The Butler Did It Satisfies the Mystery Lover With a Brand New Sleuth I’m Dying to See More of at Park Square Theatre

Allison Vincent and Steve Hendrickson Photo by Dan Norman

The Butler Did It, the new play by arguably the finest mystery playwright working today, Jeffrey Hatcher, is sure to please any fan of the genre. Done in the subgenre of the inverted mystery, where we witness the killer commit the crime and then watch the cat-and-mouse game unfold between criminal and law enforcement. The format is most famously associated with the TV detective Columbo, for which Hatcher wrote one of the final installments. While this play certainly has shades of Columbo, Hatcher also brings his unique talent for surprising the audience with unexpected twists.

The thing about mystery plays is that there isn’t much you can say without accidentally spoiling the fun. In fact, during the talkback I attended after the show, I realized that even discussing one of the lead characters, and the actor who portrays them, could be considered a spoiler. Even that might be enough for the especially deductive among you to piece things together. Therefore, a play I feel I could write a double-length review about is instead going to get one of my shortest.

The play is set at a school for gentlemen’s gentlemen in 1975 San Francisco. A murder takes place that appears to be a suicide, but we, the audience, know otherwise. Assigned to the case, her first in fact, is the newly appointed Inspector Denise. And that’s about all I dare say of the plot. What I can add is that, for a mystery where you already know the killer, the fun comes from how cleverly Hatcher subverts expectations, how sharp the dialogue is, and how well the cast executes it. The Butler Did It does all three in spades.

Speaking of the cast, there’s exactly one person I feel safe discussing without being hauled away by the spoiler police: Allison Vincent as Inspector Denise. Luckily, I could write about Vincent all day. Hatcher may have modeled aspects of the play after Columbo, but he has created a completely original hero in Inspector Denise. It’s a role that feels tailor made for Vincent, who is one of the most distinctive theater artists in the Twin Cities. Not just a performer, but also a writer and director, Vincent has never once failed to impress. Here, she goes nowhere near Columbo as a character, instead bringing a style and energy entirely her own. Her humor feels like a perfect match for Hatcher’s writing.

After seeing her as Inspector Denise, I’m ready for a full series of plays, a Netflix show, starring Vincent in the role, written by Hatcher of course. Hatcher did mention that of the four future mysteries he’s been commissioned by Park Square Theatre to write, Inspector Denise is a character he’d like to revisit in one of them. Personally, I hope he doesn’t limit it to just one, I’m ready to tag along with Inspector Denise on many more investigations.

I hesitate to discuss the rest of the cast, but they are absolutely perfect. The production is filled with names faithful readers and Twin Cities theatergoers will recognize: Anna Beth Baker, Neal Beckman, Pearce Bunting, Peter Christian Hansen, Steve Hendrickson, and Nora Long. With that lineup and Hatcher’s script, audiences can be confident they’re in for something exciting.

What else can I say without hampering your enjoyment? Director David Ira Goldstein expertly guides the audience through the plot’s twists and turns. Scenic designer Benjamin Olsen has created a wonderful set, which we’re told will be reconfigured and adapted for each of Hatcher’s future mystery/thrillers. Karin Olson’s lighting design features some highly effective cues, from a small gunshot to a large explosion, both convincingly realized. Frederick Kennedy’s sound design includes a delightfully ’70s TV-style motif that brought a smile to my face every time it popped up.

The Butler Did It is exactly what mystery lovers crave, a new play that feels like a classic of the genre. The production runs at Park Square Theatre in St. Paul through August 16. For more information and to purchase tickets, visit https://www.parksquaretheatre.org/the-butler-did-it.

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The Cottage is a Wonderfully Light Comedy in the Style of a Noel Coward Play at the Gremlin Theatre

Corey DiNardo, Sarah Malfara, Sasha Andreev Photo by Alyssa Kristine Photography

The Cottage by Sandy Rustin is the sort of comedy Noël Coward might have written, if he were writing today, and a woman. It isn’t vulgar, but it carries a distinctly modern sensibility, freer than the comedies of manners Coward penned in the 1920s and ’30s.

The play opens in 1923 at a country cottage, where two lovers, Sylvia and Beau, have just spent a night together. We quickly learn they are both married, and, in fact are brother- and sister-in-law. In a fit of impulsive honesty, Sylvia has sent telegrams to their respective spouses confessing the affair, assuming she and Beau will simply move on and marry each other. Naturally, this decision brings those spouses, and a few surprise guests, crashing onto the scene. To reveal more would spoil the fun, but suffice it to say this is an old-fashioned farce with a decidedly modern, feminist edge.

Sarah Malfara opens and closes the play alone on stage as Sylvia. At first, her performance feels overly mannered, but it soon becomes clear this is intentional, Sylvia is “playing house,” posing within a role of her own creation. As revelations unfold, Malfara gradually strips away that façade. By the end, she has transformed from a fluttering romantic into a clear-eyed woman firmly in control of her own narrative. It’s a terrific turn from an actor I was previously unfamiliar with, and Malfara keeps the audience constantly reassessing both her performance and Sylvia herself.

All Is Calm alum Sasha Andreev puts his dashing good looks to excellent use as Beau, a man who clearly has no trouble attracting women. Andreev is as adept at turning on the charm as he is at landing sharp comedic beats, particularly in his well played exits after a confrontation with a potentially deadly visitor. Mira Davis, as the delightfully unpredictable Dierdre, makes the most of every entrance (often from unexpected places) and mines plenty of laughs from her character’s… incapacitated state. Corey DiNardo (Clarke) and Shana Eisenberg (Marjorie), the wronged spouses, most strongly evoke the classic 1920s British comedy-of-manners style, while still sneaking in some wonderfully surprising flourishes. And Chance Carroll, as Richard, delivers one of the evening’s biggest surprises with a transformation that once again upends expectations.

The Cottage is a light but thoroughly delightful comedy, packed with unexpected twists, entrances, and revelations. Just when it has exhausted its surprises, it lands on a message that feels fully earned. Director Brian Balcom captures the spirit of a Noël Coward comedy with precision while allowing Rustin’s modern voice to shine through.

The Cottage runs through August 2 at the Gremlin Theatre in St. Paul. For more information and tickets, visit https://gremlintheatre.org/the-cottage/

The Prom is the Feel Good Musical Blast of the Summer! Lyric Arts, I Just Wanna Dance With You!

One thing Bloggings taught me, is how much people enjoy a show! And so it’s got me debating how this review should go. Audiences will be reading, how Lyric Arts’ Production is. What I must say is, They built a show for everyone! And It’s just so damn fun. The music soars, the dancers score and my unruly eyes wept.

The Prom will always have a special place in my heart for a lot of reasons. It’s one of the cast albums that I throw on fairly regularly, because every song is good. A lot of them stir up some powerful, joyful emotions; others make you want to get up and dance. They all make me want to sing along. The National Tour was a blast and had me and the entire audience on our feet dancing. In my review at the time, I wrote, “I haven’t left the theater this high on a show since Come From Away.” I could absolutely say the same thing in this review, thanks to the Guthrie’s brilliant production of that show this summer. The Chanhassen Dinner Theatres production I saw twice, the second time, I led a talkback afterwards where I had the honor to share the stage with the late, great Michael Brindisi and several members of that incredible cast. This is by far the smallest production I’ve seen, but that in no way diminishes it. This production of The Prom reminded me of how much I love this show.

I’ve heard people whose opinions I respect, people who know more about musical theater than I ever will, dismiss The Prom. But I choose to open my unruly heart to the sheer joy that this show embodies. This show is a blast and it’s really hard for me to imagine anyone not having just about the time of their life with it.

The Prom tells the story of a small town in Indiana that has cancelled the prom rather than let a high school student, Emma, take her girlfriend as her date. It opens with Dee Dee and Barry, actors who are past their prime, headlining a show, Eleanor! The Eleanor Roosevelt Musical, whose opening night is also going to be its closing night. They grasp onto the story in Indiana as a way to raise their profiles and rehab their unlikeable image. Along with fellow actors Trent and Angie, these thespians descend upon a meeting where Emma, along with her principal, Mr. Hawkins, is trying to convince the PTA to reverse their decision. What begins as a co-opting of Emma’s dilemma for their own narcissistic reasons will ultimately help all of them deal with their own issues. Emma will have her ups and downs, as will her closeted girlfriend Alyssa Green, whose mother is the head of the PTA. It’s a story that pokes gentle, loving fun at theatrical types while also dealing with the very real issue of intolerance toward, and the need for inclusion of, LGBTQ-identifying individuals. It shows us the ugly side of human nature, but it is about the courage to be who you are, and is ultimately very uplifting.

I’m going to single out a few members of the cast that I just want to spotlight for different reasons, but again, this is a show that, if you, faithful readers, had the patience, and I didn’t need to sleep at some point, I could talk about everyone in the cast. They are all amazing. First off, I have to mention Andrew Newman as Barry Glickman. Newman is outstanding in the role and will be getting a TCTB Award nomination from me come the end of the year for this performance. Every facial expression, every line reading, every dance step, and every lyric sung is perfection. Imani Harris as Emma is a revelation. I guess I saw her in Big Fish at Lyric Arts last fall, but other than that she is new to me, and one to watch. Her vocals are impressive, and she had me tearing up at about three different points in the show. Lastly, I want to give a shout-out to Colin Perucco, who plays Principal Hawkins. Perucco is familiar, but his bio didn’t give me any clues as to where I’ve seen him before. But man, this guy has something. I can’t put my finger on it, but I was really impressed by him. He just seemed perfect in the role, believable, caring, and brilliant at being the grounded counterpoint to the more eccentric thespian characters. I never saw him acting, he just seemed to exist in the story.

Director Amanda White has an eye for finding humor in the reactions of the characters who are not the focus of the scene. It’s what separates a great production from a good one. There is more happening in the world of the story than just the information we are being fed. The nuances that come out about characters, when everyone is bringing something to every scene, whether they are speaking, singing, or just in the background, is what makes a show come to life. The other aspect that brings this production to another level is the choreography by Lauri Kraft and Michael Terrell Brown. I feel like there is more dancing in this production than I remember in previous ones. It’s fast, precise, and on more than one occasion comedically inspired. Like Brown’s work in Mamma Mia! earlier this year at Lyric Arts, the choreography almost feels like another character in the show; it has so much personality.

If this show doesn’t sell out most of its run like Mamma Mia! did, I would be very surprised. Of course, there is the whole LGBTQ aspect, and this is the suburbs. I remember writing in my review of the CDT production, “Is it weird to say you are proud of a theatre? Maybe, but it’s how I feel about CDT’s decision to produce The Prom.” And you know what, Lyric Arts? I’m proud of you too!

The Prom runs through August 9th at Lyric Arts in Anoka. It takes about 30 to 40 minutes to get to from Minneapolis, but believe me, this production is worth the drive. For more information and to purchase tickets, go to https://www.lyricarts.org/prom

Blithe Spirit A Ghostly Comedy Brought Effectively to Life at Theatre in the Round

Cast of Blithe Spirit Photo by Aaron Mark Photo Film

Ever worried about your ex, or your partner’s, coming back into your life? Well, Blithe Spirit takes that concern and doubles down on it, making your own worries seem trivial.

Noel Coward’s classic comedy follows novelist Charles Condomine, who invites a quirky psychic named Madame Arcati over for a séance as research for his next book. What could go wrong? Well, she accidentally summons the ghost of his first wife. And only he can see her.

What follows is a delightfully chaotic battle between the living and the dead, as Charles’ current wife, Ruth, finds herself competing with a very present ex, Elvira, who refuses to move on. Witty, fast, even at two hours and 45 minutes, and deliciously ridiculous, Blithe Spirit is a supernatural farce where the afterlife has better comedic timing than most of the living.

As Charles Condomine, James Lane seems to have completed his transition from supporting player to lead. I’ve been seeing Lane in productions all over town for years now, and his two performances this year, a supporting role in Grumpy Old Men: The Musical and the lead here, are among his best. This is a big role, and Lane makes it look easy, with perfect timing not only in his line delivery but also in his reactions to the characters around him.

As the two wives, Megan Blakeley as Ruth and Dani Pazurek as Elvira take very different approaches to their roles. Blakeley has great timing in her appalled reactions to Charles’ comments, which are directed at Elvira but assumed to be meant for her. Her slide into haggard despair at the constant presence of the deceased wife is well modulated. she primarily reacts to the world around her. In contrast, Pazurek is effortlessly superior as the ghost, able to criticize her replacement without fear of retort, since Ruth cannot hear her. She plays the role as a character above everyone else, she makes her statements and lets others react, free from their worries. She’s dead; she can focus only on what she wants, without fear of consequences.

I have seen and greatly enjoyed the David Lean film adaptation from 1945, particularly the role of Madame Arcati, played by one of my favorite character actors of all time, Margaret Rutherford, who also originated the role in its West End premiere. Janice Stone plays the role here and very much makes it her own. She is spry and full of eccentric energy, and she pulls off the difficult task of making me forget Rutherford’s performance to become a highlight of the show.

The supporting cast is also very good. Dr. George Bradman and his wife Violet, who are part of the original séance, are played by David Rinzema and Lori Constable. Constable, in particular, adds a twinkle to her character reminiscent of the great character roles of the 1930s and ’40s. Hailey Zeissler plays Edith, the perpetually high-strung maid, with the perfect deer-in-the-headlights combination of panic and stunned indecision.

Dann Peterson directs the show with an assuredness that comes from having helmed 27 productions for TRP. The play is well suited for the in-the-round space, with Elvira constantly circling the stage, leading to moments where those who can’t see her are conversing with the empty space she just occupied. Thomas L. Valach adorns the space with a well designed set, complete with French windows from which Elvira can make her spectral entrance.

It’s a very fun play and a wonderful conclusion to another great season from Theatre in the Round. I look forward to their next, the 75th season, which is filled with great shows, all with a Minnesota connection. Read about next season here, season flex passes go on sale June 23rd!

Blithe Spirit runs through July 12th at Theatre in the Round. For more information and to purchase tickets go to https://www.theatreintheround.org/blithespirit/

Come From Away Will Stop the World at Guthrie Theater and Transport You to Where The World Has Come Together

The cast of Come From Away Photo by Dan Norman

This was my fourth time seeing Come From Away (fifth if you count the Apple TV version), and somehow it keeps hitting harder. There is something very, very special about this show. My first two experiences were the original tour at the Orpheum, where the cast was dropping like flies from COVID and reinforcements were being flown in from all over the country, touring casts, Broadway understudies, maybe even a few folks who had just recently left the show and still knew the tracks. Which, honestly, feels completely in the spirit of Come From Away. Then came the Ordway’s chance to host the tour. Now the Guthrie gives us the first local production, and it’s my favorite of the bunch. If you’ve never seen it, now is the time.

If you somehow don’t know it, the show tells the true story of nearly 7,000 airline passengers diverted to Gander, Newfoundland, on 9/11, and the small town that took them in. Yes, it deals with that day, but this isn’t a downer. It acknowledges the trauma, but also shows us the resilience and compassion that saw us through that dark time. You’ll feel the weight of it, but I assure you this is a musical that uplifts the audience. The painful moments come, but the emotions we feel are cathartic.

The Cast From Come From Away Photo by Dan Norman

Why does this production outshine the Broadway touring productions? I think there are a couple of things at play here. First is that, as powerful as the show has been since its first performance, the kindness and selflessness at its heart feel all the more profound given the current trajectory of the world. I grew up hearing my parents and people of their generation talk about where they were when JFK was assassinated. For my generation, that cultural touchstone is 9/11. At a time when the world often feels divided, seeing this moment, when people came together to support one another, lands with even greater impact. There are also scenes that touch on our darker tendencies, including the seeds of xenophobia that 9/11 planted. But it never loses sight of what people can be at their best.

This is a show about community, a community that comes together to take in these stranded souls. The community of Islanders and those “from away” that forms over the five days in which they are thrown together. You see it in the way actors flew in from all over the country during that first tour visit at the Orpheum. And maybe community is another reason this production is so great. I look around the stage and see all of these people I’ve been watching, writing about, and sometimes even interviewing over the last seven years. I see the community I’ve become a part of. It’s our community telling this story now, and that adds something extra. I see actors I’ve followed and sung the praises of, bringing this show to life. I’m moved, as always, by their talent. There is the added thrill of seeing some of them at the Guthrie for the first time.

Local favorites making their Guthrie debuts include Matthew Hall, who must be on leave from Guys and Dolls out at Chanhassen, where he brought the house down with his performance of “Sit Down, You’re Rockin’ the Boat.” He’s terrific here as well. We also have Kate Beahen and Jennifer Grimm, both stellar in their Guthrie debuts.

Then there are familiar local favorites like Eric Morris, who is terrific as the Mayor; Katie Bradley, Jon Hegge, Jim Lichtscheidl, Ann Michels, and a seriously unrecognizable Angela Timberman. The cast is just amazing, including some out-of-towners, especially Soara-Joye Ross as Beverley, one of the airplane pilots.

I have to hand it to the Guthrie’s Resident Casting Director, Jennifer Liestman, not just for finding the perfect cast, but for giving so many of our local favorites their Guthrie debuts. We only have three non-locals in the cast, and they are perfect in their roles: Soara-Joye Ross, Evan Balasubramaniam, and Justin Keyes.

Director Kent Gash keeps the whole thing moving at breakneck speed. It runs without intermission, and from the moment it starts, it doesn’t stop to breathe, except for a brief technical hiccup right after “In the Bar/Heave Away,” but they reset and jumped right back in. Honestly? Since “Heave Away” is one of my favorite moments, it felt like a bonus round. No complaints here

Before I sign off, I have to acknowledge the musicians and Musical Director J. Oconer Navarro. If you are one of those low-down weasels who slinks out during the curtain call, I’ll warn you not to this time. Seeing the band join the cast onstage and get some appreciation as they jam is the cherry on top of this delicious musical. And while I’m on the subject, I’ll just say this: I think it’s a classless thing to leave without applauding the performers who just spent an evening doing their best to entertain you. Stay, clap, be a decent human. I have to go home and usually stay up writing until the review is done and posted, and I would never consider behaving like that. Just had to say it, its been building up for a while, and Come From Away inspires that kind of cathartic release.

Come From Away uses music to weave a tapestry that taps into our collective trauma and allows us to face it through the humanity of people forced together, who rose up and found the best in themselves. There is a running bit where the Newfoundlanders say you’d do the same. Would I? would you? I’m guessing yes. Would our country? absolutely not. I think we would have in 2001, but Trump would likely refuse to let any plans land in the US if this happened elsewhere. Come From Away runs through August 9th at the Guthrie Theater in Minneapolis. For more information and to purchase tickets go to https://www.guthrietheater.org/whats-on/come-from-away/

My Antonia Reveals Itself in World Premiere as a Beautiful New Musical at Theater Latté Da

Will Dusek and Sara Masterson Photo by Dan Norman

The World Premiere of the new musical My Ántonia at Theater Latté Da is one of the best new musicals I’ve seen in some time. Intimate, inviting, full of memorable songs, and featuring a knockout cast, this feels like a show that should have long legs. It opens with the audience feeling like part of the show, with cast members standing among us as they set the scene of the Nebraska prairie of the late 1800s. We hear the birds and the crickets, the sounds of nature coming alive as the cast sings the prologue.

The novel, which is told in the first person and is semi-autobiographical, translates surprisingly well to the stage. In order to maintain that first-person perspective, we have the main character, Jim, run into Willa in a bar in New York City. They reminisce about the old days, and in particular Ántonia. We then flash back to Jim, recently orphaned, on a train from the East to live with his grandparents in Nebraska. On the train is the Shimerda family, immigrants from Bohemia who will be his neighbors. Young Jim befriends their daughter Ántonia, who is a couple of years older than him. They spend their days together, and he teaches her to speak English. They have a beautiful song that deals with their introduction and the beginning of Jim teaching her the language, called “Name, What Name.” It is the first inkling that the music in this musical might be something special.

We see the characters at different stages of their lives, with Jim and Ántonia being played at different ages by three different pairs of actors. What worked extremely well was the framing device of the forty-something Jim and Willa, who pop in and out of the narrative throughout the show. It allows us the emotional connection that comes as the characters move forward from memory into the present. Who among us cannot relate to thinking back on the past, to that person who slipped away out of our lives, the one we see now that could have been the one we were destined for? We feel certain of it now, but there was usually a reason things went another way. Still, when it comes to memory, nothing is quite as emotionally potent as unrequited or unexpressed love.

This is one of those shows where the cast is so good that if you try to limit how many performers you’ll mention, you won’t even get to Sally Wingert and Bradley Greenwald, who in supporting roles do what they are so skilled at doing, punching those small moments, those little asides, just perfectly. With two of The Stages of MN favorites, Tom Reed and the limitlessly talented Em Adam Rosenberg, as the older Jim and Willa, in a genuinely funny scene beginning the tale, you realize that you’re going to have to breeze through the performers or you’ll be up all night. For the record, Reed and Rosenberg are outstanding; both bring the emotions home in the final moments of the show that, yep, had ol’ Rob in tears again. Damn you, Rosenberg. Every time, really? Honestly, is that necessary?

Right out of the gate we have Lillian Hochman and Maddox Tabalba, who play the youngest Ántonia and Jimmy. Hochman is probably older than the 14 she appears to be, but I’m fairly certain that Tabalba is in the ballpark of young Jimmy’s age, which I’d guess to be 12 to 14. These two are stunningly good. As the young adult Ántonia and Jim, we have Sara Masterson and Will Dusek, who again are just terrific. Add to that Anna Hashizume, and it’s a who’s who of my “must-see” list.

The music and lyrics are by The Kilbanes, whom I’d never heard of, but who clearly should be writing musicals. I was especially impressed by their willingness to venture outside of the period for inspiration. The prairie songs sound different from the town songs, and one song, “Saturday Night Me,” had a subtle ’50s rock ’n’ roll feel to it. It’s about the young people letting loose at the dance hall, and the style is like a shorthand to the audience to convey teenagers coming into their own. I hope this show goes on, I think it has the potential to go beyond regional theater. I, for one, would love to have a cast recording of it. There were several songs that I instantly wanted to be able to hear again.

My Ántonia runs through July 12th at Theater Latté Da in North Minneapolis. For more information and to purchase tickets go to https://www.latteda.org/my-antonia It’s not often that you get a new musical that works this well, don’t miss your chance to see it!

The Most Happy Fella a Joyful and Moving Musical Bursting With Life From Ten Thousand Things

Suzie Juul and Pedro R. Bayón Photo by Glen Stubbe

“If there is one theater company in the Twin Cities that I trust enough to go into a show blind with zero reservations, it’s Ten Thousand Things (TTT). I knew nothing but the title and the cast when I stepped into the makeshift theater-in-the-round space at Hennepin Avenue United Methodist Church, one of almost two dozen venues in which they are performing The Most Happy Fella. Adapted into a musical by Frank Loesser in 1956 from a 1924 play named They Knew What They Wanted by Sidney Howard, it doesn’t feel 70 years old. I would not have been shocked to learn it was a new work. But then, that’s kinda what TTT does, they make whatever they are doing feel new. The best actors in the world, either for tragedy, comedy, history, pastoral, pastoral-comical, historical-pastoral, tragical-historical, tragical-comical-historical-pastoral, scene indivisible, or poem unlimited: Seneca cannot be too heavy, nor Plautus too light. For the law of writ and the liberty, these are the only men and women. Yeah, they give good Shakespeare too!

The Most Happy Fella opens in a restaurant at closing time in San Francisco. The two waitresses, Cleo and her friend, are commiserating over their aching feet, the lack of tips, and the lecherous boss they have to fend off. Cleo’s friend receives a jeweled tie pin as a tip, along with a note from a man named Tony, who, not knowing her name, calls her Rosabella and asks her to send him a postcard. The scene then jumps to four months later in the Napa Valley, on Tony’s grape farm, where he receives his latest letter from his Rosabella. She has sent him a photograph, and he prepares to send her one as well. The problem is she is a young and beautiful woman; he is a much older man who does not consider himself handsome. At the last minute, he switches his photo for one of his handsome young foreman, Joe. A little while later, she has agreed to marry him and is arriving on the train. Tony is frightened that she will be angry with him for his deceit. On the way to pick her up at the station, he has an accident and breaks his leg. Rosabella, at first, upon learning of the switch, is determined to leave before realizing that she has no money and no place to go back to, and so she agrees to marry the injured Tony. Tony senses she is unhappy and sends for her friend Cleo, offering her a job where she never has to stand again, so that Rosabella will have a friend.

Tony is played by Pedro R. Bayón as a man full of life and happiness who loses his way for a bit after the accident. With the guilt of his misrepresentation, he thinks he can finally see himself through Rosabella’s eyes and believes his dreams were absurd. What shines through is his innate kindness and genuine love for Rosabella, and as he convinces himself that she couldn’t love him, she begins to love him. Bayón is the heart and soul of the production, to be sure. Before the dawn, he experiences his darkest moments, but his heart and love win out over meaner emotions. It is a moment that brought this reviewer to tears, and I felt a genuine connection with Bayon’s Tony.

This is one of those casts where you cannot pick a favorite, as everyone is so good, and there are slightly too many in the cast to talk about them all individually. Several of the cast members also play instruments during the musical numbers under the music direction of Isabella Dawis. The music in this show seems to live in a space between opera and musical theater, though leaning heavily toward the musical theater end of that spectrum. At times, even though you are sitting in a large, brightly lit room in a church in Minneapolis, you swear you can almost smell the aroma of Italian dishes being prepared for the wedding banquet and feel the sun on your face, surrounded by Tony’s vineyard. Though the cast is only seven actors, it feels like you are part of this vibrant community, especially during songs like “Standing on the Corner” and “Abbondanza,” where the energy is joyful and bursting with life.

As TTT’s new Artistic Director and the Director of this show, Caitlin Lowans finishes her first season with this triumphant production. It’s the start of a new era for TTT, and I’m now entirely confident that all of these precious ten thousand things are in good hands. Joyful and moving doesn’t just describe this show, but this theater company itself.”—

A Most Happy Fella runs through June 7th at various locations around the Twin Cities. For more information such as locations and to purchase tickets go to https://tenthousandthings.org/

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