THEATER LATTÉ DA ANNOUNCES NEXT GENERATION COMMISSION TO SUPPORT NEW MUSICAL THEATRE BY WOMEN ARTISTS AND ARTISTS OF COLOR

FOR IMMEDIATE RELEASE                                                                                                                 
Contact: Andrew Leshovsky

THEATER LATTÉ DA ANNOUNCES NEXT GENERATION COMMISSION TO SUPPORT
NEW MUSICAL THEATRE BY WOMEN ARTISTS AND ARTISTS OF COLOR

 

The $20,000 commission will support the creation and development of new musical theatre projects and help to create a canon of musical theatre that reflects the multiplicity of voices  and diversity
of our country.

 

(Minneapolis/St. Paul) Theater Latté Da today announces the NEXT Generation Commission, an new opportunity for women artists and artists of color designed to support the creation and development of new musical theatre projects. Theater Latté Da has designed the commission to support the early, generative stages of creation. In addition to the $20,000 commission awarded to the individual artist or creative team, the project will receive creative and developmental support over an 18-month period, including two developmental workshops totaling a minimum of 50 hours. 

“It’s clear to us that if it is our goal to create musical theatre that is reflective of our communities, we need to create more pathways for women and artists of color,” shares Founding Artistic Director Peter Rothstein. “The NEXT Generation Commission is designed to seek out those voices and provide them with the support necessary for their talents to be recognized and nurtured and their stories to be told.”

 

The NEXT Generation Commission builds on Theater Latté Da’s celebrated commitment to nurturing new work.  

 

Since its founding in 1998 by Artistic Director, Peter Rothstein and Music Director, Denise Prosek, creating and premiering new work has been a part of Theater Latté Da’s DNA. Theater Latté Da has premiered 12 new musicals and 12 area premieres. Each has garnered critical acclaim and earned its artists and TLD a host of awards, including: the 2019 Drama Desk Award for Unique Theatrical Experience awarded to the Off-Broadway production of its original production All is Calm: The Christmas Truce of 1914. It also supports the development of new musical theater through its annual NEXT Festival. New musicals supported in the NEXT Festival include: Five Points by Harrison David Rivers, Douglas Lyons and Ethan Pakchar (NEXT 2017); Goddess by Saheem Ali, Jocelyn Bioh and Michael Thurber (NEXT 2017) and Gun and Powder by Angelica Cheri and Ross Baum (NEXT 2018).

Artists interested in applying for the NEXT Generation Commission should visit www.latteda.org/next-generation-commission for complete submission details. The application deadline is December 15, 2019.

The Next Generation Commission is funded by the NEA, the Phileona Foundation and Theater Latte Da’s NEXT 20/20 donors.

Theater Latté Da is an award-winning Twin Cities musical theater company that combines music and story to illuminate the breadth and depth of the human experience. The company seeks to create new connections between story, music, artist, and audience by exploring and expanding the art of musical theater.  www.latteda.org

Minnesota's Theater Latté Da wins big at New York's Drama Desk Awards

By Rohan Preston

Star Tribune

Minnesota was in the mix at the 64th annual Drama Desk Awards, held Sunday in New York and chosen by a cross-section of the city’s arts journalists and critics.

“All Is Calm: The Christmas Truce of 1914” is a holiday show created in 2007 by Theater Latté Da founder Peter Rothstein. The production, which combines music with text from World War I-era figures, played off Broadway at the Sheen Center for Thought & Culture in New York in 2018. Also presented annually in the Twin Cities, the show won the Drama Desk for “unique theatrical experience.”

“I was really not expecting it, to be honest, but I’m thrilled,” Rothstein said Tuesday as he landed in Austin, Tex., where he’s directing the world premiere of a new Terrence McNally play, “Immortal Longings.”

“When the producer first approached me about doing it in New York, I right away advocated for the hometown designers and actors who’d been doing the show for years,” Rothstein continued. “The producer agreed to the whole creative team and seven actors from Minnesota. We have such extraordinary talent, and our artists deserve to be working on — and recognized at — a national level.”

Latté Da is not the only Minnesota-connected talent to win a Drama Desk this year. Actor Santino Fontana, who graduated in the first class of the University of Minnesota/Guthrie Theater BFA program and famously essayed Hamlet at the Guthrie Theater, won a Drama Desk for outstanding actor in a musical for playing the title character in “Tootsie.”

And “Hadestown,” whose producers include a group of theater-loving Minnesotans, took home Drama Desk statues for outstanding director (Rachel Chavkin) and outstanding featured actor (André de Shields).

The Drama Desks are high honors in their own right, but are often regarded like the Golden Globes are to the Oscars. They suggest possible winners of the Tonys, theater’s highest honor. Those awards will be broadcast Sunday on CBS.

'Chicago,' 'La Bohème' and new 'Twelve Angry Men' musical on tap for Theater Latté Da

Photo by Dan Norman

Photo by Dan Norman

“All is Calm” returns as Theater Latté Da’s holiday offering.

Theater Latté Da fans can expect a double dose of acting duo Regina Marie Williams and Britta Ollmann in the 2019-20 season.

Ollmann starred in last year’s “Once,” the biggest hit in the Minneapolis theater’s 21-year history. She will team with Williams to open the season in “Chicago,” the John Kander/Fred Ebb musical that became an Oscar-winning movie (it’s currently in the public eye yet again as the focal point of current episodes of the FX series “Fosse/Verdon”). Featuring songs “All That Jazz” and “Cell Block Tango,” it’s the satiric story of two murderers who meet in a Chicago jail in the 1920s. Ollman plays Roxy Hart, one of the killers, while Williams makes her Latté Da debut as her jailer, Mama Morton (Sept. 18-Nov. 3).

Williams takes the title role in “Bernarda Alba,” an all-female chamber musical based on Federico García Lorca’s classic tragedy “The House of Bernarda Alba,” in which a Spanish matriarch attempts to cloister her five daughters after the death of her husband. Spoiler alert: It doesn’t work. The powerhouse cast also includes Latté Da vets Meghan Kreidler, Ann Michels, Sara Ochs and Ollmann. Mill City Summer Opera's Crystal Manich directs. (Jan. 15-Feb. 16, 2020).

Events shift to France for a return visit to “La Bohème,” which earned Latté Da an Ivey Award in 2005 for a production that zooms the opera from its original 1840s setting to the occupied Paris of the 1940s. The 2005 production was performed with an English translation. This time, it’ll be sung in Italian with English supertitles. The story of artsy youth, falling in love and struggling to survive is orchestrated for Parisian street instruments, including accordion, violin and clarinet (March 11-April 26, 2020).

Latté Da artistic director Peter Rothstein helms all but one of the season's titles, including a world premiere musical inspired by another classic. “Twelve Angry Men” by David Simpatico and Michael Holland (based on Reginald Rose’s 1950s teleplay) is set in a jury room where the acrimonious title characters settle the fate of a youth charged with murder (May 27-June 28. 2020).

Assuring that there’s at least one death in every Latté Da show next season, the company’s holiday offering is “All Is Calm: The Christmas Truce of 1914.” This tear-jerking favorite uses beloved songs to re-create a single day of peace on the front lines of World War I. A hit last year in New York, and an impossible-to-get ticket in its brief local appearance, “All Is Calm” returns much of its cast — including Sasha Andreev and Rodolfo Nieto — for a monthlong run (Nov. 27-Dec. 22).

The company’s annual festival of works-in-development, Next, also returns in July 2020.

Season tickets are currently on sale at 612-339-3003 or latteda.org.

THEATER LATTÉ DA ANNOUNCES 2019-2020 SEASON, AN EPIC LINEUP OF RE-IMAGINED CLASSICS AND NEW WORKS

Regina Marie Williams and Britta Ollmann star in CHICAGO and BERNARDA ALBA in Latte Da’s 2019-20 Season

Regina Marie Williams and Britta Ollmann star in CHICAGO and BERNARDA ALBA in Latte Da’s 2019-20 Season

 

FOR IMMEDIATE RELEASE   
May 8, 2019                                                                                              

Contact: Andrew Leshovsky                                                                                                                         andrew@latteda.org
612-767-5646 office
 

THEATER LATTÉ DA ANNOUNCES 2019-2020 SEASON,
AN EPIC LINEUP OF RE-IMAGINED CLASSICS AND NEW WORKS

 Highlights of Season 22’s wide-ranging exploration of musical storytelling include Broadway’s longest-running American musical CHICAGO, the area premiere of a musical adaptation of Federico Garcia Lorca's BERNARDA ALBA, Peter Rothstein’s innovative staging of the beloved opera LA BOHÈME, and the world premiere musical adaptation of the American courtroom drama TWELVE ANGRY MEN.

 (MINNEAPOLIS/ST PAUL) Theater Latté Da (Peter Rothstein, artistic director) today announces its 2019-2020 season. The highly-celebrated company will launch a series of productions that encompass a continued commitment to presenting original and re-imagined musical theater beginning with the Tony award-winning and longest-running American musical CHICAGO; the homecoming of the Latté Da original docu-musical ALL IS CALM: THE CHRISTMAS TRUCE OF 1914; the area premiere of Michael John La Chiusa's powerful musical masterwork BERNARDA ALBA based on the play by Frederica Garcia Lorca, Peter Rothstein’s award-winning staging of Puccini's beloved opera LA BOHÈME, the world premiere musical adaptation of the American courtroom drama TWELVE ANGRY MEN, and continued robust commitment to the development of new musicals and plays-with-music in our annual NEXT FESTIVAL.

 “I continue to be inspired by the musical theater and the vast range of stories it can tell,” shares artistic director Peter Rothstein. “This season is a celebration of some of the art form's greatest works as well as new work by some of the most exciting voices working today. And I find each of these stories moving, challenging, funny, and profound.”

 The season opens with the show-stopping Tony award-winning musical, CHICAGO (September 18-November 3, 2019) by John Kander (Cabaret, Kiss of the Spider Woman) and Bob Fosse (Pippin), based on the stage play by Maurine Dallas Watkins (Libeled Lady screenplay) with music by John Kander (Cabaret, Kiss of the Spider Woman) and lyrics by Fred Ebb. Directed by Peter Rothstein with music direction by Denise Prosek and choreography by Kelli Foster Warder.

 Set in 1920s Chicago and based on real-life murders and trials, CHICAGO follows Roxie Hart, a wannabe vaudevillian star who murders her lover. In the Cook County Jail, Roxie meets her hero, the famed double-murderess and nightclub performer Velma Kelly. Tensions come to a head as the two murderesses vie for the ultimate spotlight. Broadway’s longest-running American musical, CHICAGO is a female-driven powerhouse. It’s a dazzling and satirical look at fame, justice, and the media machine. The production features Britta Ollmann, Robert Berdahl, Dorian Brooke, Fernando Collado, Michelle de Joya, Jaclyn Juola, Joey Miller, Reed Sigmund, Jessica Staples, Maureen Sherman-Mendez, Angela Steele, Dylan Rugh, and Regina Marie Williams. 

 ALL IS CALM: THE CHRISTMAS TRUCE OF 1914 (November 27 – December 22, 2019), the poignant docu-musical about the World War I Christmas truce, will celebrate a homecoming after a successful Off-Broadway run at the Sheen Center for Thought & Culture in 2018. This moving ode to peace is written and directed by Peter Rothstein with vocal arrangements by Erick Lichte and Timothy C. Takach. The production will feature the talents of the Minneapolis-based cast who starred in the highly-lauded Off-Broadway run, which earned a Drama Desk Award nomination for Most Unique Theatrical Experience. The production will be available as a season ticket add-on.

The Western Front, Christmas, 1914. Out of the violence a silence, then a song. A German soldier steps into No Man’s Land singing “Stille Nacht.” Thus begins an extraordinary night of camaraderie, music, peace. A remarkable true story told in the words and songs of the men who lived it. A Theater Latté Da original, this a capella production has become an annual holiday classic and is brought to life by a cast of 10 actor/singers, beautifully blending iconic WWI patriotic tunes, trench songs, medieval ballads and Christmas carols. Featuring Sasha Andreev, Benjamin Dutcher, Ben Johnson, Riley McNutt, Rodolfo Nieto, James Ramlet, and Evan Tyler Wilson.

In January, the Ritz Theater will erupt with the fiery sounds of flamenco music with the area premiere of Michael John La Chiusa's BERNARDA ALBA (January 15-February 16, 2020). La Chiusa (The Wild Party, Marie Christine) brings a musical voice to Federico Garcia Lorca's final 1936 masterpiece through pulsing castanets, trilling Spanish guitars, and resounding rhythmic stomps.

Bernarda Alba is a powerful matriarch, who imposes a strict rule on her household following her second husband's funeral. Bernarda's five daughters, however, struggle with Bernarda's cold regime. The girls' dreams, desires, and the lure of the outside world begin to permeate their isolated existence. Theater Latté Da’s production features a cast of ten of the Twin Cities’ finest women actors including Regina Marie Williams as Bernarda Alba, featuring Aimee Bryant, Haley Haupt, Christine Hwang, Kim Kivens, Meghan Kreidler, Ann Michels, Nora Montenez, Sara Ochs, and Britta Ollmann. Crystal Manich, recently appointed Artistic Director of the Mill City Opera and renowned opera director leads the production. Music direction by Jason Hansen and choreography by Kelli Foster Warder.

In the spring, Theater Latté Da brings Peter Rothstein’s innovative, award-winning staging of Puccini’s
LA BOHÈME (March 11-April 26, 2020) to the intimate Ritz Theater. Peter Rothstein directs, the production featuring orchestrations for Parisian street instruments (accordion, piano, guitar, violin, and clarinet) by Joseph Schlefke. Performed in Italian with English titles projected above the stage.

Puccini’s LA BOHÈME (March 11-April 26, 2020), the passionate, timeless, and indelible story of love among young artists in Paris, can stake its claim as the world’s most popular opera. Lyrical and touchingly beautiful, LA BOHÈME is the definitive depiction of the joys and sorrows of love and loss and meaning of life in the face of adversity.

Season 22 concludes with the world premiere of TWELVE ANGRY MEN, (May 27-June 28, 2020) book by David Simpatico (Disney’s High School Musical 1 & 2, The Life and Death(s) of Alan Turing) music and lyrics by Michael Holland (You’re Gonna Hate This, Hurricane) based on the teleplay “Twelve Angry Men,” by Reginald Rose. Peter Rothstein directs with music direction by Denise Prosek.

In form, TWELVE ANGRY MEN is a courtroom drama; in purpose, it's a crash course in those passages of the Constitution that promise defendants a fair trial and the presumption of innocence. In a small New York City jury room, on "the hottest day of the year," twelve men debate the fate of a young defendant charged with murdering his father.

Theater Latté Da continues its robust commitment to new work with their NEXT FESTIVAL in July 2020. The summer festival showcases three new works that stretch the boundaries of musical storytelling, where audience members are invited into the ground floor of the creative process.

Season tickets are currently on sale; packages start at $120. Call the box office at 612-339-3003 or purchase online at Latteda.org.

SEASON 22

CHICAGO

Book by Fred Ebb and Bob Fosse
Music by John Kander
Lyrics by Fred Ebb
Based on the play by Maurine Dallas Watkins
Script adaptation by David Thompson

Directed by Peter Rothstein
Music Direction by Denise Prosek
Choreography by Kelli Foster Warder

Featuring Britta Ollmann, Robert Berdahl, Dorian Brooke, Fernando Collado, Michelle de Joya, Jaclyn Juola, Joey Miller, Reed Sigmund, Jessica Staples, Maureen Sherman-Mendez, Angela Steele, Dylan Rugh, and Regina Marie Williams

September 18 – November 3, 2019


ALL IS CALM: THE CHRISTMAS TRUCE OF 1914
(Season Add-on)

By Peter Rothstein
Vocal Arrangements by Erick Lichte and Timothy C. Takach

Directed by Peter Rothstein
Music Direction by Erick Lichte

Featuring Sasha Andreev, Benjamin Dutcher, Ben Johnson, Riley McNutt, Rodolfo Nieto, James Ramlet, and Evan Tyler Wilson

November 27 – December 22, 2019

BERNARDA ALBA (Area Premiere)

Words and music by Michael John La Chuisa
Based on the play The House of Bernarda Alba by Federico Garcia Lorca

Directed by Crystal Manich
Music Direction by Jason Hansen

Choreography by Kelli Foster Warder
Starring Regina Marie Williams as Bernarda Alba, featuring Aimee Bryant, Haley Haupt, Christine Hwang, Kim Kivens, Meghan Kreidler, Ann Michels, Nora Montenez, Sara Ochs, and Britta Ollmann

January 15 - February 16, 2020


LA BOHÈME
Music by Giacomo Puccini
Libretto by Luigi Illica and Guiseppe Giacosa

Directed by Peter Rothstein
Music arrangements by Joseph Schlefke

March 11 - April 26, 2020


TWELVE ANGRY MEN
(World Premiere)
Adapted from the play by Reginald Rose
Music and lyrics by Michael Holland
Book by David Simpatico

Directed by Peter Rothstein
Music direction by Denise Prosek

May 27 – June 28, 2020

 
NEXT FESTIVAL 2019 (Season Add-on)
July 2020

###

With 'Hedwig and the Angry Inch,' Minneapolis theater sparks dialogue on gender identity and casting

Theater Latté Da’s “Hedwig and the Angry Inch” features cisgender actor Tyler Michaels King as the title character. Photo credit Allen Weeks.

Theater Latté Da’s “Hedwig and the Angry Inch” features cisgender actor Tyler Michaels King as the title character. Photo credit Allen Weeks.

By Chris Hewitt, Star Tribune
March 22, 2019 7:33PM

The 1998 New York Times review of the original staging of “Hedwig and the Angry Inch” contains at least two words now considered outdated, even offensive. The fact that the review was written just 21 years ago? That shows how much has changed in the world of gender and identity politics.

Sex-change” operations are now generally called “gender-confirming” surgeries. And many “transsexuals” prefer the term “transgender.” With our language evolving so rapidly, no wonder it’s so tricky to stage the once-outré-but-now-beloved “Hedwig.” Discussion concerning gender has become a lot more nuanced since the musical premiered, with more Americans embracing a definition that is nonbinary, where people can identify with points along a continuum rather than the male-female extremes.

“ ‘Hedwig’ means so many different things to different people,” said trans actor Jay Owen Eisenberg, a cast member for Theater Latté Da’s “Hedwig” (opening Saturday in Minneapolis). “There are so many people in the queer community who love Hedwig and this show and so many who hate it and so many people in the middle. It’s true of any piece, but ‘Hedwig,’ especially, has a polarizing quality.”

That was also true when “Hedwig” debuted off-Broadway. It felt revolutionary with its story of a German youth who falls in love with a man. The title character has his penis removed so he can marry his lover and move to the U.S., only to be dumped and forced to carve out a living as a low-rent cabaret performer.

“Hedwig” became a 2001 cult movie starring co-creator John Cameron Mitchell. It eventually landed a 2014 Broadway stint that earned Neil Patrick Harris a Tony award. The show’s mass appeal proved “Hedwig” was no longer as subversive as it once seemed (the Times’ 2014 review called Hedwig’s gender “undefinable”). In fact, Mitchell — who now refers to the title character as “genderqueer,” a term that barely existed in 1998 but describes people who don’t identify with traditional roles — has said “Hedwig” would be a different show if he wrote it today. With actors including Laverne Cox and Asia Kate Dillon and TV series including “RuPaul’s Drag Race” and “Transparent” becoming popular in the interim — to say nothing of marriage equality and the public transition of Caitlyn Jenner — audiences are apt to see “Hedwig” a lot differently than they did in the late ’90s.

‘A third gender space’

Jay Owen Eisenberg in rehearsals as Hedwig’s boyfriend, Yitzhak. Emilee Elofson • Theater Latté Da

Jay Owen Eisenberg in rehearsals as Hedwig’s boyfriend, Yitzhak. Emilee Elofson • Theater Latté Da

For one thing, is Hedwig even trans?

“So many people, even LGBTQI people, still call Hedwig a trans character, but she never uses that word,” said Theater Latté Da Artistic Director Peter Rothstein, who codirects “Hedwig” with Annie Enneking. “The narrative is that Hedwig is a gay man who cuts his penis off to get out of East Berlin.”

Eisenberg concurs with that assessment.

“The show was pushing the envelope in so many ways in 1998 because we were seeing someone who was really messing with gender presentation and was a gender-variant person on stage,” he said. “But we have someone whose transition was largely informed by coercion, so it gets tricky to use the word ‘trans.’ ”

One thing both Eisenberg and Rothstein like about Hedwig is that she doesn’t fit current gender norms (as indicated by the script, the artists use she/her pronouns for the character). That’s why Eisenberg loves the idea of all kinds of actors playing the character: men, women, trans, genderqueer.

That’s also why, when he heard about the production last summer, in which cisgender actor Tyler Michaels King was cast as Hedwig (a role almost always played by cis men), Eisenberg “had some questions” about Latté Da’s take on the show.

So he called Rothstein. At a follow-up meeting with Rothstein and Latté Da Associate Artistic Director Elissa Adams, Eisenberg raised issues the queer community was debating, issues concerning the fairness of casting King. “Peter said, basically, ‘We knew conversation would come out of this, but we would rather have those conversations than not. We want to do this show and we want to talk about it,’ ” Eisenberg said.

The meeting convinced him that this was a “Hedwig” production he could get behind. “I do want us to be cast more, of course,” Eisenberg said. “But I don’t necessarily interpret this character as trans, because of how the transition happens. I interpret her, by the end, as occupying a third gender space.”

Minneapolis City Council Member, trans woman and artist Andrea Jenkins said that she’s surprised that a cisgender man is playing “Hedwig” but that she appreciates the involvement of Eisenberg and trans woman Jendeen Forberg, who played Hedwig’s drummer in the first Twin Cities production in 2002 and returns to that role for Latté Da. (The production includes several queer or gay artists.)

“I’m not always necessarily a purist around these issues,” Jenkins said. “I thought Jeffrey Tambor was an excellent choice for ‘Transparent’ because it was about a trans person coming out late in life. It totally made sense to me that that actor would portray that character, and I think Hedwig is in a similar vein.”

Rothstein stands by his casting choice but said he also gets why it’s controversial.

“We’re very intentional about opening our doors and inviting nonbinary artists to audition, to be a part of our process,” he said. “So that conversation I absolutely agree with: People were upset that Tyler got the role because there are not that many roles written for trans or nonbinary artists and I was denying them a chance to play this role.”

But “theater can build a more compassionate world,” he added, specifically because artists have the empathy to play characters who are different from them.

‘Small things matter’

After that initial meeting with Rothstein and Adams, Eisenberg was offered a job codirecting “Hedwig.” But when Meghan Kreidler, originally cast as Yitzhak, dropped out of the show, Adams asked Eisenberg whether he would consider auditioning.

He may be the first trans man to play Yitzhak, Hedwig’s sometime lover, a male role written for a woman’s voice. One “really beautiful” aspect of this production, he said, is how music director Jason Hansen rearranged Yitzhak’s vocals to make use of Eisenberg’s voice now, “a tenor with a lot of falsetto,” rather than the trained mezzo soprano he had before taking testosterone. “On the first day of rehearsal, I said, ‘Thank you for working with my Yitzhak. It feels good,’ ” Eisenberg said.

Meanwhile, Latté Da reflects Hedwig’s bravery by staging her lounge act not in a queer space, but in a suburban Minneapolis park circa 1997. That’s bound to start a conversation.

There’s also bound to be talk about the new signage at the Ritz Theater, where Latté Da performs. When patrons visit for “Hedwig and the Angry Inch,” they will see that the former men’s and women’s restrooms are now marked with signs inviting theater­goers to use whichever feels most comfortable. (Latté Da has been weighing an expensive conversion to fully gender-neutral bathrooms since it bought the Ritz in 2016.)

“When Peter first brought it up, I said, ‘That’s so great. I think it’s important for the run of this show to do that, considering that it’s likely we’ll have more people who want gender-neutral restrooms,’ ” Eisenberg said. “And Peter said, ‘Yeah, and then we’re going to keep them that way.’ Those small things matter. It can make you feel immediately comfortable when you walk into a place and think, ‘Hmmm. I see some very active allyship happening here.’ ”

While Latté Da’s nonbinary patrons and their allies will likely applaud the shift, Rothstein knows it won’t be easy for everyone. “We have some patrons who have said, ‘I would not be comfortable with this,’ ” he acknowledged. “But our response is usually, ‘Imagine how a transgender person has felt the majority of their life.’ ”

With President Donald Trump banning trans people from the military and seven states issuing nonbinary driver’s licenses, these are issues the country is still debating. And we’re debating them, at least in part, thanks to the trailblazing influence of “Hedwig.”

“Hedwig was a pioneer,” Rothstein said. “And we need to acknowledge these pioneers who put on a pair of heels, if that was how they acted out loud, or who knocked on doors or put on political rallies. She wants to have real conversations about her life experience, and how that resonates with gender identity and sexual identity and power.”

So Latté Da is inviting Hedwig into the Ritz to continue that conversation, one encompassing how all of us come to know ourselves, how we express that, where we occasionally miss the mark and maybe which restroom feels right.

Hedwig and the Angry Inch

Who: Music and lyrics by Stephen Trask. Book by John Cameron Mitchell. Directed by Annie Enneking and Peter Rothstein.

When: 7:30 p.m. Wed.-Sat., 2 p.m. next Sun. Ends May 5.

Where: Ritz Theater, 345 13th Av. NE., Mpls.

Tickets: $31-$57; 612-339-3003, latteda.org.

THEATER LATTÉ DA ANNOUNCES THE CAST OF HEDWIG AND THE ANGRY INCH

 FOR IMMEDIATE RELEASE

Feb 21, 2019

Contact: Andrew Leshovsky
andrew@latteda.org
612-767-5646 office
latteda.org/media-room

THEATER LATTÉ DA ANNOUNCES THE CAST OF HEDWIG AND THE ANGRY INCH

“More than any god could ever plan. More than a woman or a man.”
– from Wicked Little Town, Hedwig and the Angry Inch

The genre-bending and electrifying musical stars Tyler Michaels King in the titular role of Hedwig and Jay Owen Eisenberg stars as Yitzhak. Jendeen Forberg, Jason Hansen, Mayda Miller, and Jakob Smith are the Angry Inch band.

Performances begin March 27 and run thru May 5, 2019 at the Ritz Theater.|
Single tickets are on sale now at Latteda.org or 612-339-3003.

(Minneapolis/St. Paul) Theater Latté Da announces the cast for John Cameron Mitchell’s genre-bending, fourth-wall-smashing sensation Hedwig and the Angry Inch. Winner of 2014 Tony award for Best Musical Revival, Hedwig and the Angry Inch features music and lyrics by Stephen Trask. Annie Enneking and Theater Latté Da Artistic Director Peter Rothstein co-direct the production with Music Director Jason Hansen. Performances begin March 27 at the Ritz Theater (345 13th Avenue NE in Minneapolis). Single tickets are on sale now and can be purchased at Latteda.org or by calling 612-339-3003.

“Groundbreaking and undoubtedly ahead of its time,” says Entertainment Weekly, this genre-bending, fourth-wall-smashing musical sensation, with a pulsing rock score and electrifying performances, tells the story of one of the most unique characters to ever hit the stage. Winner of the 2014 Tony award for Best Musical Revival, Hedwig and the Angry Inch is an inspiration to anyone who has felt life gave them an inch when they deserved a mile.

Peter Rothstein co-directs Hedwig and the Angry Inch with Annie Enneking, who shares, “I’m obsessed with notions of transcendence, the problems of love, and the vitality behind radical self-definition.” Rothstein adds, "I have long admired this radical piece of musical theater and am thrilled to re-imagine it with this extraordinary team of artists."

The production stars Tyler Michaels King as Hedwig and Jay Owen Eisenberg as Yitzhak. Michaels has starred in several productions with Theater Latté Da including Assassins, Peter and the Starcatcher, Sweeney Todd, and Cabaret.  This production marks Eisenberg’s debut with Latté Da. A director, actor, and teaching artist, he has appeared in productions at Children’s Theatre Company, Guthrie Theater, and Open Eye Figure Theatre, among others. Joining them live on stage as the Angry Inch band are Chicago-based guitarist Jakob Smith, bassist and multi-musician/artist/producer Mayda Miller, and drummer Jendeen Forberg, founder and leader of Wolverines Big Band.

Hedwig and the Angry Inch features scenic design by Michael Hoover, costume design by Alice Fredrickson, lighting design by Mary Shabatura, sound design by Alex Ritter, and properties design by Abbee Warmboe.

Theater Latté Da is an award-winning Twin Cities musical theater company that combines music and story to illuminate the breadth and depth of the human experience. The company seeks to create new connections between story, music, artist, and audience by exploring and expanding the art of musical theater.  www.latteda.org


FACT SHEET:

HEDWIG AND THE ANGRY INCH
Book by John Cameron Mitchell
Music and Lyrics by Stephen Trask

Directed by Annie Enneking and Peter Rothstein
Music Direction by Jason Hansen 

“Groundbreaking and undoubtedly ahead of its time,” says Entertainment Weekly, this genre-bending, fourth-wall-smashing musical sensation, with a pulsing rock score and electrifying performances, tells the story of one of the most unique characters to ever hit the musical stage. Winner of the 2014 Tony award for Best Musical Revival, Hedwig and the Angry Inch is an inspiration to anyone who has felt life gave them an inch when they deserved a mile.

Starring Tyler Michaels King as Hedwig and Jay Owen Eisenberg as Yitzhak
Jendeen Forberg, Jason Hansen, Mayda Miller, and Jakob Smith are the Angry Inch band.

Dates: Wednesday, March 27 – Sunday, May 5, 2019
Venue: Ritz Theater, 345 13th Avenue NE, Minneapolis MN 55413
Tickets: $31-51

 

DUE TO OVERWHELMING DEMAND, THEATER LATTÉ DA ANNOUNCES EXTENDED PERFORMANCES OF A LITTLE NIGHT MUSIC

FOR IMMEDIATE RELEASE 

Contact: Andrew Leshovsky
andrew@latteda.org
612-767-5646 office

“Crystalline in its storytelling and flat-out gorgeous to behold.”
Pioneer Press

“’Send in the Clowns’ is a shimmering, shattering moment.”
– The Star Tribune

“Theater Latté Da hits all the right notes.” – City Pages

 “Thoughtful, detailed, well cast, beautifully staged, and musically gorgeous.” – Cherry and Spoon

CLICK HERE FOR PRODUCTION PHOTOS

Performances have been extended thru March 10, 2019 at the Ritz Theater.
Tickets are on sale now at Latteda.org or 612-339-3003.

(Minneapolis/St. Paul) Theater Latté Da announces extended performances through March 10th for Stephen Sondheim’s romantic comedy A Little Night Music. Winner of three Tony Awards including Best Musical, A Little Night Music features a book by Hugh Wheeler with music and lyrics by Stephen Sondheim. Theater Latté Da Artistic Director Peter Rothstein directs the production with Music Director Jason Hansen and choreography by Heidi Spesard-Noble. Performances run now through March 10 at the Ritz Theater (345 13th Avenue NE in Minneapolis). Single tickets are on sale now and can be purchased at latteda.org or by calling 612-339-3003.

Part comedy of manners, part battle of the sexes, this funny, elegant work inspired by Ingmar Bergman’s period film Smiles on a Summer Night explores the tangled web of affairs centered around leading actress Desirée Armfeldt. Winner of multiple Tony Awards including Best Musical, A Little Night Music features a romantic score, set entirely in 3/4 time signatures, including Sondheim’s most popular song “Send in the Clowns.”

Theater Latté Da is an award-winning Twin Cities musical theater company that combines music and story to illuminate the breadth and depth of the human experience. The company seeks to create new connections between story, music, artist, and audience by exploring and expanding the art of musical theater.  www.latteda.org

FACT SHEET:

A LITTLE NIGHT MUSIC

Music and Lyrics by Stephen Sondheim
Book by Hugh Wheeler
Orchestrations by Jonathan Tunick
Suggested by a Film by Ingmar Bergman
Originally Produced and Directed on Broadway by Harold Prince   

Directed by Peter Rothstein
Music Direction by Jason Hansen
Choreography by Heidi Spesard-Noble 

Starring Mark Benninghofen*, Grace Chermak, Bradley Greenwald*, Elizabeth Hawkinson, Susan Hofflander*, Riley McNutt, Rodolfo Nieto, Britta Ollmann*, Sally Wingert*, and Mabel Weismann. 

Part comedy of manners, part sexual farce, this funny, elegant work inspired by Ingmar Bergman’s period film Smiles on a Summer Night explores the tangled web of affairs centered around leading actress Desirée Armfeldt. Winner of three Tony Awards including Best Musical, A Little Night Music features a romantic score, set entirely in 3/4 time signatures, including Sondheim’s most popular song “Send in the Clowns.” 

Dates: Wednesday, January 23 – Sunday, March 10, 2019 EXTENDED
Venue:
Ritz Theater, 345 13th Avenue NE, Minneapolis MN 55413

Tickets: $31-57

We’ve added these performance dates":

Tuesday, March 5, 2019 at 7:30pm  Added performance
Wednesday, March 6, 2019 at 7:30pm  Added performance
Thursday, March 7, 2019 at 7:30pm  Added performance
Friday, March 8, 2019 at 7:30pm  Added performance
Saturday, March 9, 2019 at 2:00pm  Added performance
Saturday, March 9, 2019 at 7:30pm  Added performance
Sunday, March 10, 2019 at 2:00pm  Added performance



 

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REHEARSALS ARE UNDERWAY FOR SONDHEIM’S ROMANTIC COMEDY, A LITTLE NIGHT MUSIC AT THEATER LATTÉ DA 

FOR IMMEDIATE RELEASE

January 4, 2019

Contact: Andrew Leshovsky
andrew@latteda.org
612-767-5646 office

 

Sally Wingert stars as Desireé Armfeldt, Photo by Emilee Elofson.

Sally Wingert stars as Desireé Armfeldt, Photo by Emilee Elofson.

REHEARSALS ARE UNDERWAY FOR SONDHEIM’S ROMANTIC COMEDY, A LITTLE NIGHT MUSIC AT THEATER LATTÉ DA 

Winner of multiple Tony Awards including Best Musical, A Little Night Music features a romantic score, set entirely in 3/4 time signatures, including Sondheim’s most popular song “Send in the Clowns.”

A Little Night Music stars Mark Benninghofen, Grace Chermak, Bradley Greenwald, Elizabeth Hawkinson, Susan Hofflander, Riley McNutt, Rodolfo Nieto, Britta Ollmann, Sally Wingert, and Mabel Weismann.

CLICK HERE FOR REHEARSAL PHOTOS

Performances begin January 23 and run thru March 3, 2019 at the Ritz Theater.
Single tickets and season tickets are on sale now at latteda.org or 612-339-3003.

(Minneapolis/St. Paul) Rehearsal are underway for Stephen Sondheim’s romantic comedy A Little Night Music. Winner of three Tony Awards including Best Musical, A Little Night Music features a book by Hugh Wheeler with music and lyrics by Stephen Sondheim. Theater Latté Da Artistic Director Peter Rothstein directs the production with Music Director Jason Hansen and choreography by Heidi Spesard-Noble. Performances begin January 23 at the Ritz Theater (345 13th Avenue NE in Minneapolis). Single tickets and mini season ticket packages are on sale now and can be purchased at latteda.org or by calling 612-339-3003.

Part comedy of manners, part battle of the sexes, this funny, elegant work inspired by Ingmar Bergman’s period film Smiles on a Summer Night explores the tangled web of affairs centered around leading actress Desirée Armfeldt. Winner of multiple Tony Awards including Best Musical, A Little Night Music features a romantic score, set entirely in 3/4 time signatures, including Sondheim’s most popular song “Send in the Clowns.”

“I’ve wanted to stage this masterwork for years, but was holding off for the perfect cast,” says Director Peter Rothstein.

The production reunites two beloved Twin Cities actors, Sally Wingert (Desirée Armfeldt) and Mark Benninghofen (Frederick), who came together for Theater Latté Da’s award-winning productions of Sweeney Todd and Six Degrees of Separation. Wingert most recently appeared on the Ritz Theater stage as the fastidious Librarian in Latté Da’s highly-successful production of Underneath the Lintel. The duo is supported by an all-star cast including Bradley Greenwald, Elizabeth Hawkinson, Susan Hofflander, Riley McNutt, Rodolfo Nieto, Britta Ollmann, and Mabel Weismann.

A Little Night Music features scenic design by Joel Sass, costume design by Rich Hamson, lighting design by Marcus Dilliard, sound design by C Andrew Mayer, and properties design by Abbee Warmboe.

Theater Latté Da is an award-winning Twin Cities musical theater company that combines music and story to illuminate the breadth and depth of the human experience. The company seeks to create new connections between story, music, artist, and audience by exploring and expanding the art of musical theater.  www.latteda.org

FACT SHEET:

A LITTLE NIGHT MUSIC

Music and Lyrics by Stephen Sondheim
Book by Hugh Wheeler
Orchestrations by Jonathan Tunick
Suggested by a Film by Ingmar Bergman
Originally Produced and Directed on Broadway by Harold Prince 

Directed by Peter Rothstein
Music Direction by Jason Hansen
Choreography by Heidi Spesard-Noble

Starring Mark Benninghofen*, Grace Chermak, Bradley Greenwald*, Elizabeth Hawkinson, Susan Hofflander*, Riley McNutt, Rodolfo Nieto, Britta Ollmann*, Sally Wingert*, and Mabel Weismann.

Part comedy of manners, part sexual farce, this funny, elegant work inspired by Ingmar Bergman’s period film Smiles on a Summer Night explores the tangled web of affairs centered around leading actress Desirée Armfeldt. Winner of three Tony Awards including Best Musical, A Little Night Music features a romantic score, set entirely in 3/4 time signatures, including Sondheim’s most popular song “Send in the Clowns.”

Dates: Wednesday, January 23 – Sunday, March 3, 2019
Venue: Ritz Theater, 345 13th Avenue NE, Minneapolis MN 55413

Tickets: $31-51

###

THEATER LATTÉ DA ANNOUNCES OPENING OF COMMUNITY SCENE SHOP IN NORTHEAST MINNEAPOLIS

Theater Latté Da, with support from the McKnight Foundation, envisions a shared space for Twin Cities theater companies and scenic artists to utilize—from full-service scene shop to work space for projects large and small.

(MINNEAPOLIS/ST. PAUL) Theater Latté Da announces the opening of their new scene shop in Northeast Minneapolis. With support from a grant from the McKnight Foundation, the Twin Cities-based theater company is establishing the space as a shared scene shop with the hopes it will be a resource for other theater companies, scenic artists, and even individuals to utilize for set building, carpentry, woodworking, welding, small paint projects, and more.

Theater Latté Da’s vision of a shared space for scenic artists was conceived about a year ago with the rising cost of rent in the Twin Cities area, and a desire to provide a shared resource for the greater Twin Cities theater community.

“A shared scene shop has been a need for small to medium-sized theaters for decades,” says Rothstein. “We’re excited to provide this space for our work and that of the broader community.”

With the support of the McKnight Foundation, Theater Latté Da is able to provide the shared space at below current market prices, as well access to shared resources in the form of talent, tools, and equipment.

The sharing of space and know-how isn’t the only goal of the scene shop. It would likely result in a reduction of material waste. That’s the hope for Rothstein, as well as Latté Da’s Technical Director Bethany Reinfeld. The opportunity to reuse platforms or provide wall stock—panels for walls in other theater productions—built for a given production could be repurposed in another production with another theater company, greatly reducing the amount of lumber needed.

More than materials are sharable and Technical Director Bethany Reinfeld plans to offer assistance, training, and supervision to those who wish to use the scene shop. Earlier this season, Mixed Blood Theater partnered with Theater Latté Da to build, paint, and install the set for Is God Is and will do so for Roe in the coming months.

Located at 8040 University Ave NE, Theater Latté Da’s scene shop is open Monday-Friday 9am to 5pm and weekends by appointment. More information including daily or weekly rates and other pricing can be found at Latteda.org/scene-shop or by contacting Bethany Reinfeld at bethany@latteda.org.

Theater Latté Da is an award-winning Twin Cities musical theater company that combines music and story to illuminate the breadth and depth of the human experience. The company seeks to create new connections between story, music, artist, and audience by exploring and expanding the art of musical theater.  www.latteda.org

Next Stop, Broadway? The Brilliant ‘Downstairs’ and ‘All Is Calm’

By TIM TEEMAN, The Daily Beast

November 18, 2018

What a lovely space the Sheen Center For Thought & Culture’s Loreto Theater on Bleecker Street is: stately, warm, and welcoming. Appositely, the exquisitely performed All Is Calm: The Christmas Truce of 1914 is reaching out intimately and powerfully to audiences there.

Not all the seats were occupied at the performance this critic attended, and every seat should be. And, Broadway producers note: this 75-minute show would flourish on a bigger stage too.

The story is well-known: in the first year of World War One, hostilities along extensive sections of the Western Front late on Christmas Eve and into Christmas Day, 1914, ceased. English and German soldiers emerged from their respective trenches to cross ‘No man’s land’ and meet one another. For these few precious hours, the sound of gunfire ceased. Songs were sung, gifts exchanged, and—although this has been disputed—games of football played.

Photo by Dan Norman

Photo by Dan Norman

All Is Calm, written and directed by Peter Rothstein, with vocal arrangements by Erick Lichte and Timothy C. Takach, and music direction by Lichte, takes an intelligently clear approach to this complex material. All Is Calm had its world premiere on Minnesota Public Radio in 2007, since when the award-winning show has been broadcast on five continents. As a stage show, it has toured the United States for ten seasons.

On a simple and stark black stage, with occasional jets of theatrical smoke to evoke the battlefield, the play intersperses popular songs sung by soldiers of the time with actors reading the memories and letters home of real soldiers and famous poets of the era, like Wilfred Owen and Siegfried Sassoon.

This fantastic company of actors—Sasha Andreev, David Darrow, Benjamin Dutcher, Ben Johnson, Mike McGowan, Tom McNichols, Riley McNutt, Rodolfo Nieto, James Ramlet, and Evan Tyler Wilson—sing beautifully in harmony and a capella.

Versatile of accent, they initially play British soldiers of all classes and kinds heading off to war, with jokes and joshing and brightly optimistic songs like ‘Pack Up Your Troubles In Your Old Kit-Bag, and Smile, Smile, Smile.’ But reaching the front means coming into contact with the grinding, awful reality of trench warfare, including getting acquainted with large rats that are far too tame and unafraid of humans.

Death is soon all around the men, as is cold, sadness, and isolation. And then there is that night itself, which is beautifully lit on stage by Marcus Dilliard, with softly falling snow and a waxy moon.

In 1914 that night began with the sight of candles and lights hung above the German trenches. The English and German versions of 'Silent Night' and other songs were sung into the frigid air. And then the soldiers rose to meet one another, trusting, correctly, that neither side would abuse this tender bond of peace, however temporary it would prove to be.

“Rum is opened, cigarettes exchanged, letters from home read. The men wonder how this can happen, how they can be so close, and be expected to kill each another.”

Piercing memories of fraternal association are recalled as the cast play soldiers from both sides. We see the moments where each side allowed the other to bury behind their lines those whose bodies lay in No Man’s Land and then those games of football. Rum is opened, cigarettes exchanged, letters from home read. The men wonder how this can happen, how they can be so close, and be expected to kill each another.

Of course, the play has a tragic ending we know too well; the Christmas truce was short-lived. The men were ordered back to war. We hear of the moment where a German soldier stood on the top of his trench, probably still thinking the truce was still extant. He was shot. The fighting began again. Over 16 million people died during World War One.

One character wonders if the truce, had it held, could have led the men away from the trenches, and ended the war. (Probably not. The various countries’ leaders would not have countenanced such mass desertion.) The superb All Is Calm leaves us mulling the terrible futility and cost of war, while crystallizing a moment of beautiful humanity.

All Is Calm: The Christmas Truce of 1914 is at the Sheen Center for Thought & Culture, New York City, until Dec. 30.

DUE TO HIGH DEMAND, THEATER LATTÉ DA ANNOUNCES EXTENDED PERFORMANCE DATES OF REGIONAL PREMIERE, ONCE 

FOR IMMEDIATE RELEASE

Contact: Andrew Leshovsky
andrew@latteda.org
612-767-5646 office

 

DUE TO HIGH DEMAND, THEATER LATTÉ DA ANNOUNCES
EXTENDED PERFORMANCE DATES OF REGIONAL PREMIERE, ONCE
 

Critics are falling in love with this winner of 8 Tony Awards including Best Musical, Once is an artistic triumph about the power of music to connect us all.

“Music is a love affair in Once.”
– Star Tribune
“A lot of heart as well as some marvelous musicianship.”
-Pioneer Press
“It will make your heart ache in the best possible way.”
-Cherry and Spoon
“Latté Da’s production nails the casting.”
– Minnesota Monthly

Performances have been extended through October 27 at the Ritz Theater.
Single tickets and season tickets are on sale now at latteda.org or 612-339-3003.

 

(Minneapolis/St. Paul) Theater Latté Da announces extended performances for the regional premiere of Once. Winner of 8 Tony Awards including Best Musical, Once features a book by Enda Walsh with music and lyrics by Glen Hansard and Markéta Irglová. Theater Latté Da Artistic Director Peter Rothstein directs the production with Music Director Jason Hansen and choreography by Kelli Foster Warder. Performances run thru October 27 at the Ritz Theater (345 13th Avenue NE in Minneapolis). Single tickets and season tickets are on sale now and can be purchased at latteda.org or by calling 612-339-3003.

On the streets of Dublin, an Irish songwriter and a Czech immigrant are drawn together by their shared love of music. Over the course of one fateful week, their unexpected friendship and collaboration quickly evolves into a powerful but complicated love story, propelled by emotionally charged music. Winner of 8 Tony Awards including Best Musical, Once is an unforgettable show about the power of music to connect us all.

Once is a sweet yet complicated modern-day love story, but at the heart of it is the power of music to transcend barriers based on culture, language and class,” says Director Peter Rothstein.

To launch Theater Latté Da’s 21st Season, Rothstein directs two charismatic Twin Cities actors, Ben Bakken and Britta Ollmann. Ben Bakken most recently appeared on the Ritz Theater stage as John Diamond in the highly-successful World Premiere of Five Points. Britta Ollmann returns to Theater Latté Da after appearing in Peter Rothstein’s critically acclaimed production of Ragtime. Previous Latté Da credits include Into the Woods, Violet, and Steerage Song. The duo is supported by an ensemble of talented actors including Jay Albright, Francesca Dawis, Martin L'Herault, Molly Sue McDonald, Antonia Perez, Dan Piering, Matt Riehle, Silas Sellnow, Reed Sigmund, and Suzanne Warmanen, all of whom lend unique talent in performing various instruments on stage.

Once features choreography by Kelli Foster Warder, scenic design by Michael Hoover, costume design by Mathew LeFebvre, lighting design by Grant E. Merges, sound design by Kevin Springer, and properties design by Abbee Warmboe.

Theater Latté Da is an award-winning Twin Cities musical theater company that combines music and story to illuminate the breadth and depth of the human experience. The company seeks to create new connections between story, music, artist, and audience by exploring and expanding the art of musical theater.  www.latteda.org

FACT SHEET:

ONCE

Book by Enda Walsh
Music & Lyrics by Glen Hansard & Markéta Irglová
Based on the Motion Picture Written and Directed by John Carney

Directed by Peter Rothstein
Music Direction by Jason Hansen
Choreography by Kelli Foster Warder

Starring Ben Bakken and Britta Ollmann, and featuring Jay Albright , Francesca Dawis, Martin L'Herault, Molly Sue McDonald, Antonia Perez, Dan Piering, Matt Riehle, Silas Sellnow, Reed Sigmund, and Suzanne Warmanen 

On the streets of Dublin, an Irish songwriter and a Czech immigrant are drawn together by their shared love of music. Over the course of one fateful week, their unexpected friendship and collaboration quickly evolves into a powerful but complicated love story, propelled by emotionally charged music. Winner of 8 Tony Awards including Best Musical, Once is an artistic triumph about the power of music to connect us all.

Dates: Wednesday, September 12 – Sunday, October 27, 2018
Venue: Ritz Theater, 345 13th Avenue NE, Minneapolis MN 55413

Tickets start at $31

For complete performance dates and times, visit LATTEDA.ORG

 

 

 

 

REHEARSALS FOR THEATER LATTÉ DA’S ONCE ARE UNDERWAY

 

 

FOR IMMEDIATE RELEASE

August 27, 2018

Contact: Andrew Leshovsky
andrew@latteda.org
612-767-5646 office

 

REHEARSALS FOR THEATER LATTÉ DA’S ONCE ARE UNDERWAY

Winner of 8 Tony Awards including Best Musical, Once is an artistic triumph about the power of music to connect us all.

Once stars Ben Bakken and Britta Ollmann, and features Jay Albright, Francesca Dawis, Martin L'Herault, Molly Sue McDonald, Antonia Perez, Dan Piering, Matt Riehle, Silas Sellnow, Reed Sigmund, and Suzanne Warmanen.

CLICK HERE FOR REHEARSAL PHOTOS
CLICK HERE FOR THE BEHIND-THE-SCENES VIDEO

Performances begin September 12 and run thru October 21, 2018 at the Ritz Theater.
Single tickets and season tickets are on sale now at latteda.org or 612-339-3003.
 

(Minneapolis/St. Paul) Rehearsals for Theater Latté Da’s Once are underway. Winner of 8 Tony Awards including Best Musical, Once features a book by Enda Walsh with music and lyrics by Glen Hansard and Markéta Irglová. Theater Latté Da Artistic Director Peter Rothstein directs the production with Music Director Jason Hansen and choreography by Kelli Foster Warder. Performances begin September 12 at the Ritz Theater (345 13th Avenue NE in Minneapolis). Single tickets and season tickets are on sale now and can be purchased at latteda.org or by calling 612-339-3003.

On the streets of Dublin, an Irish songwriter and a Czech immigrant are drawn together by their shared love of music. Over the course of one fateful week, their unexpected friendship and collaboration quickly evolves into a powerful but complicated love story, propelled by emotionally charged music. Winner of 8 Tony Awards including Best Musical, Once is an unforgettable show about the power of music to connect us all.

Once is a sweet yet complicated modern-day love story, but at the heart of it is the power of music to transcend barriers based on culture, language and class,” says Director Peter Rothstein.

To launch Theater Latté Da’s 21st Season, Rothstein directs two charismatic Twin Cities actors, Ben Bakken and Britta Ollmann. Ben Bakken most recently appeared on the Ritz Theater stage as John Diamond in the highly-successful World Premiere of Five Points. Britta Ollmann returns to Theater Latté Da after appearing in Peter Rothstein’s critically acclaimed production of Ragtime. Previous Latté Da credits include Into the Woods, Violet, and Steerage Song. The duo is supported by an ensemble of talented actors including Jay Albright, Francesca Dawis, Martin L'Herault, Molly Sue McDonald, Antonia Perez, Dan Piering, Matt Riehle, Silas Sellnow, Reed Sigmund, and Suzanne Warmanen, all of whom lend unique talent in performing various instruments on stage. 

Once features choreography by Kelli Foster Warder, scenic design by Michael Hoover, costume design by Mathew LeFebvre, lighting design by Grant E. Merges, sound design by Kevin Springer, and properties design by Abbee Warmboe

Theater Latté Da is an award-winning Twin Cities musical theater company that combines music and story to illuminate the breadth and depth of the human experience. The company seeks to create new connections between story, music, artist, and audience by exploring and expanding the art of musical theater.  www.latteda.org 

FACT SHEET:

ONCE
Book by Enda Walsh
Music & Lyrics by Glen Hansard & Markéta Irglová
Based on the Motion Picture Written and Directed by John Carney

Directed by Peter Rothstein
Music Direction by Jason Hansen
Choreography by Kelli Foster Warder

Starring Ben Bakken and Britta Ollmann, and featuring Jay Albright , Francesca Dawis, Martin L'Herault, Molly Sue McDonald, Antonia Perez, Dan Piering, Matt Riehle, Silas Sellnow, Reed Sigmund, and Suzanne Warmanen

On the streets of Dublin, an Irish songwriter and a Czech immigrant are drawn together by their shared love of music. Over the course of one fateful week, their unexpected friendship and collaboration quickly evolves into a powerful but complicated love story, propelled by emotionally charged music. Winner of 8 Tony Awards including Best Musical, Once is an artistic triumph about the power of music to connect us all.

Dates: Wednesday, September 12 – Sunday, October 21, 2018
Venue: Ritz Theater, 345 13th Avenue NE, Minneapolis MN 55413

Tickets: $31-51

Visit Latteda.org/once for performance dates and times

THEATER LATTÉ DA ANNOUNCES THE CASTS FOR THE 2018 NEXT FESTIVAL

FOR IMMEDIATE RELEASE
Contact: Andrew Leshovsky
andrew@latteda.org
612-767-5646 office

THEATER LATTÉ DA ANNOUNCES THE CASTS FOR THE 2018 NEXT FESTIVAL

Theater Latté Da hosts the National Alliance for Musical Theatre (NAMT)’s New Work Roundtable from Thursday, July 19 – Friday, July 20 as part of this year’s NEXT Festival.

 Four dynamic new works from Angelica Cheri and Ross Baum, Jelloslave cellists Michelle Kinney and Jacqueline Ultan, Michael Gruber, Harrison David Rivers, Matt Spring, Nikki Swoboda, Ryan Underbakke, and Max Wojtanowicz that stretch the boundaries of musical theater, will receive workshops culminating in eight public readings.

To Let Go and Fall features the talents of Mark Benninghofen, John Jamison, JuCoby Johnson, Tyler Michaels, Derek Prestly, and Andre Shoals. Gun and Powder features the talents of Matt Bailey, Ivory Doublette, John Jamison, Eben Logan, Thomasina Petrus, T. Mychael Rambo, Tres Searle, Traci Allen Shannon, Kendall Anne Thompson, and Max Wojtanowicz. 7 Shot Swing features the talents of Avi Aharoni, James Detmar, Jane Froiland, Brant Miller, Hope Nordquist, Kori Pullam, and Jon-Michael Reese. Pansy features the talents of Max Wojtanowicz.

Public presentations begin July 15 and run through July 28 at the Ritz Theater in Minneapolis. $30 NEXT Festival passes and $15 single tickets go on sale June 15
at Latteda.org or 612-339-3003.

(Minneapolis/St. Paul) Theater Latté Da (TLD) announces the casts for this year's NEXT Festival. Each new work will each receive workshops and public presentations beginning Sunday, July 15. The NEXT Festival is part of TLD’s NEXT 20/20, a robust new work initiative aimed at developing 20 new musicals or plays-with-music by 2020, shepherding many of them to full production. Past NEXT Festivals have offered audiences a first look at new musicals that have gone on to full production including C. (2015) and Five Points (2018).

The first piece in the festival is To Let Go and Fall by Harrison David Rivers with music by Jelloslave cellists Michelle Kinney and Jacqueline Ultan. To Let Go and Fall is the story of Todd and Arthur, two former ballet dancers who reunite at New York’s Lincoln Center Plaza having not seen each other for more than 25 years. This beautifully-told story takes us through the lives of both men, their choices, regrets, and coming to terms with age, illness, and sexual identity.

 “Ask any playwright, workshop opportunities, like NEXT are where the magic happens,” says Twin Cities playwright Harrison David Rivers. “It’s where you meet your collaborators [possibly for the first time]. It’s where you hear your play aloud [possibly for the first time]. It’s where ideas are exchanged and questions asked. It’s where the story deepens, where it finds its heart. And in the case of To Let Go and Fall, it’s where I’ll hear my work set to music for the first time! I can’t wait to see what this magnificent team comes up with.”

To Let Go and Fall will be directed by Peter Rothstein with music direction by Michelle Kinney and Jacqueline Ultan and features the talents of Mark Benninghofen, John Jamison, JuCoby Johnson, Tyler Michaels, Derek Prestly, and Andre Shoals.

Public presentations of To Let Go and Fall are Sunday, July 15 at 2:00 pm and Monday, July 16 at 7:30 pm at the Ritz Theater.

The second piece in the festival is Gun and Powder with book and lyrics by Angelica Cheri and music by Ross Baum. Gun & Powder is inspired by the true story of Mary and Martha Clarke (book writer Angelica Cheri’s great aunts), African American sisters who passed for White and were notorious outlaws. Set in Post-Emancipation Texas, the musical follows Mary and Martha's journey of defying racial boundaries and seizing what rightfully belongs to them, by any means necessary. They are successful at their charade until they each find themselves in love, but with two very different men. 

 Nicole A. Watson will direct with music direction by John Lynn and features the talents of Matt Bailey, Ivory Doublette, John Jamison, Eben Logan, Thomasina Petrus, T. Mychael Rambo, Tres Searle, Traci Allen Shannon, Kendall Anne Thompson, and Max Wojtanowicz.

 Public presentations of Gun and Powder are Friday, July 20 at 7:30 pm and Monday, July 23 at 7:30 pm at the Ritz Theater.

The third piece receiving support during the NEXT Festival is 7 Shot Swing by Ryan Underbakke and Matt Spring. Physical theater meets cinematic staging in this mash-up of world myths and the Roaring Twenties, re-imagining Sun Wukong and Brer Rabbit in an action-packed heist gone wrong, the Osiris myth of Egypt as a Film Noir detective tale, and the Greek gods as a crime family rising to power.  

7 Shot Swing will be directed by Ryan Underbakke and features the talents of Avi Aharoni, James Detmar, Jane Froiland, Brant Miller, Hope Nordquist, Kori Pullam, and Jon-Michael Reese.

Public presentations of 7 Shot Swing are Thursday, July 26 and Saturday, July 28 at 7:30 at the Ritz Theater.

The final piece of the Festival is Pansy, written and performed by Max Wojtanowicz. Pansy is devised by Nikki Swoboda and Max Wojtanowicz, with music and additional lyrics by Michael Gruber. Los Angeles, 1940. The last remaining performer of the Pansy Craze holds court at a nightclub frequented by Hollywood stars, entertaining straight and gay audiences alike with original songs. A tribute to the oft-forgotten crusaders of the gay underground cabaret movement of the 1930s, Pansy is a story about singing out when the world demands your silence. The piece is inspired by Tyler Alpern’s research and book Bruz Fletcher: Camped, Tramped & A Riotous Vamp.

Pansy will be directed by Nikki Swoboda with music direction by Bradley Beahen and features the talents of Max Wojtanowicz.

Public presentations will be presented as a late-night cabaret on Thursday, July 26 and Saturday, July 28, 2018 at 9:30 pm.

As part of this year’s NEXT Festival, Theater Latté Da is proud to host the National Alliance for Musical Theatre (NAMT)’s New Work Roundtable from Thursday, July 19 – Friday, July 20. NAMT is a national membership organization committed to nurturing the creation, development, production, and presentation of new and classic musicals and provides a forum for the sharing of resources and information relating to the professional musical theatre community. The New Work Roundtable will bring together musical theater producers, administrators, and artists from across the country for a two-day gathering featuring panel discussions and special events. The Roundtable will focus on best practices for building regional new work development programs, fostering local talent and building community among local artists and sharing ways to maximize local partnerships and engage communities around new work. Twin Cities-based panelists will include Ben Cameron, President of the Jerome Foundation, Rod Kaats, Producing Artistic Director, Ordway Center for the Performing Arts, playwright Harrison David Rivers, Ben Krywosz, Artistic Director, Nautilus Music-Theater, and others.

For more information or to register for the New Works Roundtable, visit: https://namt.org/events/new-works-roundtable-2018

Theater Latté Da is an award-winning Twin Cities musical theater company that combines music and story to illuminate the breadth and depth of the human experience. The company seeks to create new connections between story, music, artists, and audience by exploring and expanding the art of musical theater.  Latteda.org.

Festival Dates: July 15-28, 2018
All presentations will be held at the Ritz Theater.

Presentation Dates, Venues and Times:

TO LET GO AND FALL
Sunday, July 15 at 2:00 pm
Monday, July 16 at 7:30 pm

GUN AND POWDER
Friday, July 20 at 7:30 pm
Monday, July 23 at 7:30 pm

7 SHOT SWING
Thursday, July 26 at 7:30 pm
Saturday, July 28 at 7:30 pm

PANSY
Thursday, July 26 at 9:30 pm
Saturday, July 28 at 9:30 pm

###

THEATER LATTÉ DA CONTINUES ITS COMMITMENT TO NEW MUSICAL THEATER, ANNOUNCING A SLATE OF FOUR NEW WORKS AS PART OF THE 2018 NEXT FESTIVAL

FOR IMMEDIATE RELEASE

June 8, 2018
Contact: Andrew Leshovsky
andrew@latteda.org
612-767-5646 office

THEATER LATTÉ DA CONTINUES ITS COMMITMENT TO NEW MUSICAL THEATER, ANNOUNCING A SLATE OF FOUR NEW WORKS AS PART OF
THE 2018 NEXT FESTIVAL


Theater Latté Da hosts the National Alliance for Musical Theatre (NAMT)’s New Work Roundtable from Thursday, July 19 – Friday, July 20 as part of this year’s NEXT Festival. 

Four dynamic new works from Angelica Cheri and Ross Baum, Jelloslave cellists Michelle Kinney and Jacqueline Ultan, Michael Gruber, Harrison David Rivers, Matt Spring, Nikki Swoboda, Ryan Underbakke, and Max Wojtanowicz that stretch the boundaries of musical theater, will receive workshops culminating in eight public readings.

Readings begin July 15 and run through July 28 at the Ritz Theater in Minneapolis.
$30 NEXT Festival passes and $15 single tickets go on sale June 15
at Latteda.org or 612-339-3003.

(Minneapolis/St. Paul) Theater Latté Da (TLD) announces the slate of artists and projects for this year's NEXT Festival. Four dynamic new works from Angelica Cheri and Ross Baum, Jelloslave cellists Michelle Kinney and Jacqueline Ultar, Michael Gruber, Harrison David Rivers, Nikki Swoboda, Ryan Underbakke and Matt Spring, and Max Wojtanowicz will each receive workshops and public readings beginning Sunday, July 15. The NEXT Festival is part of TLD’s NEXT 20/20, a robust new work initiative aimed at developing 20 new musicals or plays-with-music by 2020, shepherding many of them to full production. Past NEXT Festivals have offered audiences a first look at new musicals that have gone on to full production including C. (2015) and Five Points (2018).

The first piece in the festival is To Let Go and Fall by Harrison David Rivers with music by Jelloslave cellists Michelle Kinney and Jacqueline Ultan. To Let Go and Fall is the story of Todd and Arthur, two former ballet dancers who reunite at New York’s Lincoln Center Plaza having not seen each other for more than 25 years. This beautifully-told story takes us through the lives of both men, their choices, regrets, and coming to terms with age, illness, and sexual identity. 

“Ask any playwright, workshop opportunities, like NEXT are where the magic happens,” says Twin Cities playwright Harrison David Rivers. “It’s where you meet your collaborators [possibly for the first time]. It’s where you hear your play aloud [possibly for the first time]. It’s where ideas are exchanged and questions asked. It’s where the story deepens, where it finds its heart. And in the case of To Let Go and Fall, it’s where I’ll hear my work set to music for the first time! I can’t wait to see what this magnificent team comes up with.”

To Let Go and Fall will be directed by Peter Rothstein with music direction by Michelle Kinney and Jacqueline Ultan.

Public readings of To Let Go and Fall are Sunday, July 15 at 2:00 pm and Monday, July 16 at 7:30 pm at the Ritz Theater.

The second piece in the festival is Gun and Powder with book and lyrics by Angelica Cheri and music by Ross Baum. Gun & Powder is inspired by the true story of Mary and Martha Clarke (book writer Angelica Cheri’s great aunts), African American sisters who passed for White and were notorious outlaws. Set in Post-Emancipation Texas, the musical follows Mary and Martha's journey of defying racial boundaries and seizing what rightfully belongs to them, by any means necessary. They are successful at their charade until they each find themselves in love, but with two very different men. 

 Nicole A. Watson will direct with music direction by John Lynn.

 Public Readings of Gun and Powder are Friday, July 20 at 7:30 pm and Monday, July 23 at 7:30 pm at the Ritz Theater.

The third piece receiving support during the NEXT Festival is 7 Shot Swing by Ryan Underbakke and Matt Spring. Physical theater meets cinematic staging in this mash-up of world myths and the Roaring Twenties, re-imagining Sun Wukong and Brer Rabbit in an action-packed heist gone wrong, the Osiris myth of Egypt as a Film Noir detective tale, and the Greek gods as a crime family rising to power.  

7 Shot Swing will be directed by Ryan Underbakke.

Public performances of 7 Shot Swing are Thursday, July 26 and Saturday, July 28 at 7:30 at the Ritz Theater.

The final piece of the Festival is Pansy, written and performed by Max Wojtanowicz. Pansy is devised by Nikki Swoboda and Max Wojtanowicz, with music and additional lyrics by Michael Gruber. Los Angeles, 1940. The last remaining performer of the Pansy Craze holds court at a nightclub frequented by Hollywood stars, entertaining straight and gay audiences alike with original songs. A tribute to the oft-forgotten crusaders of the gay underground cabaret movement of the 1930s, Pansy is a story about singing out when the world demands your silence. The piece is inspired by Tyler Alpern’s research and book Bruz Fletcher: Camped, Tramped & A Riotous Vamp.

Pansy will be directed by Nikki Swoboda with music direction by Bradley Beahen.

Public readings will be presented as a late-night cabaret on Thursday, July 26 and Saturday, July 28, 2018 at 9:30 pm.

As part of this year’s NEXT Festival, Theater Latté Da is proud to host the National Alliance for Musical Theatre (NAMT)’s New Work Roundtable from Thursday, July 19 – Friday, July 20. NAMT is a national membership organization committed to nurturing the creation, development, production, and presentation of new and classic musicals and provides a forum for the sharing of resources and information relating to the professional musical theatre community. The New Work Roundtable will bring together musical theater producers, administrators, and artists from across the country for a two-day gathering featuring panel discussions and special events. The Roundtable will focus on best practices for building regional new work development programs, fostering local talent and building community among local artists and sharing ways to maximize local partnerships and engage communities around new work. Twin Cities-based panelists will include Ben Cameron, President of the Jerome Foundation, Rod Kaats, Producing Artistic Director, Ordway Center for the Performing Arts, playwright Harrison David Rivers, Ben Krywosz, Artistic Director, Nautilus Music-Theater, and others.

For more information or to register for the New Works Roundtable, visit: https://namt.org/events/new-works-roundtable-2018

Theater Latté Da is an award-winning Twin Cities musical theater company that combines music and story to illuminate the breadth and depth of the human experience. The company seeks to create new connections between story, music, artists, and audience by exploring and expanding the art of musical theater.  latteda.org.

Festival Dates: July 15-28, 2018
All public readings will be presented at the Ritz Theater.

Performance Dates, Venues and Times:

TO LET GO AND FALL
Sunday, July 15 at 2:00 pm
Monday, July 16 at 7:30 pm
Ritz Theater, 345 13th Ave. NE, Minneapolis, MN

GUN AND POWDER
Friday, July 20 at 7:30 pm
Monday, July 23 at 7:30 pm
Ritz Theater, 345 13th Ave. NE, Minneapolis, MN

7 SHOT SWING
Thursday, July 26 at 7:30 pm
Saturday, July 28 at 7:30 pm
Ritz Theater, 345 13th Ave. NE, Minneapolis, MN

PANSY
Thursday, July 26 at 9:30 pm
Saturday, July 28 at 9:30 pm
Ritz Theater, 345 13th Ave. NE, Minneapolis, MN

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Review: Sally Wingert soars as a librarian/detective in 'Underneath the Lintel' at Latté Da

Sally Wingert in  Underneath the Lintel . Photo by Allen Weeks.

Sally Wingert in Underneath the Lintel. Photo by Allen Weeks.

June 4, 2018
Rohan Preston

“I. Was. Here.”

Actor Sally Wingert furiously chalks these words on the walls of the Ritz Theater in Minneapolis as she rushes through the aisles during her solo performance in “Underneath the Lintel.”

Underscoring themes in Glen Berger’s studied 2001 solo play, her emphatic act of theatrical vandalism gives specific meaning to the anonymous graffiti that people have written from time immemorial. Peter Rothstein’s must-see production at Theater Latté Da, which opened Saturday and continues through July 1, is a whodunit story that delves into myths around Jewish culture.

Wingert plays a fastidious librarian whose life is overturned when a book is dropped in a return box 113 years overdue. She is consumed by questions about the kind of miscreant who would do such a thing, and not have the decency to return the book in person. She wants to find him or his descendants — partly so she can have the pleasure of levying a fine.

The librarian becomes an obsessive detective, following clues to England, Germany, China and Australia, with excursions into language and history (she’s all about knowledge, after all) as she surveys the ephemera of a man’s life. She eventually wonders whether the book borrower is the so-called “wandering Jew,” a Christian legend about a man who lives forever.

The Meryl Streep of Twin Cities theater, Wingert is masterful as the librarian, delivering a tour de force that holds you from the first moment, when we hear a mysterious banging on a door, through the end, an exultation of light and flying paper. Reams of dialogue flow from her with honesty and wit. Yet she also is totally present for the audience, whom she addresses as if they were at a lecture. (When a patron’s cellphone went off on opening night, she mildly upbraided him.)

Rothstein’s staging is elegant and simple, creating a sense of awe around the story’s central mystery. He also has made music central to the performance, commissioning a hauntingly beautiful score from Frank London, trumpeter for the Grammy-winning Klezmatics, a New York group rooted in traditional Jewish music.

Michael Hoover’s set contains a projector and weathered books, which the librarian uses to present evidence from her travels. Behind a scrim, an array of suitcases rises to the ceiling, with two musicians perched above the stage: music director Dan Chouinard, who plays piano, organ and accordion, and Natalie Nowytski, who plays bass and sings.

For much of the show, the scrim is unlit. But when the musicians perform, it radiates like a baroque painting come to life. London’s keening, poignant songs add dimension to a text that asserts eternal themes against the threat of erasure, and artfully seeks to rewrite both the past and present.

Underneath the Lintel
Who: By Glen Berger. Music by Frank London. Directed by Peter Rothstein.
When: 7:30 p.m. Wed.-Fri.; 2 & 7:30 p.m. Sat.; 2 p.m. Sun. Ends July 1.
Where: Ritz Theater, 345 13th Av. NE., Mpls.
Tickets: $29-$49. 612-339-3003, latteda.org.

Sally Wingert's New Century-Old Adventure

Photo by Allen Weeks

Photo by Allen Weeks

Q&A with the star of Theater Latte Da's "Underneath the Lintel" (May 30-July 1), featuring new music by Frank London

BY LIANNA MATT

My first time seeing actor Sally Wingert, her energy carried the show.  She was Madame Arcati—the spry, exuberant, and eccentric medium in the Guthrie's Blithe Spirit this past October. A month after, I saw her in the Guthrie's Indecent as one of the supporting cast members who dared to show God of Vengeance to the world in the 1900s. Then came her spring performance in the Guthrie's Guess Who's Coming to Dinner? Wingert goes from show to show without stopping, and not only is she a mainstay at our blue-hued theater, she's a mainstay for the entire Twin Cities. Consequently, when we talked on the phone about her upcoming show Underneath the Lintel at Theater Latté Da (May 30-July 1), I tried to stick to the play instead of demanding her life story and asking star-struck questions.

Underneath the Lintel is about a librarian who receives a book 113 years overdue and goes on a grand adventure across the world to figure out who checked it out. (What else would one do in that situation?) Perhaps I held back too much when I talked with her, and maybe I don't have the complete picture of her thoughts. But even with the short conversation we had, it's apparent how much she loves the play, her work, Theater Latté Da, and the Twin Cities.

When I waffled on whether to call her a local actor—she has had stints in places like Broadway and London—she gently but firmly cut in to say, "I'm a local actor. I occasionally work out of town, but this is my home."

If you miss Underneath the Lintel, you will undoubtedly be able to see Wingert in other plays, solo or otherwise. However, the understated beauty that seems to exude from her descriptions of it, the particulars and the syntax that she extolled, are similar to a gardener talking about one rose he tends to among many. Each is special for different reasons, and Underneath the Lintel seems to promise something that is nostalgic, whimsical, and tenacious. Here's a snippet of what we talked about:

Had you read or seen Underneath the Lintel before?

I have never seen it before, and I had not read it prior to beginning to work on it. We did a workshop last summer with Glen Berger [the playwright] and Frank London [whom Latté Da commissioned to write new music for the play], and that was the first time I had first hand knowledge of it. I had sure heard about it. Both of the men that had performed it in new work, but T. Ryder Smith and David Chandler are actors that I've worked with, and I remember them talking about how important it was to them and how they loved that show.

Almost all of the play's performances feature a man as the librarian. How did you come to be the librarian, and did you have any thoughts on that?

A few years ago, a couple years ago, Glen adapted it. ... He had heard about a production where a woman had done it, and I don't remember this story although he did talk about it, and he thought, yeah, that works, with very little changes. Some of the gender pronouns are changed and all of that, but not much has changed, and to be honest with you, I cannot imagine it as a man now. I can't at all. It's interesting.

I think we can blast gender off the map kind of in a way now. I do. Maybe we always kind have, but in this day and age, we can. But to speak to Peter (Rothstein, Latté Da artistic director) casting me, I think he was looking for a project for us to do. I mean we have a lot of things to talk about, and he's a dear friend of mine as well, and I think he enjoys working with me as well, so we're always kind of looking projects to do, things to do. He was interested in Underneath the Lintel because Glen the playwright talks about his inspiration for the entire piece was in klezmer music.

Any other thoughts on gender roles and theater?

We're just behind. The notion of fluidity, inclusivity. I just think women are perhaps just demanding to be heard more, and perhaps the climate is more conducive to hearing what we have to say. But it's not just a two-gender deal, I think of the whole spectrum, and i think all of that can sort of ... There's just a lot of places where fluidity is interesting. I think it adds to the conversation; I think it can deepen the ideas, where we can go outside the box, giving everyone a chance. It's a learning curve we have to accept. 

Sally Wingert with musical director Dan Chouinard rehearsing "Underneath the Lintel." Photo by Sally Wingert stars in the one-person play "Underneath the Lintel," showing at Theater Latté Da, May 30-July 1, featuring new music by Frank London. Photo by Emilee Elofson.

Sally Wingert with musical director Dan Chouinard rehearsing "Underneath the Lintel." Photo by Sally Wingert stars in the one-person play "Underneath the Lintel," showing at Theater Latté Da, May 30-July 1, featuring new music by Frank London. Photo by Emilee Elofson.

Do you relate to the character at all? 

This is probably my limitations as an actor because much of her rhythm is like my rhythm, but she is very much not me. This is not like Sally, although people will sure see me in it because that's what we do. We look for meaning, we look for similarity, and that's really fun. She has something that she really wants to share, and that is completely, you know, that's me. One of the reasons , the chief reason I love/hate, one of the reasons I love theater, is I absolutely love interaction with a larger community, a larger group of people, i.e. an audience. It's thrilling to me that we all come together and leave having shared something.

Reading a bit about the play's plot, the librarian seems stuck in the beginning. Do you agree?

I think that on some level, she has an awareness of being stuck, but I think this journey slightly sneaks up on her, one, and two, she's not self-actualized in that way of, "I'm gong to have an adventure in my life." She doesn't put on her adventure pants and say, "Let's go have fun, let's go learn." She's a librarian, and she's officious and she has all kinds of fact. When this overdue book happens, she's appalled and then becomes slightly curious, and that leads to more curiosity, leads to more discoveries, and all of a sudden her toe is dipped in the larger world, into experience and life, and she finds herself going on, not only accepting the adventure, but being really stimulated about it.

It's mine to mess up because it's a beautiful play, and the design's really cool, and the musicians (music director) Dan Chouinard and Natalie Nowtski are astonishing, so if it isn't good, you can blame me and you should.

How is doing a one-woman show?

Not the least of which, it's somewhat of an endurance contest, you know? There's a lot of energy that is being sent out. And in the rehearsal hall, although I have an astonishing stage management team and I mean really, like, please say that—it's an astonishing team, they're so kind, and of course Peter, they're really attentive and enrapt and listen well, but they can't begin to approximate the energy I hope to receive from the audience. By the end of the evening, I will no doubt be ready to sort of drop.

Last thoughts?

It would be lovely for me if you could mention the design team which is pretty fantastic and that Latté Da is a really fantastic theater to work at. The piece can make one feel pretty vulnerable—being the only speaking words on stage can be a lonely thing—but when you're at Latté Da, you never feel lonely.

I have one more general house-keeping question: How long is the play?

About 90 minutes, no intermission. So pee before you sit down. [laughs] 'Ever graceful, ever the lady,' she says.

THEATER LATTÉ DA ANNOUNCES A DAZZLING AND DYNAMIC 2018-2019 SEASON

FOR IMMEDIATE RELEASE
May 15, 2018
Contact: Andrew Leshovsky
andrew@latteda.org
612-767-5646 office

 

Tyler Michaels ( Cabaret ) to star in the titular role of Hedwig in  Hedwig and the Angry Inch , Photo credit Tom Sandelands

Tyler Michaels (Cabaret) to star in the titular role of Hedwig in Hedwig and the Angry Inch, Photo credit Tom Sandelands

The company continues its wide-ranging exploration of musical storytelling with the regional premiere of ONCE, an Off-Broadway run of Theater Latté Da’s original ALL IS CALM, Sondheim’s romantic comedy A LITTLE NIGHT MUSIC, a theatrical concert of CANDIDE in partnership with VocalEssence, the genre-bending sensation HEDWIG AND THE ANGRY INCH, and the
world premiere of TO LET GO AND FALL.

Season tickets are on sale now and can be purchased at
Latteda.org/season-tickets or by calling 612-339-3003.

(MINNEAPOLIS/ST PAUL) In September, Theater Latté Da will open Season 21 at the Ritz Theater in Northeast Minneapolis. The highly-celebrated company will launch a season that encompasses a continued commitment to Stephen Sondheim’s work, receives an Off-Broadway debut of a Latté Da original, rocks the Ritz Theater with a Tony Award-winning musical, embarks on an exciting collaboration, premieres a beautiful new play with dance, and continues its robust commitment to the development of new musicals and plays with music.

“I am thrilled to collaborate with many of the Twin Cities finest artists on a slate of dynamic, adventurous musicals and the world premiere of a beautiful new play with music by Harrison David Rivers,” says Founding Artistic Director Peter Rothstein.

The season opens September 12 with the regional premiere of ONCE by Enda Walsh with music by Glen Hansard and lyrics by Markéta Irglova. On the streets of Dublin, an Irish musician and a Czech immigrant are drawn together by their shared love of music. Over the course of one fateful week, an unexpected friendship and collaboration quickly evolves into a powerful but complicated love story, underscored by emotionally charged music. Peter Rothstein directs Once with music director Jason Hansen and  choreographer Kelli Foster Warder. This production will feature Twin Cities natives Ben Bakken (Five Points) and Britta Ollmann (Ragtime).

Theater Latté Da announces ALL IS CALM: THE CHRISTMAS TRUCE OF 1914, the poignant docu-musical theatre work about the World War I Christmas truce, will receive it’s Off-Broadway debut at the Sheen Center for Thought & Culture in New York City November 9-December 30, 2018. Created and directed by Peter Rothstein, the a capella production which has become an annual holiday classic, is brought to life by a cast of 10 actor/singers and beautifully blends iconic WWI patriotic tunes, trench songs, medieval ballads and Christmas carols. This moving ode to peace is directed by Peter Rothstein with vocal arrangements by Erick Lichte and Timothy C. Takach. Twin Cities audiences will have the opportunity to see All is Calm at the Ritz Theater in a special one weekend engagement Nov 1-4, 2018 before its Off-Broadway debut. The production will be available as a season ticket add-on.

Theater Latté Da continues its celebrated commitment to the work of Stephen Sondheim building on past productions including Sunday in the Park with George, Company, Into the WoodsGypsy, Sweeney Todd: The Demon Barber of Fleet Street, and their hugely successful production of Assassins. Sondheim's A LITTLE NIGHT MUSIC, with a book by Hugh Wheeler, will begin performances January 23, 2019. Part comedy of manners, part sexual farce, this funny, elegant work inspired by Ingmar Bergman's period film Smiles on a Summer Night explores the tangled web of love affairs centered around actress Desirée Armfeldt. The musical features a romantic score, set entirely in 3/4 time signatures, including Sondheim’s most popular song “Send in the Clowns.” Sally Wingert (Sweeney Todd) stars as Desirée Armfeldt in Theater Latté Da’s production of this masterwork. Directed by Peter Rothstein with music direction by Jason Hansen.

In an exciting collaboration and partnership with VocalEssence, Minneapolis' premiere choral music ensemble under the direction of internationally renowned conductor Philip Brunelle, Theater Latté Da is thrilled to announce a theatrical concert of Leonard Bernstein's CANDIDE. A tale exploding with star-crossed lovers, villains, Monty Python-esque comedy, and a beautiful score, Candide combines the power of opera with the delights of musical theatre. Wrapped in irony, this musical follows the optimistic young Candide in search of “the best of all possible worlds” on an extraordinary journey to reunite with his soulmate. An all-star cast will perform a theatrical concert version along with VocalEssence, allowing audiences to savor the epic beauty of Bernstein’s music.  Twin Cities native Liv Redpath, a Domingo-Colburn-Stein Young Artist during 2017-18 season at the LA Opera, is Cunégonde and Bradley Greenwald (C.) is Voltaire and Pangloss. Candide will be performed at the Cowles Center for Dance and Performing Arts March 21-24, 2019. Performances will be available as a season ticket add-on.

In the spring, Theater Latté Da brings the bold, heartbreaking, and wickedly funny, HEDWIG AND THE ANGRY INCH by John Cameron Mitchell and Stephen Trask to the Ritz Theater. “Groundbreaking and undoubtedly ahead of its time,” says Entertainment Weekly, this genre-bending, fourth-wall-smashing musical sensation, with a pulsing rock score and electrifying performances, tells the story of one of the most unique characters to ever hit the stage. Winner of the 2014 Tony Award for Best Musical Revival.  Latté Da favorite Tyler Michaels (Assassins) stars in the titular role of Hedwig, and Meghan Kreidler (Man of La Mancha), Ivey award-winner for Emerging Artist in 2017, as Yitzhak.  

Performances for our final production of Season 21 begin May 29 with the world premiere of TO LET GO AND FALL by Twin Cities playwright Harrison David Rivers (Five Points). The play features original music by Minneapolis-based Jelloslave cellists Jacqueline Ultan and Michelle Kinney. Todd and Arthur are two former ballet dancers who reunite at New York’s Lincoln Center Plaza having not seen each other for more than 25 years. This beautifully-told story takes us through the lives of both men, their choices, their regrets, and their coming to terms with age, illness and sexual identity. Directed by Peter Rothstein, the production features André Shoals (Man of La Mancha) and Mark Benninghofen (Sweeney Todd).

Theater Latté Da continues its robust commitment to new work with their NEXT FESTIVAL. The summer festival showcases three new works that stretch the boundaries of musical storytelling, where audience members are invited into the ground floor of the creative process.

Season tickets are currently on sale; packages start at $110. Call the box office at 612-339-3003 or purchase online at Latteda.org.

THEATER LATTÉ DA NATIONAL PRESENCE

Theater Latté Da announces ALL IS CALM: THE CHRISTMAS TRUCE OF 1914, the poignant musical theatre work about the World War I Christmas truce, will have its off-Broadway debut at the Sheen Center for Thought & Culture in New York City, presented by Laura Little Theatrical Productions. Created by Peter Rothstein, the production will run from November 9 thru December 30, 2018. Visit Alliscalm.org for more information.

Theater Latté Da’s highly-acclaimed production of Sweeney Todd: The Demon Barber of Fleet Street, that opened the company’s 18th season, will be remounted at Asolo Repertory Theatre in Sarasota, Florida in the spring of 2019. Asolorep.org

SEASON 21

ONCE

Book by Enda Walsh
Music by Glen Hansard
Lyrics by Markéta Irglova

Directed by Peter Rothstein

Music Direction by Jason Hansen
Choreography by Kelli Foster Warder
Starring Ben Bakken and Britta Ollmann

September 12 – October 21, 2018
Ritz Theater, 345 13th Ave NE, Minneapolis, MN 55413

ALL IS CALM: THE CHRISTMAS TRUCE OF 1914 (Season Add-on)
By Peter Rothstein
Vocal Arrangements by Erick Lichte and Timothy C. Takach
Directed by Peter Rothstein
Music Direction by Erick Lichte

November 1 - 4, 2018
Ritz Theater, 345 13th Ave NE, Minneapolis, MN 55413

November 9 - December 30, 2018
Off-Broadway
Sheen Center for Thought and Culture, 18 Bleecker St, New York, NY 10012

A LITTLE NIGHT MUSIC

Book by Hugh Wheeler
Music and Lyrics by Stephen Sondheim
Directed by Peter Rothstein
Music Direction by Jason Hansen
Starring Sally Wingert as Desirée Armfeldt

January 23 - March 3, 2019
Ritz Theater, 345 13th Ave NE, Minneapolis, MN 55413

CANDIDE A Theatrical Concert (Season Add-on)
Presented in partnership with VocalEssence
Music by Leonard Bernstein
Book by Hugh Wheeler
Lyrics by Richard Wilbur
Additional Lyrics by John Latouche, Leonard Bernstein, Stephen Sondheim, Lillian Hellman and Dorothy Parker
Directed by Peter Rothstein
Music Direction by Philip Brunelle
Starring Liv Redpath as Cunégonde and Bradley Greenwald as Pangloss/Voltaire

March 21 - 24, 2019
Cowles Center for Dance and the Performing Arts, 528 Hennepin Ave, Minneapolis, 55403

HEDWIG AND THE ANGRY INCH

Book by John Cameron Mitchell
Music and Lyrics are by Stephen Trask
Directed by Peter Rothstein
Music Direction by Jason Hansen
Starring Tyler Michaels as Hedwig and Meghan Kreidler as Yitzhak

March 27 - May 5, 2019
The Ritz Theater, 345 13th Ave NE, Minneapolis, MN 55413

TO LET GO AND FALL (World Premiere)
By Harrison David Rivers

Directed by Peter Rothstein
Original music by Jelloslave cellists Jacqueline Ultan and Michelle Kinney
Starring André Shoals and Mark Benninghofen

May 29 – June 30, 2019
Ritz Theater, 345 13th Ave NE, Minneapolis, MN 55413

NEXT FESTIVAL 2019 (Season Add-on)
July 2019
Ritz Theater, 345 13th Ave NE, Minneapolis, MN 55413


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Sally Wingert And Dan Chouinard Bring Theater Latté Da's UNDERNEATH THE LINTEL To Life With Original Music By Frank London

Sally Wingert, Photo by Allen Weeks

Sally Wingert, Photo by Allen Weeks

Theater Latté Da’s production of Underneath the Lintel by Glen Berger
features a newly-commissioned score by Frank London.

Underneath the Lintel stars Sally Wingert with original music performed by
Dan Chouinard and vocals by Natalie Nowytski.

CLICK HERE FOR PROMO PHOTOS

Performances begin May 30 at the Ritz Theater.

Single tickets go on sale May 1.
Visit Latteda.org or call our Box Office at 612-339-3003.

(Minneapolis/St. Paul) Theater Latté Da announces single tickets go on sale May 1 for Underneath the Lintel, starring Sally Wingert. As part of Theater Latté Da’s commitment to developing new works, this production of Glen Berger’s acclaimed play features original music commissioned by Latté Da from Grammy award-winning composer Frank London, founding member of The Klezmatics. Theater Latté Da Artistic Director Peter Rothstein directs the production with Music Director Dan Chouinard and vocalist Natalie Nowytski. Performances begin May 30 at the Ritz Theater (345 13th Avenue NE in Minneapolis). Single tickets go on sale May 1 and can be purchased at Latteda.org or by calling 612-339-3003.

Underneath the Lintel chronicles the journey of a librarian who finds herself caught up in a cosmic puzzle that makes the Da Vinci Code seem like a game of hide and seek. A clue scribbled in the margin of a returned library book that is 113 years overdue leads her on an unforgettable odyssey that spans the globe and the ages. As the librarian travels around the world on her obsessive search, she finds herself unlocking ancient mysteries and new revelations about her place in the universe.

Theater Latté Da is thrilled to bring together the talents of the Emmy award-winning playwright Glen Berger and the Grammy award-winning Frank London, who with The Klezmatics won a Grammy in Contemporary World Music. Berger has received commissions from the Children’s Theater of Minneapolis and Berkeley Repertory Theatre. He has written over a dozen plays including and co-wrote the book for Spider-Man: Turn Off the Dark, which appeared on Broadway in 2010. Frank London co-founded The Klezmatics in 1986. He plays trumpet and keyboard and sings with the group and has written many of the Klezmatics’ most popular songs. London has also added virtuosity to hundreds of concerts and recordings by everyone from John Zorn to They Might Be Giants, Mel Torme to Iggy Pop, Pink Floyd, Youssou N’dour, LaMonte Young, Allen Ginsberg and LL Cool J. Called the “mystical high priest of Avant-Klez jazz,” London has made 30 solo recordings and is featured on over 400 CDs.

“When Peter Rothstein approached me with the idea of setting original music to this play that I thought I was done with fifteen years ago, and to commission my genius colleague and some-time collaborator Frank London to compose that music, I thought…hell yes,” says playwright Glen Berger. “All my plays are first inspired by music, and Underneath the Lintel was inspired particularly by certain Klezmer/Yiddish music from the 1920s and earlier. There’s no better artist on the planet to take my initial inspiration and run with it than Frank London. It’s a thrilling opportunity and I’m grateful to Theater Latté Da for making it possible." 

"Klezmer and Cantorial music has the ability to take us to another place—to evoke nostalgia, sentimentality, spirituality and mystery,” says Composer Frank London. “It’s been an interesting exploration into how to take a play and heighten not only emotions, but relationships both inner and outer.”

Underneath the Lintel features scenic design by Michael Hoover, costume design by Willene Mangham, and lighting design by Barry Browning.

Theater Latté Da is an award-winning Twin Cities musical theater company that combines music and story to illuminate the breadth and depth of the human experience. The company seeks to create new connections between story, music, artists, and audience by exploring and expanding the art of musical theater.  www.latteda.org

FACT SHEET:

UNDERNEATH THE LINTEL

By Glen Berger
Original Music by Frank London
Directed by Peter Rothstein
Music Direction by Dan Chouinard

 Starring: Sally Wingert

Dates: Wednesday, May 30 – Sunday, July 1, 2018

Venue: Ritz Theater (345 13th Avenue NE, Minneapolis MN 55413)
Tickets: Starting at $29

Performance Dates and Times

Wednesday, May 30 at 7:30 PM (Preview)
Thursday, May 31 at 7:30 PM (Preview)
Friday, June 1 at 7:30 PM (Preview)
Saturday, June 2 at 7:30 PM (Opening Night)
Sunday, June 3 at 2:00 PM (Post-Show Discussion)
Wednesday, June 6 at 7:30 PM
Thursday, June 7 at 7:30 PM (Post-Show Discussion)
Friday, June 8 at 7:30 PM
Saturday, June 9 at 2:00 PM
Saturday, June 9 at 7:30 PM
Sunday, June 10 at 2:00 PM (Post-Show Discussion)
Wednesday, June 13 at 7:30 PM
Thursday, June 14 at 7:30 PM (Post-Show Discussion)
Friday, June 15 at 7:30 PM
Saturday, June 16 at 2:00PM
Saturday, June 16 at 7:30PM
Sunday, June 17 at 2:00PM (Post-show Discussion)
Wednesday, June 20 at 7:30PM
Thursday, June 21 at 7:30PM (Post-show Discussion)
Friday, June 22 at 7:30 PM
Saturday, June 23 at 2:00PM
Saturday, June 23 at 7:30 PM
Sunday, June 24 at 2:00 PM (Post-Show Discussion)
Wednesday, June 27 at 7:30 PM
Thursday, June 28 at 7:30 PM (Post-Show Discussion)
Friday, June 29 at 7:30 PM
Saturday, June 30 at 2:00 PM
Saturday, June 30 at 7:30 PM
Sunday, July 1 at 2:00 PM

N.Y.-set musical 'Five Points' has Broadway ambitions but a Minneapolis pedigree

John Jamison and T. Mychael Rambo rehearsed “Five Points,” premiering this week at Theatre Latté Da. Photo by Brian Peterson.

John Jamison and T. Mychael Rambo rehearsed “Five Points,” premiering this week at Theatre Latté Da. Photo by Brian Peterson.

A new musical about the birth of tap dance has Broadway ambitions but a Minneapolis pedigree. 

By Rohan Preston
Star Tribune
April 3, 2018

It’s not happening in the theater meccas of New York, London or Chicago.

“Five Points,” a much-anticipated new musical about the cultural tensions between African- and Irish-Americans that gave rise to tap dance, will premiere Saturday at the cozy Ritz Theater in Minneapolis.

It could be an electrifying debut for the composing team of Douglas Lyons and Ethan Pakchar, who have Broadway ambitions for the show.

Based in New York, they met in 2012 in the touring company of “The Book of Mormon” (Lyons was onstage, Pakchar in the pit on guitar). They’ve been called the next Pasek and Paul, the duo behind the Oscar-winning “La La Land” and current Broadway smash “Dear Evan Hansen.”

The stakes also are high for Twin Cities playwright Harrison David Rivers, whom they hired to write the book, and Theater Latté Da, which is producing the show with an all-local cast.

“Five Points” represents a bold statement as the theater marks its 20th year.

“We’ve certainly done big musicals before but this is hugely ambitious, in terms of the size of the cast, the scope of the story, and [the fact] that both music and dance are equal elements,” said Latté Da artistic director Peter Rothstein, who has overseen the show’s accelerated development over the past two years.

“This takes us to the next level.”

Super-sized dance-offs

Named for the seedy district of Manhattan that served as a gateway to poor immigrants and a refuge for ex-slaves, “Five Points” is set in 1863 as the Civil War raged.

Blacks and whites lived and worked together, often uneasily, in this community of strivers. They also competed in dance-offs — freestyling much like battling rappers do today. These contests grew into spectacles that drew huge crowds and were promoted by showmen such as P.T. Barnum, a character in the show.

“The way they danced then was like a sporting event,” said Lyons, who wrote the lyrics and collaborated with Pakchar on the music. “It was their Super Bowl.”

The narrative is built around two hoofers who competed in real life. William Henry Lane, aka Master Juba, was an inventive African-American master. John Diamond was an Irish minstrel who fused black steps with those from his homeland.

Lane is portrayed by Lamar Jefferson, part of the cast that premiered the musical “Girl Shakes Loose” at Penumbra last spring, while Ben Bakken, seen recently in Chanhassen’s “Grease,” plays Diamond.

The creative team has exercised its artistic license to give body and soul to people about whom not much is known. The contests between Lane and Diamond took place in the 1840s, but dropping them “in the middle of the Civil War gives us a ticking time clock,” Lyons said.

And although “Five Points” is history-based, it’s aimed at modern audiences. The music is “something that you could hear on the radio,” said Lyons.

Rivers said the added dramatic underpinning helped flesh out characters who are mere historical sketches.

“Willie was a very young man who essentially died of exhaustion after being danced to death by P.T. Barnum,” the playwright said. “And John Diamond was a good match for him. In these dance battles, one of the men would star and the other would mimic what he did and take it further. They would go back and forth like that, and their distinct styles would congeal into what we know as tap.”

He sees the show as a metaphor for America.

“These two cultures are thrust together and the result of their different styles is something brand new.”

Parallels to ‘Ragtime’

That’s also a central idea of “Ragtime,” the musical to which this show is inevitably compared.

After a memorable Minneapolis staging of “Ragtime” in 2016, Rothstein did a version in Seattle last year, starring Lyons.

“This is set 40 years before ‘Ragtime,’ but there are thematic similarities certainly, around issues of national identity and cultural clashes that led to the birth of new art forms,” the director said.

While there are three principal narratives in “Ragtime” — around Jewish immigrants, African-Americans and WASPs — “Five Points” has only two. Even so, it is jam-packed, even epic in scale. “Each story line can easily be its own musical, and we’ve doubled them up,” said Latté Da’s new associate artistic director, Elissa Adams.

The show has a high-gloss cast of 14 Twin Cities dancers, singers and actors — including Ann Michels, Dieter Bierbrauer, Thomasina Petrus and T. Mychael Rambo, fresh from playing The Wiz at Children’s Theatre — plus a five-piece band led by Latté Da’s musical director, Denise Prosek. Kelli Foster Warder, who choreographed “Ragtime,” is creating the tense, sometimes exultant dances.

The creative team chose not to replicate some egregious practices of the past, including blackface, which both Lane and Diamond used. It was mindful, too, of the “whitewashing” criticism around the recent Barnum film “The Greatest Showman.”

“We wanted to illuminate how he exploited marginalized talent,” said Rothstein. “We’re still finessing that.” The story line creates parallels between the way Barnum pitted groups against each other for money, and how the military created conflict by drafting Irish immigrants while refusing blacks.

These lessons aren’t just historical, said Rothstein, referencing structural inequities that cause the poor and underserved to turn on each other.

“This is a story about us, today.”

 

Theater Latté Da's ALL IS CALM: THE CHRISTMAS TRUCE OF 1914 to receive off-Broadway debut

FOR IMMEDIATE RELEASE

March 12, 2018

Contact: Andrew Leshovsky
andrew@latteda.org
612-767-5646 office

THEATER LATTÉ DA’S ALL IS CALM: THE CHRISTMAS TRUCE OF 1914 TO RECEIVE OFF-BROADWAY DEBUT

The highly celebrated docu-musical about an extraordinary moment in history will be presented at the Sheen Center for Thought & Culture produced by Laura Little Theatrical Productions.

CLICK HERE FOR PHOTOS

Performances begin November 9 and continue through December 30, 2018
at the Sheen Center, New York City. Visit alliscalm.org for more information. 

(MINNEAPOLIS/ST. PAUL) Theater Latté Da announces ALL IS CALM: THE CHRISTMAS TRUCE OF 1914the poignant musical theatre work about the World War I Christmas truce, will have its off-Broadway debut at the Sheen Center for Thought & Culture in New York City, presented by Laura Little Theatrical Productions. Created by Peter Rothstein, the production combines period songs and firsthand accounts of this remarkable event and has become an annual holiday classic. Since its premiere in 2007, the a capella production is brought to life by a cast of 10 actor/singers and beautifully blends iconic WWI patriotic tunes, trench songs, medieval ballads and Christmas carols from England, Wales, France, Belgium and Germany with texts written by more than 30 World War I figures. This moving ode to peace is directed by Theater Latté Da’s founding Artistic Director Peter Rothstein with vocal arrangements by Erick Lichte and Timothy C. Takach. ALL IS CALM premiered in a live radio broadcast on Minnesota Public Radio on December 21, 2007.

ALL IS CALM recalls an astounding moment in history when Allied and German soldiers met in “No Man’s Land” and laid down their arms to celebrate the holiday together by trading carols, sharing food and drink, playing soccer and burying the dead. In some places the truce lasted only a night, in others it endured until New Year’s Day. Rothstein believes that music, an important part of life in the trenches, helped create a context that made the truce possible. “Music was the common language, and as winter set in, the men began to hold impromptu concerts, singing to each other across the battle fields, creating trust and a camaraderie,” says Rothstein.

Rothstein conducted research for two years to develop ALL IS CALM. “I wanted to tell the story in their own words, I created the drama by stringing together letters, war documents, autobiographies, World War I poetry, gravestone inscriptions, even an old radio broadcast,” says Rothstein. “For decades, the truce was considered a romantic fable, fiction, and I wanted to give legitimate voice to this remarkable moment that had somehow been denied its rightful place in history. I cannot express how gratifying it has been to share the story of these heroic men, in their own words, across the country and around the globe.”

Since ALL IS CALM had its world premiere in a live broadcast on Minnesota Public Radio in 2007, the show has enjoyed global success with broadcasts on five continents through American Public Media and the European Broadcasting Union. The program has won awards including the Gold World Medal at the 2010 New York Festivals and the 2010 Gabriel Award, which honors works of excellence in broadcasting that serve audiences through the positive, creative treatment of concerns to humankind.

ALL IS CALM has toured the United States for ten seasons, reaching more than 50 cities playing prestigious venues such as The Kennedy Center (Washington, D.C.), Cal Performances (Berkeley, CA) and the Metropolitan Museum of Art (New York). The work has also been licensed and performed by theater companies and choruses across the US and Canada.

Theater Latté Da is an award-winning Twin Cities musical theater company that combines music and story to illuminate the breadth and depth of the human experience. The company seeks to create new connections between story, music, artists, and audience by exploring and expanding the art of musical theater.  www.latteda.org

About the Sheen Center for Thought & Culture

Located in the NoHo/East Village section of downtown New York on historic Bleecker Street, the Sheen Center for Thought & Culture is an vibrant new arts organization that presents over 75 events a year specializing in theatre, music, film, and talks. A project of the Archdiocese of New York, the Sheen Center complex encompasses the 270-seat Loreto mainstage theatre, a 90-seat Black Box Theatre, four rehearsal studios, and an Art Gallery. ALL IS CALM will be performed in the Loreto Mainstage Theater. www.sheencenter.org

About Laura Little Theatrical Productions

Laura Little Theatrical Productions brings vision and passion to producing exceptional theater. Broadway credits include co-producer of the Tony-award winning productions of Come From Away and Peter and the Starcatcher. Other producing credits include: First Date starring Zachary Levi, Johnny BaseballTraditions of Christmas and a reading of The Giver featuring Patty Duke. Laura Little has also produced concerts featuring Doug Webster, pianist/vocalist Kevin Cole, and singer Cami Bradley. She is looking forward to her role as lead producer in the off-Broadway production of Theater Latté Da’s All is Calm: The Christmas Truce of 1914. www.lauralittletheatricals.com

FACT SHEET
ALL IS CALM: THE CHRISTMAS TRUCE OF 1914

Written by Peter Rothstein
Vocal Arrangements by Erick Lichte and Timothy C. Takach
Directed by Peter Rothstein
Music Direction by Erick Lichte

Costume Design by Trevor Bowen
Lighting Design by Marcus Dilliard
Sound Design by Nicholas Tranby

The Western Front, Christmas, 1914. Out of the violence comes a silence, then a song. A German soldier steps into No Man's Land singing "Stille Nacht." Thus begins an extraordinary night of camaraderie, music, peace. A remarkable true story, told in the words and songs of the men who lived it.

 Venue: Sheen Center for Thought & Culture (18 Bleecker St, New York, NY 10012)
Dates: Nov 9-Dec 30, 2018
Tickets: Visit sheencenter.org or call 212-925-2812

Performances Dates and Times

Friday, November 9, 2018 at 7:30PM (Preview)
Saturday, November 10, 2018 at 7:30PM (Preview)
Sunday, November 11, 2018 at 2:00PM (Preview)
Tuesday, November 13, 2018 at 7:30PM (Preview)
Wednesday, November 14, 2018 at 7:30PM (Preview)
Thursday, November 15, 2018 at 7:30PM (Preview)
Friday, November 16, 2018 at 7:30PM (Preview)
Saturday, November 17, 2018 at 7:30PM (Preview)
Sunday, November 18, 2018 at 2:00PM (Opening)
Wednesday, November 21, 2018 at 2:00PM
Wednesday, November 21, 2018 at 7:30PM
Friday, November 23, 2018 at 2:00PM
Friday, November 23, 2018 at 7:30PM
Saturday, November 24, 2018 at 2:00PM
Saturday, November 24, 2018 at 7:30PM
Sunday, November 25, 2018 at 2:00PM
Wednesday, November 28, 2018 at 2:00PM
Wednesday, November 28, 2018 at 7:30PM
Thursday, November 29, 2018 at 7:30PM
Friday, November 30, 2018 at 7:30PM
Saturday, December 1, 2018 at 2:00PM
Saturday, December 1, 2018 at 7:30PM
Sunday, December 2, 2018 at 2:00PM
Sunday, December 2, 2018 at 7:00PM
Wednesday, December 5, 2018 at 2:00PM
Wednesday, December 5, 2018 at 7:30PM
Thursday, December 6, 2018 at 7:30PM
Friday, December 7, 2018 at 7:30PM
Saturday, December 8, 2018 at 7:30PM
Sunday, December 9, 2018 at 2:00PM
Wednesday, December 12, 2018 at 2:00PM
Wednesday, December 12, 2018 at 7:30PM
Thursday, December 13, 2018 at 7:30PM
Friday, December 14, 2018 at 7:30PM
Saturday, December 15, 2018 at 2:00PM
Saturday, December 15, 2018 at 7:30PM
Sunday, December 16, 2018 at 2:00PM
Sunday, December 16, 2018 at 7:00PM
Wednesday, December 19, 2018 at 2:00PM
Wednesday, December 19, 2018 at 7:30PM
Thursday, December 20, 2018 at 7:30PM
Friday, December 21, 2018 at 7:30PM
Saturday, December 22, 2018 at 2:00PM
Saturday, December 22, 2018 at 7:30PM
Sunday, December 23, 2018 at 2:00PM
Monday, December 24, 2018 at 2:00PM
Wednesday, December 26, 2018 at 2:00PM
Wednesday, December 26, 2018 at 7:30PM
Thursday, December 27, 2018 at 7:30PM
Friday, December 28, 2018 at 7:30PM
Saturday, December 29, 2018 at 2:00PM
Saturday, December 29, 2018 at 7:30PM
Sunday, December 30, 2018 at 2:00PM
 

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