Pippin - UMD Theatre

 

UMD’s Musical Pippin Lacks Magic

Duluth New Tribune
Sheryl Jensen 

April 15, 2022


UMD Theatre Department’s opening night of the musical Pippin did not meet the level of performance excellence of many of their past musicals. While it did have some bright spots, on the whole, it was a lackluster evening of theater.

Telling the medieval tale of King Charlemagne and his eldest son Pepin (Pippin), the musical is typically done with its original 1970’s vibe that the music from composer/lyricist Stephen Schwartz (of “Wicked” fame) helps to dictate.

Beginning with the show’s opening number, “Magic to Do,” the tone for an evening of theatrical razzle-dazzle should be set. From the start, sadly, there was very little sparkling spectacle happening on the UMD stage.

Choreographer and director Bob Fosse’s groundbreaking “concept” musicals, beginning with Pippin in 1973, and followed by Cabaret and Chicago, established an entirely new way of looking at musical storytelling and dance.

These shows with their darker and even sinister tones broke from the feel-good, happy, traditional musicals of stage and screen of the '40s and '50s.

According to guest director Dennis F. Johnson’s program note, UMD’s show overlays a classic 1940 and '50s Hollywood MGM movie musical style. This odd choice ended up creating a mishmash of costuming and staging, and more importantly, clouded a clear vision of the intent of the show.

While it isn’t, of course, necessary to duplicate Fosse’s iconic style down to the last hip gyration and use of jazz hands, it is still important that the show have a cohesive style which acknowledges his changing the face of musical theater forever. On that essential point, UMD’s show misses the mark.

Even though it is not musical “comedy” in the traditional sense, the show does have some genuinely funny moments. The UMD cast failed to bring out the humor enough in line readings, expressions and body language to land many of the “jokes.”

The UMD cast best succeeded with a few of the show’s quiet ballads such as Pippin (Nick Wright) and Catherine (Emily Bolles) singing ”Love Song” and Bolles’s lovely rendition of “I Guess I’ll Miss the Man.” A wonderful vocal moment came at the very end of the show with Theo (Zsofi Eastvold) doing a short reprise of “Corner of the Sky.”

The biggest sparks of energy and fun came from Laura Carlson in her role as the “leading player.” While she, at times, lacked some of the more menacing side that the role requires, the stage came to life when she helped to tell the story and kept the pacing moving. She also had some powerful vocal moments that showcased some of Schwartz’s music.

To be sure, the UMD cast looked like they were having fun, and the audience, which included mostly students, was vocal in their responses to their fellow students onstage.

Like every other college theater program, UMD is trying to come back after a two-year COVID gap of missing out on some of their students’ essential training and live performance. Thankfully, students are again attending in-person classes and performing onstage doing what they are being trained to do.

I look forward to next season, when I anticipate more of UMD’s musical magic will be uniformly showcased again.

The School for Lies - UMD Theatre

 

Lots of Hot Comedy in The School for Lies

Duluth New Tribune
Lawrance Bernabo

February 4, 2022 

 The School For Lies, David Ives’s “translaptation” of Moliere’s classic comedy The Misanthrope, opened at the University of Minnesota Duluth on Thursday night.  This is a show that slowly simmers for the first one-third, starts boiling and then refuses to stop.

Alceste the misanthrope is now named Frank because that is what the character clearly is as he rudely criticizes everyone’s flaws.  The young widow Celimene is equally critical of others and pursued by a trio of inept suitors.  Once Frank’s wingman Philinte tells Celimene’s gal pal Eliante a strategic lie, the romantic ball starts rolling and wackiness ensues.

Director Lauren Roth has put together a production where every single member of the cast has multiple moments to shine.

As Frank, Ian Wallin wields his caustic opinions like a baseball bat, while Kelly Solberg’s Celimene favors using a rapier in her attacks, when she is not rapping or going vapid Valley Girl.  She is up on points by the end of the night.

Even funnier is how their victims steal the moments back from their tormentors.  This show gets into gear when Celimene skewers Mikela Anderson’s Arsinoé who then loses it.  Completely.  On several levels.  Likewise, when Frank offers his insulting “apology” to Oronte, Nick Wright’s inarticulate rage was just epic.

In this comedy of manners, the most comic manners, both quantitatively and qualitatively, goes to Jake Lieder’s Acaste, who also displays a nice array of sudden shifts in delivery to humorous effect.

Ives is working in iambic pentameter and while there are certainly several payoffs to the rhyming couplets, the best humor comes when the characters break up the meter.  Especially when the cast starts playing things broadly, while keeping the characters grounded, which perfectly defines Maddie Schafer’s performance as Eliante.  Schafer used her voice, face, and body to punctuate her passionate dialogue.

Add to that moments of hysterical physical comedy that should stop Moliere from spinning in his grave over the whole translaptation thing.  Such as when Bryce Melton as Clitander makes his case for why he would be better, in a certain area of marital relations, than his competitors.  Others might be haunted more by where Frank’s encouragement of Jack Senske’s Philinte to woo Eliante takes the two of them.

Emily Crawford’s exquisite scenic design has a trio of chandeliers casting shadow on a black and white checkerboard floor and a settee covered in cursive and printed script, while the back wall offers a quartet of pop art portraits in the style of Andy Warhol.

Jeannie Hurley’s costumes are a luscious mix of gorgeous gowns for the women and excessive elegance for the men, topped off by wigs created by Ora Jewell-Busche.

Ives ends his version with a compilation of Moliere’s greatest hits: the royal ex machina from Tartuffe, the return of a long-lost character from The Miser, and the revelation of twins from the one where twins are revealed.

However, I do have a serious concern that the serving tray used by Hunter Ramsden’s Dubois cannot possibly survive the entire run of this show.

DanceWorks 2021 - UMD Theatre

  

UMD's Dance Works 2021 Brings Variety of Dances to Stage

Kelly Sue Coyle,

Duluth News Tribune 

December 4, 2021

Matthew Wagner, Dance Works 2021 artistic director and assistant professor of dance and musical theater, showcases a blend of faculty, student, and community works to an arts-starved audience coming off a year-and-a-half-long sabbatical.

The performance opened with a quintessential parody of a ballet class, choreographed by LilaAnn Coates White. This piece was presented in three parts scattered throughout the show. Standout Erin Clark had lovely technique. Clark consistently used good turnout (external rotation of the hips), stretched well through the legs, and demonstrated fluid motion.

"The Big Scare in the Big Easy," choreographed by Willa Gulstrand, another parody, was reminiscent of the 1970’s cartoon Scooby Doo. Lighting designer Braden Kowalski did an excellent job bringing bold vintage geometric shapes to the backdrop that framed the dancers well.

An interesting piece, "Hotel California," choreographed by Bettie Schultz, had some very nice choreographic elements. The corps began in two rows semi-silhouette by stage-left side lighting. With most dancers in black, the one woman in red stood out nicely by contrast. This piece had some lovely port de bras (carriage of the arms) while filling the space well. Although I can see why Schultz chose the acoustic guitar introduction version of the music, the live recording with audience noises was distracting to the piece itself.

The upbeat "Go Big or Go Home," choreographed by Jaclyn Nessett, was a lot of fun to watch. The dancers had good energy on stage, but at times seemed to be waiting for the music. Lighting designer Andrew Norfolk almost used his lighting as a percussive support which helped the stage come alive.

"Day by Day" was the strongest tap piece of the show, choreographed by Danielle Mattson and Matthew Wagner. Mattson, who performed "Day by Day" with clear strong sounds, kept excellent time with her quick riffs and pullbacks. "Exile" by Kylee Berude was by far the cleanest and best-executed choreographic work. The movement contained both axial and locomotor movement, good use of space and relationship of dancers, and even energy. Overall, an excellent piece.

The 218 Dance Project dancers stole the show. The pint-sized dancers executed a lyrical piece that blew my socks off. With the choreographic genius of Courtney LaPlante, the stretchy little dancers jumped, twisted, and turned with artistry beyond their years.

By and large, this was an enjoyable show that highlighted faculty, student, and guest artists' work. The costumes and lighting throughout helped to highlight the narrative and created mood. The show provided a nice variety of ballet, contemporary, lyrical, and tap. However, all speaking parts were very difficult to hear and an insert with the guest performers' and choreographers' names was missing.

Maxa, the Maddest Woman in the World - UMD Theatre

 UMD’s Maxa Has Its Flaws, But Delivers the Big Moment 

Lawrance Bernabo 

Duluth News Tribune 

October 15, 2021

The one thing Duluth theater needs to power up to the next level are original works. University of Minnesota Duluth contributes to that endeavor with the world premiere of Maxa, the Maddest Woman in the World.  The new horror musical takes a bumpy road to a powerful payoff delivered by the two actresses playing the title role. 

With book and lyrics by Mika Kauffman and music by Thomas Jacobsen, and codirected by William Payne and Naomi Brecht, Maxa is inspired by the life of Paula Maxa.  Ultimately, the creators are more interested in Paula, as a rape survivor, than in Maxa, the actress who died 10,000 times in myriad horrible ways at Paris’ Grand Guignol Theater. 

The scenic design by Curtis Phillips and Sam Keran uses lights and projections to create a gorgeous crimson symphony of gothic shadows looming over a blood-soaked stage. 

Act 1 has Laura Carlson’s Older Paula looking back on the life of Younger Paula (Mikayla Payne), who seems distracted by the future that she apparently wants (“Wicked”). 

Her subsequent rape is briefly represented in silhouette, which calculatedly undercuts its devastating impact. The trauma is repressed/ forgotten during the rest of the act as Younger Paula first takes over the stage and then the entire theater at the Grand Guignol. 

Act 2 becomes a psychological nightmare setting up Older Paula for “The Game,” where Maxa will “die for the last time.” The biggest thing Maxa has going for besides its look is its cathartic climax delivered by Carlson and Payne in the emotionally wrenching “Despite It All.” 

Jacobsen has pulse-pounding base lines in “The Maddest Woman in the World” and “No Limits, No Rules,” and Patrick Colvin’s band sounded great. But a lot of Kauffman’s lyrics were lost at crucial times because of sound issues. You are struck more by the moments their music creates for the characters and the story than the music itself. 

There is a degree of disappointment about the level of gore at the Grand Guignol because after all the buildup about “The Strangest Showhouse in the World,” you want to see effects several cuts above the “Haunted Irvin.” 

As Georges, Trevor Hendrix plays a pivotal role in the production of the jarring fast-forwarding to his relationship with Paula (“Lovely”). But in both “Georges’ Goodbye” and “I Never Told You,” Hendrix convinces us his love for her is real. 

Maddie Schafer’s lilting voice is used to good effect as Paula’s Mother in “Let Me Hold You” and the “Finale.” Ben Knowlton’s histrionics as the mad doctor were spot on for a Grand Guignol performance, as was the intensity Kelly Solberg brought to “House of Pain.” Jake Mathey has fun as Camille the campy but creepy M.C. of the Grand Guignol. 

Because it is a world premiere, the audience does not know when songs end so they can clap, like they should have at the end of Carlson’s poignant “Scream Into Silence.” Also, it is annoying there are so many students in the audience — presumably theater majors — incapable of seeing the characters because they insist on giggling at their classmates. 

Alice in Wonderland - UMD Theatre

 

Down the Rabbit Hole on the Glensheen Grounds

Sheryl Jensen
Duluth News Tribune
September 14, 2021

Glensheen’s beautiful grounds were transformed into a magical playground for the University of Minnesota Duluth Theatre’s immersive performance of Alice in Wonderland on Monday. With patio-style string lights and other colored lighting throughout the property, the beautiful trees, and the site’s natural and man-made nooks, crannies, hollows and elevations, the overall visual effect was stunning.

Director Jenna Soleo-Shanks’ concept of having the audience follow Alice “down the rabbit hole” and on the path to the sites of various vignettes from the story was inventive. Unfortunately, the actual execution was, at times, much less successful.

Being so immediate to Lake Superior’s crashing waves was wonderfully atmospheric but added to the difficulty of hearing the unmiked actors. The cast’s relative position to the audience in some places, and blocking that didn’t open them up enough, also caused the audience to miss some of the dialogue.

And while the lights were gorgeous and added dramatically to the ambiance, the actor’s faces were often unlit, causing some of their facial expressions to be lost.

In one instance, audience focus was jarringly split between a smaller scene and, in another location, dialogue, lighting and even an explosion.

Costuming was a mixed bag. Alice’s powder-blue dress, with its twinkling lighted skirt, was absolutely charming. The Mad Hatter’s colorful coat and top hat, and the Red Queen’s elaborate dress and conical hairdo were on point. Some of the other costumes, however, looked like pulled-together pieces from the costume shop that lacked a cohesive concept.

While their performances were enthusiastic and energetic, the cast’s level of acting was uneven. With some diction and projection issues and lack of creative characterization, some of the dazzle of author Lewis Carroll’s imaginative menagerie was lost.

Straight out of Disney casting and with a pitch-perfect voice, Thressa Schultz embodies Alice from the top of her blond head down to her Mary Jane shoes. As the Mad Hatter, Zac Pollitt is appropriately frenetic, and as the Queen of Hearts, Mackenzie Ammon has just the right gravitas and bluster.

I highly recommend audience members bring their own flashlights to help light the irregularly surfaced path. More ushers and the pixie/floral ensemble could also have used additional flashlights to illuminate where people were walking.

If UMD had decided to do a few matinees, younger kids could have come and would not have been afraid of the show’s spookier elements in the dark of night. The show is recommended for ages 10 and over.

Bravo to UMD for tackling a challenging project and venue, and the risks of an outdoor performance in Duluth in the fall. Luckily, on opening night, the theatrical gods were kind, and the rain held out until the very end.

Audience members are advised that they will be continually standing, walking on uneven paths and navigating over stone slab stairs. People are advised to wear appropriate footwear for a walk, and to dress according to current weather conditions. Masks are required.

bare - UMD Theatre

Masked Actors Bare Their Emotions in UMD’s Pop Opera

Sheryl Jensen
Duluth News Tribune
April 30, 2021

Socially distanced onstage and masked, the company in UMD’s bare had to find new ways to employ their craft, since only their eyes were visible, and they could neither touch or even get too close to their fellow actors.

Kudos to Thomas Jacobsen, director and music director, and choreographer Matthew Wagner, for helping their cast members find new ways to express themselves, with their acting and dance stylized with lyrical grace and symbolic movement to fit the restrictions of staying true to COVID protocols.
Evoking moments of the musicals Spring Awakening and the more comic Do Black Patent Shoes Really Reflect Up?, bare explores some familiar themes of gay love, parental conflicts, bullying, drugs, and suicide, with the intriguing overlay of Shakespeare’s Romeo and Juliet.

Shakespeare’s classic tale of young, doomed love dovetails with the stories of the musical’s Catholic high school students in rehearsal for the play.  Even some of Shakespeare’s lines are incorporated cleverly in the lyrics of some of the songs.

Telling the story of a hidden love, also doomed, between two boys Peter (Jake Nelson) and Jason (Christopher Hoffman) is the heart of the story.  Trying to keep their love secret from their fellow students, their parents, a priest, and the watchful eye of Sister Chantelle, is a high wire act that is destined to fail.

Nelson and Hoffman are spot on in their portrayals of the geeky, shy and innocent Peter, and Jason, the gregarious, swaggering jock who has girls following in his wake.  Both their songs together and their solos are gorgeously sung with emotion and poignancy.  Both used their expressive eyes as a meaningful part of their journey throughout the show.

Jenessa Iverson as Ivy, the girl who comes between the two boys, shows how even the prettiest girl in school may have real depth and be more than just the “portrait” people see in her.  Iverson used body language and her beautiful voice to bring Ivy to heart-wrenching life.

Daylen Moore, playing Nadia, Jason’s twin sister, was the standout of the show, with her mature and commanding voice coming through crystal clear, even from behind her mask.  Whether in her comic lamentations or soul-searching ballads, she was vocally and emotionally rock solid.

At times, however, for particularly some of the supporting players, the masks did interfere with clarity.  Using subtitles in the exclusively streamed performance may have helped audiences with lyrics in a show that was probably new to most.  The full company harmonies were still, however, absolutely stunning in several spots throughout the production.

I couldn’t stop thinking, though, as I watched the show on my computer at home, how much I would have loved to see it again with a live audience inside Marshall Performing Arts Center and a COVID-free world outside.

I wanted to see the actors’ faces reflecting the unbounded joys and crushing heartaches of young love, to hear their voices unmuffled, and to be a part of the enthusiastic applause and standing ovation that they would have so richly deserved.

 

DanceWorks 2020 - UMD Theatre

 Even While Masked and Socially Distant, UMD Dancers Still Connect

Sheryl Jensen

Duluth News Tribune 

December 18, 2020

Dancing on a lonely gravel road, in a dimly lit ballroom studio, by the shores of Lake Superior at sunrise — the settings for the University of Minnesota Duluth's Virtual DanceWorks 2020 concert were as eclectic as the musical styles and choreographers’ visions.

In many ways, this virtual concert, done as individual videos, made for an appropriate study in “art-making in the COVID era,” as described by Rebecca Katz Harwood, co-artistic director and UMD associate professor.

Co-artistic director and new assistant professor Matthew Wagner noted the key ingredients were “the resiliency and adaptability” of everyone involved from the faculty, student choreographers, dancers, videographers and the legion of collaborators it took to make this happen, including the MMAD Lab (Department of Art and Design).

VIDEO: Pandemic sparks creativity for UMD dance students

While there were plenty of BA and BFA theater majors featured prominently, there were biology, criminology, history, public health and a variety of other majors and minors who were on board for the sheer joy of dancing, expressing themselves in ways that allowed them to break free from the cloistered lives most have been living for months.

Some of the pieces were at times uneven and under-rehearsed. Some seemed like those dances one does alone with no one watching, while others took flight and soared with elegance, whimsy and grace.

Three of the most polished and well-conceived student choreographed pieces were “something” by Audrey Lokken, “Feel It Still” by Bri Shea, and “Birds of Prey” by Emily Chittenden. Each used their chosen music and talented dancers to make very different statements using the medium of dance.

Patrick Timmons’ evocative, self-choreographed piece, “A Love Letter to The Self,” had a lovely mix of American sign language hand movements, facial expressions and ethereal scarves blowing in the midst of gorgeous outdoor scenes. Kudos to videographer Christopher Hoffmann’s fabulous work done in black and white.

“Homeward,” Katz Harwood’s introspective piece, recreated the spirit of the “poor wayfaring stranger,” with dancer and collaborator Elsa Hennessey-Barnes. Videographer Colin Hennessy-Barnes wonderfully captured the iconic nature of a solitary country road in the middle of nowhere.

Wagner’s “Rhythm Rooms” was an exciting tap number with “islands” of small platforms: six dancers doing solos, dancing together and providing the rhythm underscore for each other. The only music used was the staccato of the tapping, in one of the evening’s highlights.

Bryn Cohn, a Los Angeles-based choreographer, filmmaker, movement director and educator, was the show’s guest choreographer on “Center Center.” Katz Harwood, Wagner and the three talented dancers — Patrick Timmons, Camryn Buelow and Danielle Mattson — worked on the UMD campus virtually with Cohn to bring her brilliant piece together.

A mix of dance and musical styles gave Cohn’s piece a theatrical Broadway quality that allowed each of the performers a chance to strut their stuff. Videographers/editors David Cowadin and Dan Fitzpatrick did incredible work moving from location to location on campus, down hallways and steps and then moving into the theater onstage and in the empty audience seats for this total wow of a finale to the concert.