in with regards to the religious right. They perfectly play the gradual seduction of the man of God by the power of the dollar. It’s a wonderful cast all around and the production team as well particularly those involved with the puppeteering really make this a production stand out. What’s also intriguing about this company, An Opera Theater is their commitment to community engagement with performances being followed by round table discussions with community leaders as well as resources available in the lobby and in the program. For them, it’s not just about putting on a show it’s about engaging an audience and a community, which is a beautiful thing.

The Cradle Will Rock runs through April 21st at Heart of the Beast /Avalon Theater in Minneapolis. For more information and purchase tickets go to https://anoperatheatre.org/cradle

Join us for a twin cities theater blogger event at the Guthrie Theater for their Shakespeare history event. We are also planning a Twin Cities Theater Bloggers post show Gathering on April 27th following the Richard II matinee for 20% discount on tickets to that performance use the code TCBLOG or click on the link http://securesite.guthrietheater.org/single/PSDetail.aspx?psn=33583&promo=TCBLOG

The Name Jar at Stages Theatre Company in Hopkins a Collaboration With Theater Mu

The Name Jar a 45 minute play is an adaptation of the book by Yangsook Choi by Susan H. Pak and Directed by Jake Sung-Guk Sullivan running at Stages Theatre Company through April 14th. The production is done in Collaboration with Theater Mu which is one of my favorite Theatre companies. One of the things I love about Theater Mu is that aside from always putting on quality productions I almost always learn something new about various Asian cultures. Sometimes it is as intricate as learning about a war I knew nothing about, other times as simple as how to pronounce a word. I love what the two companies have done with this production geared towards people age five and up; however, the up doesn’t mean 14 or 17 it means 101+. The message here is simple enough for school age children to understand but universal enough for anyone to learn from. It’s short, energetic, and yes geared towards children, but did I mention it’s short? Two hours of a showed geared towards five years old, without having a five year old with me would be rough. But I attended this on my own at 45 minutes I found if engaging and full of heart and I felt I gained knowledge and understanding.

The plot follows Unhei, a young girl who has just moved to the United states from Korea, as she attends her first day at school. None of the other children can pronounce her name and she starts to wonder if she should pick out an American name to go by at school. This is a difficult decision, in her family and indeed her culture, names are very important. It’s important to note that her classmates are not intentionally mean or tease her about her name. But, the enthusiastically grasp onto the idea of her picking a new name and create the name jar of the title into which they place suggestions of what she can call herself. We see how not Unhei feels different from the others and understand her natural instinct to try and change to fit in with her classmates. We also gain an understanding through her interactions with her Umma (Mom), Mr. Kim the Korean Grocery store owner, and her Halmoni (Grandma) about the ways in which a name differs in Korean culture from those of the average midwestern family. Director Sullivan does a great job keeping the play moving and of engaging the audience through some mild interaction. Encouraging the audience say Korean words and names along with the characters involves us in the story but also in the learning, we don’t simply let things wash over us we actively engage. Technically the show has subtle but effective use of projections, the scenic design by Sarah Brandner is versatile and well suited and more elaborate than I expected for the studio space. There’s also nice work done by Lighting Designer Alice Endo and Sound Designer Gretchen Katt in helping to create the locales and make for effective transitions.

The Name Jar is running through April 14th at Stages Theatre Company in Hopkins. For more information and to purchase tickets go to https://www.stagestheatre.org/name-jar/