Latté Da completes purchase of the Ritz

Pamela EspelandMinnPost

September 1, 2016

Just in time for “Ragtime,” which opens Sept. 21, Theater Latté Da has finalized its purchase of the historic Ritz Theater in Northeast Minneapolis. It took a while – we learned in March that Latté Da had entered into an “exclusive negotiating arrangement” with the Ritz Foundation – but it’s a done deal now, and the theater finally has a home of its own.

This is the first time in the company’s 18-year history when its administration, rehearsal space and performances can all be housed in the same building. The administrative offices have been there since Sept. 2014, and four shows have been produced so far on the Ritz’s stage: Sondheim’s “Into the Woods” and “Sweeney Todd,” and the world premieres of “C.” and “Lullaby.”

During that time, the staff and the audience have gotten to know the place. “Our patrons have expressed how much they love the intimacy of the space and the vibrancy of the neighborhood,” Artistic Director Peter Rothstein said in a statement. Plus “residents and local businesses have been extremely welcoming and become vital partners. … The Ritz Theater is a fantastic building in a dynamic neighborhood with a rich history of diverse ethnic identity and cultural exchange. Theater Latté Da is thrilled to be a part of its next chapter.” More like a book than a chapter. Latté Da has always been worth watching, and now we know exactly where to go.

Theater Latte Da now owns Ritz Theater

Jay GablerCity Pages

September 1, 2016

Theater Latté Da has purchased the Ritz Theater. It's a move that stabilizes the future of the northeast Minneapolis landmark while demonstrating Latté Da's growing clout. The 18-year-old company's new home includes a performance space, administrative offices, and rehearsal space all under the same roof.

The move doesn't come out of the blue: Theater Latté Da has been using the Ritz's administrative offices for two years, and the company's used the theater to stage successful shows including Sweeney Todd and Into the Woods. Most of the Ritz's 2016-17 season is planned for the space, starting with a new production of Ragtimethat opens September 24.

"During our time at the Ritz Theater, our patrons have expressed how much they love the intimacy of the space and the vibrancy of the neighborhood," says Latté Da's artistic director Peter Rothstein in a press release. "The Ritz Theater is a fantastic building in a dynamic neighborhood with a rich history of diverse ethnic identity and cultural exchange. Theater Latté Da is thrilled to be a part of its next chapter."

In the same press release, David Warner says, "It’s been a long and challenging road for the Ritz Theater Foundation but all’s well that ends well." Warner spoke as a representative of the foundation, the entity that previously owned the theater. His weary remarks were an understatement.

The Ritz was built in 1928, but its recent history dates from 2006, when it was renovated and reopened under the expectation that Myron Johnson's Ballet of the Dolls would be its primary tenant and manager. The building was owned by the newly-established Ritz Theater Foundation, but there was a close relationship between that group and the Dolls.

In the Dolls era, the Ritz — a former movie theater that was converted to a live performance space in 1971, later falling into disrepair — quickly became integral to the cultural life of the neighborhood and the city, adding to the growing buzz along its stretch of 13th Avenue NE.

However, the theater struggled with debt from its $2.2 million renovation, and Ballet of the Dolls had its own struggles; both the venue and the company were hit by the financial crash, and venues like the shiny new Cowles Center attracted some programming that might otherwise have gone to the Ritz.

The stresses took their toll on Johnson, who had a breakdown and checked into the Hennepin County Medical Center. "The anxiety and the stress just really hit me," he told Vita.mn at the time.

In 2014, the venue rebooted: the Dolls were out, and Latté Da was in, with renewed efforts to increase and diversify the space's outside bookings. As a Minnesota Fringe Festival venue, the Ritz has showcased both its 245-seat main stage and its smaller studio space around back.

Will the Latté Da purchase provide long-term stability for the Ritz? There aren't many sure bets in the arts economy, but over the past several years the rise of Latté Da as a local powerhouse with a growing national reputation has been unmistakable. Last year was widely seen as a watershed year for the company, confirming Rothstein's conviction that Latté Da's — now permanent — home is a good fit.

Latte Da purchases Ritz Theater in NE Minneapolis

Euan KerrMPR News

August 31, 2016

Theater Latte Da announced Wednesday that it has purchased the Ritz Theater in northeast Minneapolis.

The company has until now performed at venues around the Twin Cities, including the Ritz, but moved its administrative offices into the venue in 2014. Artistic Director Peter Rothstein said the facility allows Latte Da to present what he calls intimate productions of epic works.

"The Ritz is only 245 seats, but the space, the stage itself, is quite grand," he said. "It's a big-sized stage hall. And so we are able to do work that feels epic, that feels large, but it's still that really intimate experience between actor and audience."

Rothstein said the company is excited both to have a new home, and to become a bigger part of northeast. Built in 1928, the Ritz has long been a focal point of the community, but has faced major budget problems in recent years.

"Everyone knew this was a huge asset to this part of the Twin Cities, and the city worked hand in hand with us and the neighborhood to make sure that it remains a theater," Rothstein said. "So it's really a testament to them as much as it is the determination of our board and our donors to see it happen."

Latte Da opens its 19th season in September with a production of "Ragtime."

Theater Latté Da Finds Permanent Home

American Theatre EditorsAmerican Theatre Magazine

August 31, 2016

MINNEAPOLIS, MN: Theater Latté Da now has a permanent home. It recently purchased the historic Ritz Theater in northeast Minneapolis, where its administrative offices have been housed in the last two years. The theatre began performances at the Ritz in 2015.

“During our time at the Ritz Theater, our patrons have expressed how much they love the intimacy of the space and the vibrancy of the neighborhood,” said artistic director Peter Rothstein in a statement. “Residents and local businesses have been extremely welcoming and become a vital partners. With the Ritz Theater as our artistic home, we will continue to deepen our relationship with Northeast Minneapolis. The Ritz Theater is a fantastic building in a dynamic neighborhood with a rich history of diverse ethnic identity and cultural exchange. Theater Latté Da is thrilled to be a part of its next chapter.”

The Ritz marks the first time in the company’s 18-year history that Theater Latté Da will have its administration, rehearsal, and performance space in the same building. Theater Latté Da purchased the building from the Ritz Theater Foundation; the building is assessed at $1.1 million.

The company will launch its 19th season on Sept. 21 with the musical Ragtime.

Theater Latte Da buys Ritz Theater in Northeast Minneapolis

Mark ReillyMinneapolis/St. Paul Business Journal

August 31, 2016

Drama company Theater Latté Da has bought the Ritz Theater, a onetime movie house in Northeast Minneapolis.

The Star Tribune reports on the deal for the theater at 345 13th Ave. NE, which had been owned by the Ritz Foundation. The building dates back decades, beginning as a movie theater before a conversion for drama in the 1970s. Terms of the sale weren't disclosed.

Theater Latté Da has been without a permanent home since 2006, though it's been gradually expanding its presence at the Ritz. The group moved administrative offices there in 2014 and began producing plays there for the past year.

Theater Latté Da buys historic Ritz Theater in northeast Minneapolis

Graydon RoyceStar Tribune

August 30, 2016

Theater Latté Da has purchased the historic Ritz Theater in northeast Minneapolis. The company moved its administrative offices into the building in September 2014 and had been producing shows in the 245-seat auditorium since 2015. The terms were not announced.

“We will continue to deepen our relationship with northeast Minneapolis,” said artistic director Peter Rothstein. “The Ritz is a fantastic building and we’re thrilled to be part of its next chapter.”

The company, which specializes in reinterpreting musical classics and creating new musical theater, had entered into an exclusive negotiating arrangement last March with the Ritz Foundation, which owned the building at 345 13th Av. NE. Rothstein said the deal was finalized Monday.

Latté Da has grown from an itinerant troupe that staged cabarets in small venues to one of the prominent midsize companies in the Twin Cities. Rothstein was named the Star Tribune’s Artist of the Year in 2015. The company’s annual budget was $1.3 million in fiscal 2015, according to tax filings.

After producing shows for several years in the now-defunct Loring Playhouse, the company had been without a permanent performance space since 2006. The Ritz purchase means that for the first time in the company’s 18-year history, Latté Da will have administration, rehearsal and performance spaces in the same building.

Rothstein has staged “Into the Woods,” “Sweeney Todd” and “C.” (based on the Cyrano de Bergerac story) in the Ritz. The company also produced a new work, “Lullaby,” in the space last spring.

The Ritz, a former movie house, has undergone many transformations. It was built out for the Cricket Theatre in 1971 and most recently had a $2.2 million renovation in 2006. The Ballet of the Dolls dance troupe became the principal tenant and operated the theater for nearly eight years. The Dolls hit financial trouble, though, and founder Myron Johnson moved on to other endeavors.

In addition to Latté Da productions, the theater is used for dance and theater performances. The Minnesota Fringe Festival has for the past two years used two performance spaces in the building.

In 2014, Michael Rainville, chairman of the Ritz Theater Foundation, said the building was assessed at $1.1 million.

Rothstein said patrons have warmed to the Ritz’s intimacy and the character of the northeast Minneapolis neighborhood. Residents and businesses have become “vital partners,” he said.

IT’S OFFICIAL!! THEATER LATTÉ DA HAS A HOME AT THE RITZ THEATER IN NORTHEAST MINNEAPOLIS

  August 31, 2016 Contact: Seena Hodges seena@latteda.org 612-767-5646 office

IT’S OFFICIAL!! THEATER LATTÉ DA HAS A HOME AT THE RITZ THEATER IN NORTHEAST MINNEAPOLIS

(Minneapolis/St. Paul) The Board of Directors of Theater Latté Da announced the purchase of the historic Ritz Theater in Northeast Minneapolis. For the first time in the company’s 18-year history, Theater Latté Da has integrated its administration, rehearsal space, and performances. The building was purchased from the Ritz Theater Foundation.

In order to play a significant role in keeping the historic Ritz Theater alive, the company moved into the administrative offices of the building in September 2014. Since then, the staff is able to work more collaboratively, artists comment on the positive energy of the space, and audiences have been incredibly enthusiastic. The company has produced highly-celebrated productions of Stephen Sondheim’s’ Into the Woods and Sweeney Todd: The Demon Barber of Fleet Street, as well as two world premieres—C. by Bradley Greenwald and Robert Elhai and Lullaby by Michael Elyanow.

Over the past two years, the Ritz Theater has proved a successful home for playwrights, composers, and lyricists to create new musical theater. The company has also experienced exponential growth over the past few years expanding its annual budget from $1.2 million in 2014 to $1.8 million in 2016.

Artistic Director Peter Rothstein offers, “During our time at the Ritz Theater, our patrons have expressed how much they love the intimacy of the space and the vibrancy of the neighborhood. Residents and local businesses have been extremely welcoming and become a vital partners. With the Ritz Theater as our artistic home, we will continue to deepen our relationship with Northeast Minneapolis.” He continues, “The Ritz Theater is a fantastic building in a dynamic neighborhood with a rich history of diverse ethnic identity and cultural exchange. Theater Latté Da is thrilled to be a part of its next chapter.”

Ritz Theater Foundation representative David Warner offers, “It’s been a long and challenging road for the Ritz Theater Foundation but all’s well that ends well and this couldn’t have ended any better.  The Ritz Theater will be in wonderful hands with Theater Latté Da.”

The company will begin its 19^th season at the Ritz Theater with the musical RAGTIME. The production begins performances on Wednesday, September 21. Tickets can be purchased at latteda.org or by calling 612-339-3003.

About Theater Latté Da:

Theater Latté Da is committed to a rigorous experimentation with music and story that expands the art form and speaks to a contemporary audience challenging us to think deeply about the community and the world in which we live.

We believe musical theater to be the most collaborative of art forms, incorporating music, drama, poetry, dance, and design. We are inspired and strengthened through inclusive partnerships with artists, organizations, and our diverse community, and embody a collaborative spirit in all we do.

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Theater Latté Da announces a talent-packed line-up of adventurous musical theater for its 19th season

For Immediate ReleaseJune 13, 2016 Contact: Seena Hodges seena@latteda.org 612-767-5646 office

Theater Latté Da announces a talent-packed line-up of adventurous musical theater for its 19^th season

Featuring an epic Broadway musical; the long-awaited return of a holiday favorite; the tenth anniversary of an original holiday classic; a wildly imaginative musical comedy; and a riveting drama underscored with live music.

Highlights of the 2016-17 season include Traci Allen Shannon and David Murray in their Theater Latté Da debuts in the roles of Sarah and Coalhouse Walker, Jr. in Ragtime; Tod Petersen’s triumphant return to his hilarious, autobiographical holiday favorite; local phenom Tyler Michaels as Peter, The Boy Who Would Not Grow Up, in Peter and the Starcatcher directed by award-winning director and scenic designer Joel Sass; and Mark Benninghofen and Sally Wingert reunite in a dramatic turn as Flan and Ouisa Kittredge in Six Degrees of Separation.

Season subscriptions are on sale now and can be purchased at latteda.org/subscribe or by calling 612-339-3003.

(Minneapolis/St. Paul) On the heels of another highly successful season, Theater Latté Da today announced a talent-packed line-up of adventurous musical theater for its 19th season. The season features an epic Broadway musical, the long-awaited return of a holiday favorite, a wildly imaginative musical comedy, and a riveting drama underscored with music. The season also includes the tenth anniversary of the holiday classic All is Calm: The Christmas Truce of 1914 and The NEXT Festival, Theater Latté Da’s rigorous new work initiative committed to developing the next generation of the American Musical Theater. Season subscriptions are on sale now and can be purchased at latteda.org/subscribe or by calling 612-339-3003. All single tickets will be made available at a later date.

Season 19 begins with Terrence McNally, Stephen Flaherty, and Lynn Ahrens’ epic musical Ragtime. Based on E.L. Doctorow's landmark novel, Ragtime is set in the volatile melting pot of New York City. It's the turn-of-the-century, everything is changing and anything is possible. Three distinctly American stories are woven together—a determined Jewish immigrant, a daring Harlem musician, and a stifled woman of privilege united by their courage, compassion and belief in a better tomorrow. Together they confront what it means to be an American at the dawn of a new century. Nominated for 13 Tony Awards, the musical received awards for Best Book and Best Score.

Directed by Peter Rothstein, Ragtime features an extraordinarily talented cast. Sasha Andreev will play the role of the widower Tateh. Andreev previously appeared in the world premiere of Theater Latté Da’s Steerage Song and was most recently seen in the one-man show Buyer and Cellar at the New Century Theatre. Britta Ollmann will play the role of Mother. Ollmann was most recently seen as Cinderella in Theater Latté Da’s Into the Woods and was lauded for her performance as Sister Mary Robert in Sister Act at Chanhassen Dinner Theatres. Making their Theater Latté Da debuts are David Murray and Traci Allen Shannon in the roles of Coalhouse Walker, Jr. and Sarah. Murray was most recently seen as Flick in Yellow Tree Theatre’s production of Violet. Shannon is an acting company member at the Children’s Theatre Company having appeared in a myriad of productions including Cinderella, Lizzie Bright and the Buckminster Boy, Five Fingers of Funk, and Bud, Not Buddy.

Theater Latté Da Resident Music Director Denise Prosek and Choreographer Kelli Foster Warder, who served as Assistant Choreographer on Cabaret and OLIVER!, join Rothstein as members of the creative team. Rothstein offers, “Ragtime is as timely and relevant as ever; it explores how we define ourselves as a nation in terms of who we are and what we wish to become.” He continues, “Doctorow’s poignant story is enhanced by Ahrens and Flaherty’s glorious score—one of the most sophisticated and lush in all of musical theater.”

TIME magazine calls Ragtime, “A triumph for the stage.”  Ragtime is in performance September 21 – October 23, 2016 at the Ritz Theater (345 13^th Avenue NE, Minneapolis MN 55413). The second production in the season is the long-awaited return of the hilarious and charming A Christmas Carole Petersen by Tod Petersen and Peter Rothstein. The celebrated holiday comedy returns after a seven-year hiatus. There's no denying the power of the holidays to bring out the best and worst in all of us. Acclaimed storyteller Tod Petersen reflects on the yuletide season with his family in Mankato, Minnesota, and pays particular tribute to the show's namesake—his mother Carole.

Peter Rothstein directs with Denise Prosek as musical director. On the return of the piece, Petersen offers, “I'm very excited to give A Christmas Carole Petersen another run. In the seven years since we last performed it, I've never stopped hearing people say they wish it would return because it was such a big part of their holiday tradition. I am just happy to share my stories and hopefully bring some laughs, music, and memories to Theater Latté Da audiences—old and new!”

The St. Paul Pioneer Press calls A Christmas Carole Petersen "a stunning triumph!” The production is in performance November 30 – December 23, 2016 at the Ritz Theater (345 13^th Avenue NE, Minneapolis MN 55413). The third production in the season is Rick Elice and Wayne Barker’s wildly imaginative play with music Peter and the Starcatcher—a daring Peter Pan prequel for grown-ups. Based on the bestselling novel by Dave Barry and Ridley Pearson, this fantastical comedy explores how a Victorian street urchin ultimately becomes The Boy Who Would Not Grow Up.

Award-winning Director and Scenic Designer Joel Sass helms this story of unbreakable friendship that places child-like wonder at the heart of grown-up theater. Featuring nine actors portraying more than 100 unforgettable characters, Peter and the Starcatcher uses ingenious stagecraft and the limitless possibilities of imagination to bring the story to life.

Twin Cities and Theater Latté Da favorite Tyler Michaels takes on the role of Peter Pan. Michaels is best known for his turn as the Emcee in Theater Latté Da and Hennepin Theatre Trust’s lauded production of Cabaret and for his work as the sweet-faced, unwitting accomplice Toby in last season’s production of Sweeney Todd: The Demon Barber of Fleet Street. Celebrated character actor Robert Berdahl makes his Theater Latté Da debut in the role of Black Stache. Berdahl is known to Twin Cities’ audiences for his work at the Guthrie Theater and is currently playing the role of The Beast in Beauty and the Beast at Chanhassen Dinner Theatres. The production also features music direction by Denise Prosek and choreography by Black Label Movement Artistic Director Carl Flink.  On this production Rothstein offers, “I’m thrilled to have my longtime friend and colleague Joel Sass direct his first show for Theater Latté Da. His fierce imagination is a perfect match for Elice and Barker’s highly theatrical, whimsical voyage.” Winner of five Tony Awards, Peter and the Starcatcher is a theatrical tour de force. Entertainment Weekly calls the musical "an absurdly funny fantastical journey." Peter and the Starcatcher is in performance February 1 – February 26, 2017, at the Ritz Theater (345 13th Avenue NE, Minneapolis MN 55413).

The final production in the mainstage season is John Guare’s biting, tragicomedy Six Degrees of Separation. Peter Rothstein directs a stellar cast of actors and musicians who inhabit and underscore Guare’s riveting drama.

Paul, a young black man, convinces Flan and Ouisa Kittredge—part of the New York elite—into thinking he is the son of Sidney Poitier. Enraptured by his intellect and charm, the couple invite him to stay the night. However, Paul's ruse is soon undone leading to discoveries which leave them all forever changed. Nominated for four Tony awards, Six Degrees of Separation is a singular tragicomedy on race, class and manners. Inspired by the real-life con artist David Hampton, this witty and sincere social commentary wrestles with the human desire for meaningful connection.

Twin Cities’ favorites Mark Benninghofen and Sally Wingert team up once again to take on the dynamic roles of Flan and Ouisa Kittredge. Benninghofen and Wingert are known to audiences for their delicious roles of the vengeful barber Sweeney Todd and the resourceful pie shop proprietress Mrs. Lovett in last season’s production of Sweeney Todd. Wingert previously appeared with the company as the caustic, no-nonsense Maria Callas in the critically acclaimed production of Terrence McNally’s Master Class. Rothstein offers, “I cannot wait to join forces once again with powerhouses Mark Benninghofen and Sally Wingert—and on Six Degrees of Separation, no less. It’s my absolute favorite American plays.” He continues, “Having the actors provide live musical underscore to Guare’s genius play will offer audiences a truly unique theater-going experience.”

The New York Times calls Six Degrees of Separation, "a hilarious and searing panorama of urban America in precisely our time." This drama underscored with music is in performance March 8- April 9, 2017 at the Ritz Theater (345 13th Avenue NE, Minneapolis MN 55413)

Subscribers can add-on two offerings in the 2016-17 season.  All is Calm: The Christmas Truce of 1914 and the NEXT Festival.

This season, Theater Latté Da and Hennepin Theatre Trust have been working toward a remount of Theater Latté Da’s 2015 critically-acclaimed production of Sweeney Todd: The Demon Barber of Fleet Street. In working to produce the remount, the project encountered a series of challenges. Both arts organizations decided that it would be best not to move forward with the production at this time. We are disappointed; however, we both remain enthusiastic about future partnerships.

To that end, Theater Latté Da has again partnered with Hennepin Theatre Trust to present the tenth anniversary production of the classic holiday favorite All is Calm: The Christmas Truce of 1914 by Peter Rothstein. This moving piece recreates an astounding moment in history when Allied and German soldiers laid down their arms to celebrate the holiday together by trading carols, sharing food and drink, playing soccer and burying the dead. This dramatic re-telling contains poetry, diary entries, war documents and letters written by thirty World War I figures brought to life by 12 actor/singers. The historic documents are interspersed with iconic World War I songs and European carols, exquisitely arranged by Erick Lichte and Timothy C. Takach. Lichte, who was founding artistic director of the vocal ensemble Cantus, returns to the Twin Cities to serve as music director for this production. The production features the talents of Michael Gruber, Jim Ramlet, Evan Tyler Wilson, and Max Wojtanowicz.

Critics have called All is Calm “A dramatic, real-life musing about the power this season has to make us stop, reflect, and decide to operate in a mode of peace” and “A work of beauty...not only an outstanding piece of musical theater, but a brilliantly executed production that understands that its power comes from its simplicity.” Performances of All is Calm begin December 15 and continue through the 18 at the Pantages Theatre (710 Hennepin Avenue Minneapolis, MN).

Season 19 concludes with the fifth year of the NEXT Festival. The Festival is Theater Latté Da’s investment in the future of the great American Musical and its playwrights, composers and lyricists. Rothstein notes, “I believe audiences can play a vital role in the development process and our NEXT Festival provides them the unique opportunity to get in on the ground floor of the creative process.” Past projects include: Lullaby by Michael Elyanow; C. by Bradley Greenwald and Robert Elhai; The Illyria Project by Jackson Doran and Postell Pringle; The Last Queen of Canaan by Harrison David Rivers, Jacob Yandura, and Rebecca Melocik; and Stu for Silverton by Peter Duchan, Breedlove, and Will Reynolds. Staged readings of the new musicals will be performed in Spring 2017. Show titles and venues will be announced at a later date.

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 Season at-a-Glance

Ragtime Book by Terrence McNally Music by Stephen Flaherty Lyrics by Lynn Ahrens Based on the novel “Ragtime” by E. L. Doctorow Directed by Peter Rothstein Music Direction by Denise Prosek Choreography by Kelli Foster Warder Featuring: Sasha Andreev, David Murray, Britta Ollmann, and Traci Allen Shannon

Performance Dates: September 21 – October 23, 2016 Venue: Ritz Theater (345 13^th Avenue NE, Minneapolis MN 55413)

It's the turn-of-the-century, everything is changing and anything is possible. Based on E.L. Doctorow's landmark novel, Ragtime is set in the volatile melting pot of New York City. Three distinct American stories are woven together—a determined Jewish immigrant, a daring Harlem musician, and a stifled woman of privilege united by their courage, compassion and belief in a better tomorrow. Together they confront what it means to be an American at the dawn of a new century. With a compelling book by Terrence McNally and a glorious score by Stephen Flaherty and Lynn Ahrens, Ragtime was nominated for 13 Tony Awards and was awarded Best Book and Best Score.

A Christmas Carole Petersen Written by Tod Petersen and Peter Rothstein Directed by Peter Rothstein Music Direction by Denise Prosek

Featuring: Tod Petersen Performance Dates: November 30 – December 23, 2016 Venue: Ritz Theater (345 13^th Avenue NE, Minneapolis MN 55413)

Carole's back, and she's ready to deck the halls! The celebrated holiday comedy returns after an eight-year hiatus. There's no denying the power of the holidays to bring out the best and worst in all of us. Acclaimed storyteller Tod Petersen reflects on the yuletide season with his family in Mankato, Minnesota, and pays particular tribute to the show's namesake—his mother Carole. Join us for the long-awaited return of this hilarious and heartwarming Theater Latté Da original.

All is Calm: The Christmas Truce of 1914 Written by Peter Rothstein Musical Arrangements by Erick Lichte and Timothy C. Takach Directed by Peter Rothstein Music Direction by Erick Lichte

Featuring: Michael Gruber, Jim Ramlet, Evan Tyler Wilson, and Max Wojtanowicz. Performance Dates: December 15 –  December 18, 2016 Venue: Pantages Theatre (710 Hennepin Ave, Minneapolis, MN 55402)

Don't miss the tenth anniversary of this award-winning, Theater Latté Da original that has been seen and heard around the globe. This moving work captures an astounding moment in history when Allied and German soldiers laid down their arms to celebrate the holiday together by trading carols, sharing food and drink, playing soccer and burying the dead. Poetry, diary entries, official war documents and letters home are woven together with iconic World War I songs, patriotic tunes and European Christmas carols to create a truly unique and profound theatrical event.

Peter and the Starcatcher Written by Rick Elice Based on the Novel by Dave Barry and Ridley Pearson Music by Wayne Barker Directed by Joel Sass Music Direction by Denise Prosek Choreography by Carl Flink

Featuring: Tyler Michaels and Robert Berdahl

Performance Dates: February 1 – February 26, 2017 Venue: Ritz Theater (345 13^th Avenue NE, Minneapolis MN 55413)

Let your imagination soar in this swashbuckling Peter Pan prequel for grown-ups. Based on the bestselling novel, this fantastical comedy explores how a Victorian street urchin ultimately becomes The Boy Who Would Not Grow Up. Follow the nameless orphan and his ambitious friend Molly as they protect the world from a greedy band of pirates. Winner of five Tony Awards, Peter and the Starcatcher is a theatrical tour de force! Award-winning director and scenic designer Joel Sass helms this wildly imaginative story of unbreakable friendship that places child-like wonder at the heart of grown-up theater.

Six Degrees of Separation Written by John Guare Directed by Peter Rothstein

Featuring: Mark Benninghofen and Sally Wingert

Performance Dates: March 8 – April 9, 2017 Venue: Ritz Theater (345 13^th Avenue NE, Minneapolis MN 55413)

Peter Rothstein directs a stellar cast of actors and musicians who inhabit and underscore John Guare’s riveting drama. Paul, a young black man, convinces a wealthy New York couple Ouisa and Flan Kittredge into thinking he is the son of Sidney Poitier. Enraptured by his intellect and charm, the couple invite him to stay the night. However, Paul's ruse is soon undone leading to discoveries which leave them all forever changed. Nominated for four Tony awards, Six Degrees of Separation is a singular tragicomedy on race, class and manners. Inspired by the real-life con artist David Hampton, this witty and sincere social commentary wrestles with the human desire for meaningful connection. NEXT Festival

Performance Dates: Spring 2017

Venue: TBD

NEXT is Theater Latté Da's New Work Festival showcasing three works that stretch the boundaries of musical storytelling. Each show in the Festival receives three public performances providing audience members the opportunity to “get in on the ground floor” of the creative process. Following each performance is an in-depth conversation with the playwrights, composers and lyricists. Be a part of Theater Latté Da's commitment to the next generation of the Great American Musical.

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Theater Latté Da opens Season 19 with McNally, Flaherty, and Ahrens’ epic, provocative musical RAGTIME

August 18, 2016  

Contact: Seena Hodges seena@latteda.org 612-767-5646 office

Theater Latté Da opens Season 19 with McNally, Flaherty, and Ahrens’ epic, provocative musical RAGTIME

 Based on E.L. Doctorow’s gripping novel, RAGTIME follows the lives of three American families through the promise-filled and volatile early 20th century.

 RAGTIME features Sasha Andreev as Tateh, David Murray as Coalhouse Walker, Jr., Britta Ollmann as Mother, and Traci Allen Shannon as Sarah.

 CLICK HERE FOR PHOTOS

 Performances begin September 21 at the Ritz Theater. Single tickets and season subscriptions are on sale now at latteda.org or 612-339-3003. 

(Minneapolis/St. Paul) Theater Latté Da today announced casting for the epic, provocative musical RAGTIME. Nominated for 13 Tony Awards and winner of Best Book and Best Score, this deeply moving musical features a compelling book by Terrence McNally, and a glorious score by Stephen Flaherty and Lynn Ahrens. Theater Latté Da Artistic Director Peter Rothstein will direct with Resident Music Director Denise Prosek serving as music director. Performances begin September 21 at the Ritz Theater (345 13^th Avenue NE in Minneapolis). Single tickets and full season subscriptions can be purchased at latteda.org or by calling 612-339-3003.

It’s the turn-of-the century, everything is changing and anything is possible. Based on E.L. Doctorow’s landmark novel, RAGTIME follows the lives of three American families and their communities through the promise-filled early 20th century. Set against the backdrop of the volatile melting pot of New York City,  the musical weaves together three distinct American stories—a determined Jewish immigrant father, a daring Harlem musician, and a stifled woman of privilege—united by their courage, compassion, and belief in a better tomorrow. Together they confront what it means to be an American at the dawn of a new century.

On the musical Rothstein offers, “Ragtime is as relevant as ever in its provocative explanation of race, class, gender, and immigration. This musical goes right to the heart of how we define ourselves as a nation in terms of who we are and what we wish to become.” He continues, “Doctorow’s poignant story is enhanced by Ahrens and Flaherty’s glorious score—one of the most sophisticated and lush in all of musical theater.”

Rothstein has assembled a dynamic, pitch-perfect cast to bring to life the stories of three families from different ethnic and economic strata. Several Theater Latté Da favorites, and some exciting new faces, are set to appear in this vibrant musical. The production features Sasha Andreev (Theater Latté Da: Steerage Song) as the entrepreneurial widower Tateh; Debra Berger in her Theater Latté Da debut as the rabble-rousing Emma Goldman; Daniel Hines in his Theater Latté Da debut as the rigid Father; Emily Jansen (Theater Latté Da: GYPSY) as the Vaudeville star Evelyn Nesbit; Riley McNutt (Theater Latté Da: ALL IS CALM) as the impassioned trailblazer Younger Brother; David Murray in his Theater Latté Da debut as the daring Coalhouse Walker; Britta Ollmann (Theater Latté Da: Violet, Into the Woods) as the kindhearted Mother; James Ramlet (Theater Latté Da: Sweeney Todd: The Demon Barber of Fleet Street, ALL IS CALM, and C. ) as the no-nonsense Grandfather; Andre Shoals (Theater Latté Da: AIDA) as the lauded historical figure Booker T. Washington; and Traci Allen Shannon in her Theater Latté Da debut as the determined young mother Sarah. Soren Miller and Georgia Blando make their Theater Latté Da debuts as Little Boy and Little Girl, respectively.

RAGTIME also features choreography by Kelli Foster Warder, costume design by Trevor Bowen, scenic design by Michael Hoover, and lighting design by Mary Shabatura.

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

FACT SHEET:

RAGTIME

Book by Terrence McNally Music by Stephen Flaherty Lyrics by Lynn Ahrens Based on the novel “Ragtime” by E. L. Doctorow Directed by Peter Rothstein Music Direction by Denise Prosek Choreography by Kelli Foster Warder

Featuring: Sasha Andreev, Debra Berger, Daniel Hines, Emily Jansen, Riley McNutt, David Murray, Britta Ollmann, James Ramlet, Andre Shoals, Traci Allen Shannon, Soren Miller, and Georgia Blando.

Dates: Wednesday, September 21 – Sunday, October 23, 2016

Venue: Ritz Theater (345 13th Avenue NE, Minneapolis MN 55413)

It's the turn-of-the-century, everything is changing and anything is possible. Based on E.L. Doctorow's landmark novel, Ragtime is set in the volatile melting pot of New York City. Three distinct American stories are woven together—a determined Jewish immigrant, a daring Harlem musician, and a stifled woman of privilege united by their courage, compassion and belief in a better tomorrow. Together they confront what it means to be an American at the dawn of a new century. With a compelling book by Terrence McNally and a glorious score by Stephen Flaherty and Lynn Ahrens, Ragtime was nominated for 13 Tony Awards and was awarded Best Book and Best Score.

Performance Dates and Times:

Wednesday, September 21 at 7:30 PM (Preview)

Thursday, September 22 at 7:30 PM (Preview)

Friday, September 23 at 7:30 PM (Preview)

Saturday, September 24 at 7:30 PM (Opening Night)

Sunday, September 25 at 2:00 PM (Post-Show Discussion)

Wednesday, September 28 at 7:30 PM (Post-Show Discussion)

Thursday, September 29 at 7:30 PM (Post-Show Discussion)

Friday, September 30 at 7:30 PM

Saturday, October 1 at 7:30 PM

Sunday, October 2 at 2:00 PM (Post-Show Discussion)

Sunday, October 2 at 7:00 PM

Wednesday, October 5 at 7:30 PM (Post-Show Discussion)

Thursday, October 6 at 7:30 PM (Post-Show Discussion; ASL/AD)

Friday, October 7 at 7:30 PM

Saturday, October 8 at 7:30 PM

Sunday, October 9 at 2:00 PM (Post-Show Discussion)

Sunday, October 9 at 7:00 PM

Wednesday, October 12 at 7:30 PM (Post-Show Discussion)

Thursday, October 13 at 7:30 PM (Post-Show Discussion)

Friday, October 14 at 7:30 PM

Saturday, October 15 at 7:30 PM

Sunday, October 16 at 2:00 PM (Post-Show Discussion)

Sunday, October 16 at 7:00 PM

Wednesday, October 19 at 7:30 PM (Post-Show Discussion)

Thursday, October 20 at 7:30 PM (Post-Show Discussion)

Friday, October 21 at 7:30 PM

Saturday, October 22 at 7:30 PM

Sunday, October 23 at 2:00 PM

Sunday, October 23 at 7:00 PM

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Theatre Latté Da Announces 2016-17 Season

American Theatre EditorsAmerican Theatre

June 14, 2016

MINNEAPOLIS: Theatre Latté Da has announced its 2016-17 season, featuring dramas, musicals, and a festival of new work.

The season will begin with Ragtime (Sept. 21-Oct. 23), with a book by Terrence McNally, music by Stephen Flaherty, and lyrics by Lynn Ahrens. Based on the novel by E.L. Dotorow, the musical follows three very different Americans living in New York City at the turn of the century. The cast will feature Sasha Andreev, David Murray, Britta Ollmann, and Traci Allen Shannon. Denise Prosek will provide music direction, Kelli Foster Warder will choreograph, and artistic director Peter Rothstein will direct.

Next up will be A Christmas Carole Petersen (Nov. 30-Dec. 23), by Tod Petersen and Peter Rothstein, a holiday comedy inspired by Petersen’s real-life family in Mankato, Minn. Prosek will provide music direction, and Rothstein will direct.

Also for the holiday season will be Rothstein’s All is Calm: The Christmas Truce of 1914 (Dec. 15-18), with musical arrangements by Erick Lichte and Timothy C. Takach, about the historic time when Allied and German soldiers laid down their arms to celebrate the holiday together. The cast will feature Michael Gruber, Jim Ramlet, Evan Tyler Wilson, and Max Wojtanowicz. Lichte will provide music direction, and Rothstein will direct.

The season will continue with Peter and the Starcatcher (Feb. 1-26, 2017), with a book by Rick Elice, music by Wayne Barker. The story, based on the novel by Dave Barry and Ridley Pearson, is about how a Victorian street urchin ultimately became known as Peter Pan. Tyler Michaels and Robert Berdahl will star. Prosek will provide music direction, Carl Flink will choreograph, and Joel Sass will direct.

John Guare’s Six Degrees of Separation (March 8-April 9, 2017) will conclude the season. The play follows a young black man who convinces a wealthy couple in New York that he is the son of Sidney Poitier. Mark Benninghofen and Sally Wingert will star, and Rothsetin will direct.

Also part of the programming will be the NEXT Festival (Spring 2017), featuring public performances of three new musicals followed by in-depth conversations with the playwrights, composers, and lyricists.

Theatre Latté Da, founded in 1988, produces works that combine both music and storytelling.

Latté Da's new season to open with 'Ragtime'

Pamela EspelandMinnPost

June 14, 2016

Theater Latté Da had a stellar 2015-16 season that included the smash hit “Sweeney Todd,” a terrific “Gypsy,” a new “All Is Calm” and the world premiere “C,” based on “Cyrano de Bergerac.” The season before, the theater’s 17th, was wildly successful. Expectations ran hot for the 2016-17 season announcement Monday evening at the Ritz (which Latté Da is in process of buying; it’s still working out the purchase agreement).

Two words: Looking good. Eight shows include three Broadway musicals, the return of an old favorite, the 10th anniversary of a holiday classic and three yet-to-be-named musicals in Latté Da’s NEXT Festival, because creating new musicals is as important as presenting proven ones.

Season 19 begins with “Ragtime” by Terrence McNally, Stephen Flaherty and Lynn Ahrens, based on the novel by E.L. Doctorow, nominated for 13 Tonys and winner of two. Peter Rothstein directs a cast including Sasha Andreev (“Steerage Song”) and Britta Ollmann (“Into the Woods”). David Murray and Traci Allen Shannon, an acting company member at the Children’s Theatre Company, make their Latté Da debuts. Sept. 21-Oct. 23 at the Ritz.

Back after a seven-year hiatus: “A Christmas Carole Petersen” by Tod Petersen and Rothstein, built on Petersen’s tales of Christmas with his family in Mankato. Nov. 30-Dec. 23 at the Ritz. “All Is Calm: The Christmas Truce of 1914”turns 10 this year. Written and directed by Rothstein, with Cantus’ founding Artistic Director Erick Lichte as music director, it has a short run at the Pantages: Dec. 15-18.

Tyler Michaels was born to play the emcee in “Cabaret” (which he did, for Latté Da), born to play Puck in “A Midsummer Night’s Dream” (Guthrie), born to play Peter Pan in “Peter Pan the Musical” (Children’s Theatre). He’s Peter again in Latté Da’s take on “Peter and the Starcatcher,” winner of five Tonys. Black Label Movement’s Carl Flink (“Sweeney Todd”) is choreographer, and Joel Sass makes his Latté Da directing debut. Feb. 1-26, 2017, at the Ritz.

Spring brings John Guare’s “Six Degrees of Separation.” Rothstein directs a cast that includes Mark Benninghofen and Sally Wingert, last seen together in “Sweeney Todd.” March 8-April 9 at the Ritz. The NEXT Festival, formerly NEXT 20/20, will end the season with three new works TBA.

Season subscriptions are on sale now.

Wait just one minute. Where’s “Sweeney Todd” at the Pantages in March, previously announced as part of Hennepin Theatre Trust’s Broadway Re-Imagined series? Here’s the official word from Latté Da:  “In working to produce the remount, the project encountered a series of challenges. Both arts organizations decided that it would be best not to move forward with the production at this time. We are disappointed; however, we both remain enthusiastic about future partnerships.” More on that when we know.

Theater Latte Da’s new season returns with old faves

Chris HewittSt. Paul Pioneer Press

June 13, 2016

Enjoyed the performers you’ve seen on stage at Theater Latte Da in the last couple of seasons? You’re in luck, because many of them are back for the just-announced 2016-17 season.

Sally Wingert and Mark Benninghofen, who appeared in Latte Da’s smash “Sweeney Todd” last year, were expected to be in a remount of that production that “encountered a series of challenges” and has been de-mounted. Instead, the actors will team in a production of John Guare’s bittersweet “Six Degrees of Separation.” Wingert appeared in a Guthrie Theater production of the play in 2003, in a different role.

Tyler Michaels, who was also in that “Sweeney Todd” as well as Latte Da’s “Cabaret” and “Gypsy,” will return in “Peter and the Starcatcher,” which re-imagines the tale of Peter Pan. He’ll play the title role opposite Robert Berdahl as villainous, Captain Hook-like Black Stache.

Traci Allen Shannon, David Murray and Sasha Andreev (who previously appeared in Latte Da’s “Steerage Song”) will lead the cast of “Ragtime” to open the season in September. And Latte Da will return three events: its Next Festival of new musical theater works, “All is Calm: The Christmas Truce of 1914” in collaboration with Hennepin Theatre Trust, and Tod Peterson in the wry holiday show, “A Christmas Carole Peterson.”

Season tickets are on sale and can be purchased, at 612-339-3003 or latteda.org, for the following shows (all are at Minneapolis’ Ritz Theater, with the exception of “All is Calm,” which is at the Pantages):

• “Ragtime,” Sept. 21-Oct. 23: Based on E.L. Doctorow’s beloved novel, the epic musical weaves together the stories of three families in the early years of the 20th century.
• “A Christmas Carole Peterson,” Nov. 30-Dec. 23: Tod Peterson (“Diary of a Wimpy Kid the Musical,” “Gypsy”) returns with his ode to the Mankato holidays of his youth.
• “All is Calm: The Christmas Truce of 1914,” Dec. 15-18: Either someone is peeling onions in the theater or Latte Da’s classic has returned to move audiences with the true, song-filled tale of the Christmas when Allied and German soldiers laid down their arms on the battlefield.
• “Peter and the Starcatcher,” Feb. 1-26: Led by Michaels and Berdahl, a small ensemble of actors takes on dozens of roles in a broadly comic prequel that tells how J.M. Barrie’s beloved characters got to “Peter Pan.”
• “Six Degrees of Separation,” March 8-April 9: The brilliant tragicomedy is about how the lives of a wealthy New York couple (Wingert, Benninghofen) are uprooted when they meet a young charmer who claims to be the son of Sidney Poitier. It’s not a musical but there are a lot of “Cats” jokes in the show (they’ll be fresh again, too, what with “Cats” re-opening on Broadway this summer) and there will be live musical underscoring.
• “Next Festival,” spring dates to be determined: Previous festivals have spawned such Latte Da shows as “C” and “Lullaby.”

Theater Latté Da announces a talent-packed line-up of adventurous musical theater for its 19th season

June 13, 2016  

Contact: Seena Hodges seena@latteda.org 612-767-5646 office

Theater Latté Da announces a talent-packed line-up of adventurous musical theater for its 19^th season

Featuring an epic Broadway musical; the long-awaited return of a holiday favorite; the tenth anniversary of an original holiday classic; a wildly imaginative musical comedy; and a riveting drama underscored with live music.

Highlights of the 2016-17 season include Traci Shannon and David Murray in their Theater Latté Da debuts in the roles of Sarah and Coalhouse Walker, Jr. in Ragtime; Tod Petersen’s triumphant return to his hilarious, autobiographical holiday favorite; local phenom Tyler Michaels as Peter, The Boy Who Would Not Grow Up, in Peter and the Starcatcher directed by award-winning director and scenic designer Joel Sass; and Mark Benninghofen and Sally Wingert reunite in a dramatic turn as Flan and Ouisa Kittredge in Six Degrees of Separation.

Season subscriptions are on sale now and can be purchased at latteda.org/subscribe or by calling 612-339-3003.

 (Minneapolis/St. Paul) On the heels of another highly successful season, Theater Latté Da today announced a talent-packed line-up of adventurous musical theater for its 19th season. The season features an epic Broadway musical, the long-awaited return of a holiday favorite, a wildly imaginative musical comedy, and a riveting drama underscored with music. The season also includes the tenth anniversary of the holiday classic All is Calm: The Christmas Truce of 1914 and The NEXT Festival, Theater Latté Da’s rigorous new work initiative committed to developing the next generation of the American Musical Theater. Season subscriptions are on sale now and can be purchased at latteda.org/subscribe or by calling 612-339-3003. All single tickets will be made available at a later date.

Season 19 begins with Terrence McNally, Stephen Flaherty, and Lynn Ahrens’ epic musical Ragtime. Based on E.L. Doctorow's landmark novel, Ragtime is set in the volatile melting pot of New York City. It's the turn-of-the-century, everything is changing and anything is possible. Three distinctly American stories are woven together—a determined Jewish immigrant, a daring Harlem musician, and a stifled woman of privilege united by their courage, compassion and belief in a better tomorrow. Together they confront what it means to be an American at the dawn of a new century. Nominated for 13 Tony Awards, the musical received awards for Best Book and Best Score.

Directed by Peter Rothstein, Ragtime features an extraordinarily talented cast. Sasha Andreev will play the role of the widower Tateh. Andreev previously appeared in the world premiere of Theater Latté Da’s Steerage Song and was most recently seen in the one-man show Buyer and Cellar at the New Century Theatre. Britta Ollmann will play the role of Mother. Ollmann was most recently seen as Cinderella in Theater Latté Da’s Into the Woods and was lauded for her performance as Sister Mary Robert in Sister Act at Chanhassen Dinner Theatres. Making their Theater Latté Da debuts are David Murray and Traci Allen Shannon in the roles of Coalhouse Walker, Jr. and Sarah. Murray was most recently seen as Flick in Yellow Tree Theatre’s production of Violet. Shannon is an acting company member at the Children’s Theatre Company having appeared in a myriad of productions including Cinderella, Lizzie Bright and the Buckminster Boy, Five Fingers of Funk, and Bud, Not Buddy.

Theater Latté Da Resident Music Director Denise Prosek and Choreographer Kelli Foster Warder, who served as Assistant Choreographer on Cabaret and OLIVER!, join Rothstein as members of the creative team. Rothstein offers, “Ragtime is as timely and relevant as ever; it explores how we define ourselves as a nation in terms of who we are and what we wish to become.” He continues, “Doctorow’s poignant story is enhanced by Ahrens and Flaherty’s glorious score—one of the most sophisticated and lush in all of musical theater.”

TIME magazine calls Ragtime, “A triumph for the stage.”  Ragtime is in performance September 21 – October 23, 2016 at the Ritz Theater (345 13^th Avenue NE, Minneapolis MN 55413).

The second production in the season is the long-awaited return of the hilarious and charming A Christmas Carole Petersen by Tod Petersen and Peter Rothstein. The celebrated holiday comedy returns after a seven-year hiatus. There's no denying the power of the holidays to bring out the best and worst in all of us. Acclaimed storyteller Tod Petersen reflects on the yuletide season with his family in Mankato, Minnesota, and pays particular tribute to the show's namesake—his mother Carole.

Peter Rothstein directs with Denise Prosek as musical director. On the return of the piece, Petersen offers, “I'm very excited to give A Christmas Carole Petersen another run. In the seven years since we last performed it, I've never stopped hearing people say they wish it would return because it was such a big part of their holiday tradition. I am just happy to share my stories and hopefully bring some laughs, music, and memories to Theater Latté Da audiences—old and new!”

The St. Paul Pioneer Press calls A Christmas Carole Petersen "a stunning triumph!” The production is in performance November 30 – December 23, 2016 at the Ritz Theater (345 13^th Avenue NE, Minneapolis MN 55413).

The third production in the season is Rick Elice and Wayne Barker’s wildly imaginative play with music Peter and the Starcatcher—a daring Peter Pan prequel for grown-ups. Based on the bestselling novel by Dave Barry and Ridley Pearson, this fantastical comedy explores how a Victorian street urchin ultimately becomes The Boy Who Would Not Grow Up.

Award-winning Director and Scenic Designer Joel Sass helms this story of unbreakable friendship that places child-like wonder at the heart of grown-up theater. Featuring nine actors portraying more than 100 unforgettable characters, Peter and the Starcatcher uses ingenious stagecraft and the limitless possibilities of imagination to bring the story to life.

Twin Cities and Theater Latté Da favorite Tyler Michaels takes on the role of Peter Pan. Michaels is best known for his turn as the Emcee in Theater Latté Da and Hennepin Theatre Trust’s lauded production of Cabaret and for his work as the sweet-faced, unwitting accomplice Toby in last season’s production of Sweeney Todd: The Demon Barber of Fleet Street.  The production also features music direction by Denise Prosek and choreography by Black Label Movement Artistic Director Carl Flink.  On this production Rothstein offers, “I’m thrilled to have my longtime friend and colleague Joel Sass direct his first show for Theater Latté Da. His fierce imagination is a perfect match for Elice and Barker’s highly theatrical, whimsical voyage.”

Winner of five Tony Awards, Peter and the Starcatcher is a theatrical tour de force. Entertainment Weekly calls the musical "an absurdly funny fantastical journey." Peter and the Starcatcher is in performance February 1 – February 26, 2017, at the Ritz Theater (345 13th Avenue NE, Minneapolis MN 55413).

The final production in the mainstage season is John Guare’s biting, tragicomedy Six Degrees of Separation. Peter Rothstein directs a stellar cast of actors and musicians who inhabit and underscore Guare’s riveting drama.

Paul, a young black man, convinces Flan and Ouisa Kittredge—part of the New York elite—into thinking he is the son of Sidney Poitier. Enraptured by his intellect and charm, the couple invite him to stay the night. However, Paul's ruse is soon undone leading to discoveries which leave them all forever changed. Nominated for four Tony awards, Six Degrees of Separation is a singular tragicomedy on race, class and manners. Inspired by the real-life con artist David Hampton, this witty and sincere social commentary wrestles with the human desire for meaningful connection.

Twin Cities’ favorites Mark Benninghofen and Sally Wingert team up once again to take on the dynamic roles of Flan and Ouisa Kittredge. Benninghofen and Wingert are known to audiences for their delicious roles of the vengeful barber Sweeney Todd and the resourceful pie shop proprietress Mrs. Lovett in last season’s production of Sweeney Todd. Wingert previously appeared with the company as the caustic, no-nonsense Maria Callas in the critically acclaimed production of Terrence McNally’s Master Class. Rothstein offers, “I cannot wait to join forces once again with powerhouses Mark Benninghofen and Sally Wingert—and on Six Degrees of Separation, no less. It’s my absolute favorite American plays.” He continues, “Having the actors provide live musical underscore to Guare’s genius play will offer audiences a truly unique theater-going experience.”

The New York Times calls Six Degrees of Separation, "a hilarious and searing panorama of urban America in precisely our time." This drama underscored with music is in performance March 8- April 9, 2017 at the Ritz Theater (345 13th Avenue NE, Minneapolis MN 55413)

Subscribers can add-on two offerings in the 2016-17 season.  All is Calm: The Christmas Truce of 1914 and the NEXT Festival.

This season, Theater Latté Da and Hennepin Theatre Trust have been working toward a remount of Theater Latté Da’s 2015 critically-acclaimed production of Sweeney Todd: The Demon Barber of Fleet Street. In working to produce the remount, the project encountered a series of challenges. Both arts organizations decided that it would be best not to move forward with the production at this time. We are disappointed; however, we both remain enthusiastic about future partnerships.

To that end, Theater Latté Da has again partnered with Hennepin Theatre Trust to present the tenth anniversary production of the classic holiday favorite All is Calm: The Christmas Truce of 1914 by Peter Rothstein. This moving piece recreates an astounding moment in history when Allied and German soldiers laid down their arms to celebrate the holiday together by trading carols, sharing food and drink, playing soccer and burying the dead. This dramatic re-telling contains poetry, diary entries, war documents and letters written by thirty World War I figures brought to life by 12 actor/singers. The historic documents are interspersed with iconic World War I songs and European carols, exquisitely arranged by Erick Lichte and Timothy C. Takach. Lichte, who was founding artistic director of the vocal ensemble Cantus, returns to the Twin Cities to serve as music director for this production. The production features the talents of Michael Gruber, Jim Ramlet, Evan Tyler Wilson, and Max Wojtanowicz.

Critics have called All is Calm “A dramatic, real-life musing about the power this season has to make us stop, reflect, and decide to operate in a mode of peace” and “A work of beauty...not only an outstanding piece of musical theater, but a brilliantly executed production that understands that its power comes from its simplicity.” Performances of All is Calm begin December 15 and continue through the 18 at the Pantages Theatre (710 Hennepin Avenue Minneapolis, MN).

Season 19 concludes with the fifth year of the NEXT Festival. The Festival is Theater Latté Da’s investment in the future of the great American Musical and its playwrights, composers and lyricists. Rothstein notes, “I believe audiences can play a vital role in the development process and our NEXT Festival provides them the unique opportunity to get in on the ground floor of the creative process.” Past projects include: Lullaby by Michael Elyanow; C. by Bradley Greenwald and Robert Elhai; The Illyria Project by Jackson Doran and Postell Pringle; The Last Queen of Canaan by Harrison David Rivers, Jacob Yandura, and Rebecca Melocik; and Stu for Silverton by Peter Duchan, Breedlove, and Will Reynolds. Staged readings of the new musicals will be performed in Spring 2017. Show titles and venues will be announced at a later date.

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

Season at-a-Glance:

Ragtime

Book by Terrence McNally Music by Stephen Flaherty Lyrics by Lynn Ahrens Based on the novel “Ragtime” by E. L. Doctorow Directed by Peter Rothstein Music Direction by Denise Prosek Choreography by Kelli Foster Warder

Featuring: Sasha Andreev, David Murray, Britta Ollmann, and Traci Allen Shannon

Performance Dates: September 21 – October 23, 2016

Venue: Ritz Theater (345 13^th Avenue NE, Minneapolis MN 55413)

It's the turn-of-the-century, everything is changing and anything is possible. Based on E.L. Doctorow's landmark novel, Ragtime is set in the volatile melting pot of New York City. Three distinctly American stories are woven together—a determined Jewish immigrant, a daring Harlem musician, and a stifled woman of privilege united by their courage, compassion and belief in a better tomorrow. Together they confront what it means to be an American at the dawn of a new century. With a compelling book by Terrence McNally and a glorious score by Stephen Flaherty and Lynn Ahrens, Ragtime was nominated for 13 Tony Awards and was awarded Best Book and Best Score.

A Christmas Carole Petersen

Written by Tod Petersen and Peter Rothstein Directed by Peter Rothstein Music Direction by Denise Prosek Featuring: Tod Petersen

Performance Dates: November 30 – December 23, 2016 Venue: Ritz Theater (345 13^th Avenue NE, Minneapolis MN 55413)

Carole's back, and she's ready to deck the halls! The celebrated holiday comedy returns after an eight-year hiatus. There's no denying the power of the holidays to bring out the best and worst in all of us. Acclaimed storyteller Tod Petersen reflects on the yuletide season with his family in Mankato, Minnesota, and pays particular tribute to the show's namesake—his mother Carole. Join us for the long-awaited return of this hilarious and heartwarming Theater Latté Da original.

All is Calm: The Christmas Truce of 1914

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

Featuring: Michael Gruber, Jim Ramlet, Evan Tyler Wilson, and Max Wojtanowicz.

Performance Dates: December 15 –  December 18, 2016 Venue: Pantages Theatre (710 Hennepin Ave, Minneapolis, MN 55402)

Don't miss the tenth anniversary of this award-winning, Theater Latté Da original that has been seen and heard around the globe. This moving work captures an astounding moment in history when Allied and German soldiers laid down their arms to celebrate the holiday together by trading carols, sharing food and drink, playing soccer and burying the dead. Poetry, diary entries, official war documents and letters home are woven together with iconic World War I songs, patriotic tunes and European Christmas carols to create a truly unique and profound theatrical event.

Peter and the Starcatcher

Written by Rick Elice Based on the Novel by Dave Barry and Ridley Pearson Music by Wayne Barker Directed by Joel Sass Music Direction by Denise Prosek

Choreography by Carl Flink

Featuring: Tyler Michaels and Robert Berdahl

Performance Dates: February 1 – February 26, 2017 Venue: Ritz Theater (345 13^th Avenue NE, Minneapolis MN 55413)

Let your imagination soar in this swashbuckling Peter Pan prequel for grown-ups. Based on the bestselling novel, this fantastical comedy explores how a Victorian street urchin ultimately becomes The Boy Who Would Not Grow Up. Follow the nameless orphan and his ambitious friend Molly as they protect the world from a greedy band of pirates. Winner of five Tony Awards, Peter and the Starcatcher is a theatrical tour de force! Award-winning director and scenic designer Joel Sass helms this wildly imaginative story of unbreakable friendship that places child-like wonder at the heart of grown-up theater.

Six Degrees of Separation

Written by John Guare Directed by Peter Rothstein

Featuring: Mark Benninghofen and Sally Wingert

Performance Dates: March 8 – April 9, 2017 Venue: Ritz Theater (345 13^th Avenue NE, Minneapolis MN 55413)

Peter Rothstein directs a stellar cast of actors and musicians who inhabit and underscore John Guare’s riveting drama. Paul, a young black man, convinces a wealthy New York couple Ouisa and Flan Kittredge into thinking he is the son of Sidney Poitier. Enraptured by his intellect and charm, the couple invite him to stay the night. However, Paul's ruse is soon undone leading to discoveries which leave them all forever changed. Nominated for four Tony awards, Six Degrees of Separation is a singular tragicomedy on race, class and manners. Inspired by the real-life con artist David Hampton, this witty and sincere social commentary wrestles with the human desire for meaningful connection. NEXT Festival

Performance Dates: Spring 2017 Venue: TBD 

NEXT is Theater Latté Da's New Work Festival showcasing three works that stretch the boundaries of musical storytelling. Each show in the Festival receives three public performances providing audience members the opportunity to “get in on the ground floor” of the creative process. Following each performance is an in-depth conversation with the playwrights, composers and lyricists. Be a part of Theater Latté Da's commitment to the next generation of the Great American Musical.

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On the heels of the successful world premiere of C., Theater Latté Da announces a slate of adventurous pieces for the annual NEXT Festival.

Three exhilarant, engaging new works from Kate Hamill, Dan Chouinard, and Jackson Doran and Postell Pringle that push the art form of musical theater forward will each receive two-week workshops and three public readings. Readings begin May 5 at the Ritz Theater in Minneapolis.

 $30 three-show passes and $13 single tickets are on sale now at latteda.org or 612-339-3003.

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(Minneapolis/St. Paul) On the heels of the successful world premiere musical C., Theater Latté Da announced the slate of artists and projects for this year's NEXT Festival. Three exhilarant new works from Kate Hamill, Dan Chouinard, and Jackson Doran and Postell Pringle will each receive two-week workshops and three public readings beginning Thursday, May 5. Theater Latté Da recently launched NEXT 20/20, a robust new work initiative aimed at developing 20 new musicals or plays with music and shepherding many of them to full production. The majority of the world premieres receiving a full production will be derived from the NEXT Festival. The first piece in the NEXT Festival is IN THE MINES by Kate Hamill. In Appalachian coal-mining territory, a devastating cave-in forever changes and intertwines the lives of three imperfect women—who find themselves swept up by forces beyond their control. This epic, imaginative mutation of Greek myths interweaves traditional folk music with magical realism to create a new mythology examining the forces, both seen and unseen, that shape our lives. With direction by Peter Rothstein, music direction by Denise Prosek, and dramaturgy by Elissa Adams, IN THE MINES features the talents of Christina Baldwin, Mark Benninghoffen, Bear Brummel, Paul Coate, Beth Gilleland, Bradley Greenwald, Aeysha Kinnunen, Sara Ochs, and Thomasina Petrus.

Hamill offers, “It’s an epic piece, and really close to my heart: it’s part exploration of mythology and cycles of poverty, but also very much an exploration of aspects of the rural culture in which I grew up.” She continues, “It’s also that rare opportunity to concentrate COMPLETELY on a piece as a writer for weeks! To have the opportunity to give IN THE MINES really focused attention (especially with feedback from collaborators and audiences) is so invaluable. This process can change a piece down to its very foundations: I’m excited to play around with it!” Another point of note is that Hamill’s adaptation of Jane Austen’s Sense and Sensibility will open the Guthrie Theater’s 2016-17 season.

Performances of IN THE MINES are Thursday, May 5 at 7:30 pm; Saturday, May 7 at 7:30 pm; and Monday, May 9 at 7:30 pm at the Ritz Theater.

The second piece in the NEXT Festival is THE URBAN FARMER’S ALMANAC hosted by Dan Chouinard. THE URBAN FARMER’S ALMANAC is a live-performance written-for-radio variety show about raising food and living close to the ground in the city. Chouinard hosts, with a crop of guests bringing stories and first-hand how-to, from rooftop beekeepers to basement cheesemakers, backyard bakers to vacant lot farmers. Plus lots of music, history, and lore. A fresh local take on a growing global movement. Peter Rothstein will direct, with Chouinard as music director, and Marge Ostroushko as radio dramaturg. THE URBAN FARMER’S ALMANAC features the talents of Beth Dooley, Star Tribune food writer; Michael Cheney, founder of Project Sweetie Pie; Lucie Amundsen, co-founder of Locally Laid Egg Co.; Christopher MacLeod, founder of Laune Bread; and Jordan Sramek and members of the Rose Ensemble. The piece will also feature Dane Stauffer, Beth Gilleland,  Prudence Johnson, Peter Ostroushko, and Thomasina Petrus. Of this unique festival offering Rothstein says, “Dan Chouinard has a long and rich history with Theater Latté Da, most recently with the award-winning Steerage Song.” He continues, “We are excited to see what one of the Twin Cities’ most treasured artists is up to next.”

Performances of THE URBAN FARMER’S ALMANAC are Thursday, May 12 at 7:30 pm; Saturday, May 14 at 7:30 pm; and Sunday, May 15 at 2:00 pm at the Ritz Theater.

The final piece in the Festival is THE ILLYRIA PROJECT by Jackson Doran and Postell Pringle (aka Jax & Pos). Jax & Pos are affiliates of the Q Brothers who are best known for “rewriting Shakespeare plays into hip hop musical add-RAP-tations.”THE ILLYRIA PROJECT is the story of Viola, a barista and aspiring rapper, who seizes the opportunity to fulfill her dream of becoming a star when she finds out about an audition for Shipwrecked, The Musical. This new hip hop musical with a book written entirely in rap verse and performed over beats, weaves together soul, rock, and rap music in a rollicking interpretation of Shakespeare's Twelfth Night. Jax & Pos will direct and Christina Ham will serve as dramaturg. THE ILLYRIA PROJECT features the talents of Shinah Brashears, Ryan Colbert, Jonathon Dull, Aeysha Kinnunen, Kasono Mwanza, Thomisina Petrus, and Max Wojtanowicz. The production also features a special appearance by DJ Kool Akiem.

Rothstein offers, “Last October, members of the TLD staff witnessed Jax & Pos perform in a hip hop adaptation of Othello at the National Alliance of Musical Theater New Work Festival.” He continues, “We were all in awe of the performance and their innovative twist on the Bard. Twin Cities’ audiences have really got to see this!”

Performances of THE ILLYRIA PROJECT are Thursday, May 19 at 7:30 pm; Saturday, May 21; and Monday, May 23 at the Capri Theater.

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: May 5- 23, 2016

Venues: Ritz Theater and Capri Theater

Performance Dates and Times:

IN THE MINES Thursday, May 5 at 7:30 pm Saturday, May 7 at 7:30 pm Monday, May 9 at 7:30 pm Performances of IN THE MINES are at the Ritz Theater

THE URBAN FARMER’S ALMANAC Thursday, May 12 at 7:30 pm Saturday, May 14 at 7:30 pm Sunday, May 15 at 2:00 pm Performances of THE URBAN FARMER’S ALMANAC are at the Ritz Theater

THE ILLYRIA PROJECT Thursday, May 19 at 7:30 pm Saturday, May 21 at 7:30 pm Monday, May 23 at 7:30 pm Performances of THE ILLYRIA PROJECT are at the Capri Theater

BWW Interview: 6 Questions & a Plug with C.'s Bradley Greenwald

Kristen Hirsch MontagBroadway World Minneapolis

April 15, 2016

Bradley Greenwald is a fixture of Twin Cities stages; a performer that regularly draws deserved praise for his performances in opera, theater, music-theater, concert and recital repertoire with the Jungle Theater, Theatre de la Jeune Lune, the Children's Theatre Company, 10,000 Things, Nautilus Music-Theater, Minnesota Dance Theatre, James Sewell Ballet, VocalEssence, Frank Theatre, the Illusion Theater, the Guthrie Theater, A Prairie Home Companion and Skylark Opera. (Whew!) Greenwald also is the recipient of a Minnesota State Arts Board Fellowship in music, the McKnight Fellowship for Theater Artists, and a 2006 Ivey Award.

Greenwald is not known well as a playwright but that's about to change. Previously, he adapted Madeleine L'Engle's novel "A Wrinkle in Time" into a libretto for Libby Larsen's opera. Now, writing the book and lyrics for C. at Theater Latté Da, and receiving rave reviews for the production, he may just have a dual career on his hands. Latté Da just extended the run by a week due to popular demand. The show is original and thoroughly enjoyable, and Greenwald's Cyrano is amazing. Get your tickets now (seriously, don't wait to do it), then come back and read this edition of 6 Questions and a Plug to learn more about the play and the playwright.

C. is a brand new musical adaptation of Edmond Rostand's classic play, Cyrano de Bergerac, so the story is probably quite familiar to most BroadwayWorld.com readers, but can you tell us a little about the premise and how similar or different your adaptation is to the original?

The adaptation follows the love triangle of Rostand's play, as well as its basic structure-- Cyrano-who-loves-Roxane-who-loves-Christian-who-needs-Cyrano-to-prove-his-love-to-Roxane-- and includes, of course, his brilliant Balcony Scene. What struck me in Rostand's play was Cyrano's love of language and music and how vital both are to his spiritual and physical existence, as important as food, water and shelter. So I chose poetry and music as the fuel for the plot, over any stylized 17th-century settings or plot machinations. What bowled me over in the Rostand play, reading my direct word-for-word translation instead of the glittering, giddy, sublimely poetic variations of Burgess and Hooker, was the profound love and humanity in these characters. The content of translated adaptations, by nature, must go off on whimsical tangents to satisfy meter and rhyme. I decided I would not write in verse, except when the characters needed to speak in verse. I wanted Rostand's themes of love and language and the ineffable to speak without any camouflaging veneer of a translator's own poetic athleticism.

What was the inspiration or driver for you to adapt the play as a new musical, and is the music all original?

I took on Cyrano as an exercise after writing the libretto for Libby Larsen's opera A Wrinkle in Time. I loved adapting the novel, and wanted to do more. When I asked Peter Rothstein for a subject he suggested Cyrano, because he didn't feel any of the music adaptations of the play had enjoyed any success. When I talked through my take on how I saw music intertwined with the story, he encouraged me to continue. After a year, the exercise turned into a full script for the first season of Theater Latté Da's NEXT in 2013. And yes, all of Robert Elhai's score is original even though some of it may sound like folk songs that have been around forever. That's how brilliant he is.

What is your background in playwriting and writing lyrics for musicals? Did you train in these disciplines as well as acting and singing?

I have no official training in playwriting other than my own experiences with those who have. New work has always been a huge part of my career, so I have watched playwrights and composers struggle and succeed and revise and collaborate, learning from them by singing or speaking what they create, and taking note of when they choose one word over another and why. I wrote a libretto with Steven Epp for Jeune Lune's The Magic Flute, but it was after adapting A Wrinkle In Time for Libby Larsen's opera that I realized I loved writing, and that perhaps my life in different theatrical disciplines might be useful in the realization of a story through music.

You are also starring as Cyrano in the show; has it been challenging to play both roles (of playwright and lead actor)?

I was wary of playing Cyrano while also serving as writer. Peter talked me into it. In rehearsals (and even still in performance) I had to learn to stop listening as the writer and listen as the character, and it was difficult to get the knack of that. But life is all about the acquisition of skills, so I'll chalk it up as one more lesson learned.

This production is the second full production of a new musical for the NEXT 20/20 program by Theater Latté Da; when you first started during the NEXT series, did you always have a full production in your sights for C.? How much has it changed since that first outing?

We had always imagined a full production in theory, of course, because we wanted to make sure we were telling the story in a way that could be realized physically, not just intellectually. The play retained the same philosophy as the draft we performed three years ago, but the script is vastly different. Then it was basically a translated and distilled Rostand script with some Bradley thrown in here and there. Now the script is my own, with Rostand looking over my shoulder.

What are your hopes for this production and do you hope that it will go on beyond you to be produced by other companies?

I hope someone else will be moved enough by the piece to produce it. I would love to see other imaginations take it on, and put their own poetic imprint upon it. It's big and poetic, and it's about beauty. We need to be reminded to look for beauty in the world, and in ourselves. C. reminds us.

What is next for you personally, on stage or in other ways in your career?

The next big project is '66: Talkin 'Bout My Generation, a concert/travelogue/theatrical fantasia at Open Eye Figure Theater. Dan Chouinard, Prudence Johnson, Diana Grasselli and I have done two other theatrical concerts there over the years (on Brecht and Weill, and Jacques Brel). This time we look back to the life and music of 1966, 50 years later. It will be a fantastical contemporary "radio broadcast" with the four of us performing, along with instrumentalists Gary Raynor and Dean McGraw.

More information:

C.

Book & Lyrics by Bradley Greenwald

Music by Robert Elhai

Directed by Peter Rothstein

Music Direction by Jason Hansen Adapted from the play Cyrano de Bergerac by Edmond Rostand

Featuring Bradley Greenwald, David Darrow, Kendall Anne Thompson, Jim Ramlet and Max Wojtonowicz

Plays now through May 1, 2016 at Ritz Theater (345 13th Avenue NE Minneapolis).

Single tickets are on sale now at latteda.org or 612-339-3003.

Photo: Kendall Anne Thompson, David Darrow and Bradley Greenwald.

Theater Latté Da presents C. March 30 - April 24, 2016. Ritz Theater. Photo by Dan Norman.

A new spin on 'Cyrano,' and four other arts events not to miss this weekend

MPR News StaffMPR News

April 14, 2016

Bradley Greenwald's nose for musical theater

Maybe you've seen "Cyrano de Bergerac" before, or one of the many adaptations of the story about the swashbuckling poet and his enormous nose. But if you haven't seen "C.," which is midway through its premiere run at Theater Latte Da, you're missing the proboscis with the most-est.

Cyrano has a beautiful soul but a face he believes to be ugly. He is skilled at wordplay and swordplay and always ready to use them both, such as when he is taunted about the size of his schnoz. He's been in love with Roxane since childhood, but he dares not hope she can see past his nose. Instead, he agrees to help pretty-boy Christian pursue her.

This musical reinvention is remarkable. Bradley Greenwald, who wrote the book and the lyrics to Robert Elhai's music, performs the title role with sensitivity and skill, not to mention a voice that could knock birds out of their trees. He fuses music and story without visible effort.

"We are on this earth," Greenwald's Cyrano says, "to articulate the ineffable." And boy, does he ever.

Toward the end of the first act, when Roxane has stiff-armed the earnest but inarticulate Christian, Cyrano progresses from stage whispers to spoken dialogue to song — soaring, achingly expressive song. As Cyrano improvises the text that will win Roxane's heart for Christian, we see the personification of selfless love — coupled with the crippling effects of a lousy self-image. "My life is complete," he says at the foot of Roxane's balcony, though his life is, at best, half complete.

It's heartbreaking. Go ahead and cry. Be thankful that, with your normal-sized nose, you won't need a handkerchief the size of a bedsheet. At the Ritz Theater in northeast Minneapolis, with a run that's just been extended through May 1.

Reason to go: Bradley Greenwald.

Review – C – Theater Latte Da

Rift MagazineBev Wolfe

April 8, 2016

Theater Latté Da’s C:  A Promising New Play-With-Music

This past weekend, Theater Latté Da presented the world premiere of C, a play-with-music, at the Ritz Theater in Minneapolis.  The show was developed for Theater Latté Da by both Bradley Greenwald, who wrote the book and lyrics, and Robert Elhai who composed the music.  It is part of Theater Latté Da’s NEXT 20/20 initiative to develop and bring to production 20 new musicals or plays-with-music within the next 5 years.  This production, under the sharp direction of Peter Rothstein, is a promising start to the goal of contributing to the future of musical theater.

Greenwald’s play is an adaption of Edmond Rostand’s1896 play Cyrano De Bergerac.  Rostand’s play is loosely based upon the life of a poet and dualist who lived during the first half of the 17th Century.

The first professional production of a play that I saw as a teenager was the Guthrie’s world premiere of Anthony Burgess’ translation and adaption of Rostand’s play.  The theatricalism of that production had a lasting influence upon my life-long interest in theatre.  This current adaption, with the addition of music, makes a similar impact.

Cyrano is a poet, duelist, and member of a military regiment in France.  He is renowned for his swordplay and his nose: an extremely large schnoz which he believes renders it impossible for his beloved Roxane to reciprocate his feelings.  Roxane is a beautiful and intelligent heiress who is desired by a local married nobleman.

When Roxane requests a secret meeting with Cyrano, Cyrano hopes it is to confess her love for him.  In preparation, he writes an impassioned, poetic love letter and signs it “C.”  But his hopes are dashed when she confesses her love for a man named Christian who is joining Cyrano’s regiment.  Christian is so good looking that even Cyrano finds him to be beautiful.  When Cyrano learns that Christian also loves Roxane, he puts aside his feelings and allows his letter to be sent to Roxane on behalf of Christian.

We soon learn that Christian is a dolt when it comes to speech and poetry.  So Cyrano keeps writing beautiful, poetic letters to Roxane on Christian’s behalf and continues to sign them with a “C.”  This charade continues to the point where, in the balcony scene, Cyrano speaks and sings couplets and poetry to Roxane while hiding in the shadows so it appears that Christian is the speaker.

After a hasty marriage between Roxane and Christian, both men are sent to war where Cyrano continues the charade by sending daily letters to Roxane on Christian’s behalf and often without Christian’s knowledge.

Greenwald’s production seeks to translate the poetry of Rostand’s play into words set to music.  Initially, the songs seem to be more separate from the spoken word, but by the mid-way balcony scene climax, the spoken word and music often flow together interchangeably and sometimes soar.

The play-with-music term is an apt description because this is a production where you appreciate the music underlying the words rather than one where audiences will be humming show tunes after the show.

Greenwald’s portrayal of Cyrano gives great depth to this role of a man who is master of many things and, yet, is personally very insecure in matters of love.  David Darrow as Christian does a remarkable job playing a love struck young man who grows to resent the fact that Roxane appears more in love with Cyrano’s poetic soul than she is with him.

Kendall Anne Thompson does a superb job of playing Roxane as a strong and captivating woman making it understandable that her character is the object of the affections of many men.  Finally, Janet Hansen is both hilarious and memorable in the role of Sister Claire, Roxane’s companion and teacher.

Music director Jason Hansen takes Elhai’s music and makes it sail seamlessly in and out of scenes.  Scenic Designer Jim Smart creates a theatrical aura around his design of a 17th century French town with a multitude of glass jars with lighted candles flowing across the front of the stage.

C is a production that still requires some fine tuning in places, including the need to trim about 15 minutes off the show’s running time.  But Theater Latté Da should be commended for fostering the development of this original production.

Theatre Latte Da The Ritz Theater 345 13th Avenue NE Minneapolis, MN 55413 Box Office: (612)339-3003 March 30 – April 24, 2016

Theater Latte Da’s “C.” is a Charmer

Minneapolis/St. Paul MagazineTad Simons

April 4, 2016

Theater Latte Da is one of only a handful of arts organizations in the past 30 years that has made the leap from small, itinerant theater company on shoestring to established, mid-size theater with a modest budget—and soon, it hopes, a permanent home. TLD announced in March that it is raising funds to purchase the Ritz Theater in NE Minneapolis, which for years was home to the sassy, genre-defying dance troupe Ballet of the Dolls.

Last weekend, TLD opened its new musical, C., based on the story of Cyrano de Bergerac, and proved once again why the company deserves a permanent home—and why it has thrived while so many others haven’t. C. isn’t perfect by any means, but it does enough well to be entertaining throughout (a minor victory on its own), and it exhibits the kind of canny fearlessness that has characterized artistic director Peter Rothstein’s work from the beginning.

Adapted by Bradley Greenwald, with music by Robert Elhai, C. is a spirited re-telling of a familiar story, the tale of a famously silver-tongued swordsman with an ugly nose who is in love with his clever cousin, Roxane, but is afraid to tell her because of his hideous schnozz. Instead, he helps a handsome but tongue-tied young cadet (David Darrow) woo Roxane by telling the boy what to say. From there, the plan goes from bad to worse.

Greenwald’s adaptation follows the basic story faithfully enough, but it’s the small touches combined with the overall direction and a talented cast that raise C. up into the B+ range. Rothstein is a genius at giving well-known musicals a fresh coat of paint. In this case, however, he has transformed a well-known story into a musical, which is a set of artistic challenges all its own.

In most musicals, the numbers trot by one after the other, and the audience claps dutifully after each one. But that’s not how C. is structured. There are traditional songs, yes—folk songs, waltzes, shanties, and a heartfelt ballad or two—but much of the music is packaged in the form of spoken-word riffs and spontaneous-sounding improvisations. Indeed, the best thing about C. is how deftly it blends its theatrical and musical elements to create its own romantic texture.

Cyrano (played by Greenwald) is all about capturing what he calls “the poetry in the room,” by which he means the artistic possibilities of any given moment in life. During a scene when Cyrano is rhapsodizing about Roxane, spinning poetry out of thin air, a string quartet is practicing offstage, providing a quiet musical accompaniment for Cyrano’s words. The words and music don’t create a traditional song, but they do create a powerful dramatic moment that captures the very poetry in the room that Cyrano is talking about.

There are many such moments in C., but there’s also a nice balance of comedy as well, particularly in the antics of various idiosyncratic supporting characters, and from Greenwald himself, who is one of the Twin Cities’ most versatile actors. His Cyrano is alternately brash and vulnerable, cocky and unsure of himself. The one area that could be improved is his allegedly rapier wit. For a man whose tongue is a supposed to be as sharp as his sword, his words don’t slice and sting as much as they should. The playful banter between Cyrano and Roxane (played with grace and spunk by Kendall Anne Thompson) works much better, and between them there is a convincingly uneasy chemistry. Set designer Jim Smart adds to the romantic aura by framing the action with hundreds of lit candles along the foot of the stage, and setting the action in humble Parisian streetscape accented by a large tree and a full, luminous moon.

The Ritz only has 235 seats, which is only slightly larger than The Jungle Theater, and its charmingly rustic atmosphere is perfect fit for an arts organization like Theater Latte Da. If TLD does succeed on its bid to buy the Ritz, the northeast arts district will be that much richer.

C. continues at the Ritz Theater through April 24, theaterlatteda.com.

C. Review

Arthur DormanTalkin' Broadway

April 6, 2106

C., a new musical with book and lyrics by Bradley Greenwald and music by Robert Elhai, based on Edmond Rostand's classic play Cyrano de Bergerac soars to life in Theater Latté Da's world premiere production at the Ritz Theatre. C. is a product of Theater Latté Da's Next 20/20 initiative to nurture the creation of new musical theater work, and immediately proves the value of that effort, especially given a pitch-perfect cast led by Mr. Greenwald as Cyrano.

C. takes its title from the way the hero of the piece, Cyrano de Bergerac, signs love letters he writes on behalf of Christian, a cadet in his military unit to bright and beautiful Roxane, a woman they both love. Cyrano has deeply loved Roxanne since they were children together, but his physical ugliness—famously, his enormous nose—keeps him from declaring his feelings. Christian, who has only just met Roxanne, is taken by her physical beauty, as she is by his. However, along with physical beauty Roxanne requires of her beloved a beautiful heart, as expressed in poems and letters. Christian has not an ounce of wit for the expression of feelings. Cyrano, on the other hand, is as renowned for his word-play as for his swordplay. He agrees to help Christian woo Roxanne by composing beautiful phrased letters for Christian to deliver. Closing each missive with the letter C, Cyrano tells his protégé that it stands for Christian while, in truth, it is Cyrano's way of taking ownership for his own feelings.

Past efforts to make a musical of Cyrano de Bergerac have not fared well. In both 1973 and 1993 attempts failed with both critics and the box office on Broadway. Calvin Berger, a loose adaption that places the story in a high school setting, has had several regional productions (including last year's mounting by Minneapolis Musical Theatre), but has not been widely seen. What Greenwald and Elhai have done with C. is to create not a song and dance show, but a song and poetry show—and it works. This small but beautifully rendered musicalization successfully brings music to Cyrano's poetic voice.

Lest you think "song and poetry" means the show is a precious, erudite affair, I can assure you that it is full of heartfelt drama, swash-buckling action, and robust humor. On several occasions characters break out in song to express their feelings, but more often the music falls within the context of the play, using traveling minstrels to bring melody to the poetry that comes naturally to Cyrano, Roxanne and others—though not Christian. An out-of-context song in which he reveals his utter lack of eloquence makes clear how out of his league he is in this company, and is also highly entertaining as delivered by David Darrow in the manner of a music hall number. Robert Elhai has composed lovely melodies, mainly drawing on folks sounds of Cyrano's period.

Director Peter Rothstein continues to display mastery of musical theater, giving fluid movement to the many parts of the story, staging scenes with complete clarity, and—with the exception of Christian's song noted above—assuring that each musical piece begins and ends organically, never interrupting the narrative. The functional setting designed by Jim Smart has a collection of rustic 17th century facades, with a central area that can be draped off to create a stage for the opening performance-within-the play. A large tree in the center looms over the entire setting, giving a sense of a pastoral to the play, though the tree's meaning is not revealed until the final scene. Rich Hamson's costumes are elaborate as befitting the time frame, yet subdued in gold, beige, and white hues. The play is beautifully lit by Marcus Dillard to highlight mood shifts from raucous to romantic, and merry to melancholy.

Greenwald, as Cyrano, gives a wonderful, fully formed performance, making good use of his beautiful baritone, his eloquence in speech, comic flair, and commanding physical presence. A prosthetic nose that projects out comically—as Cyrano states, "preceding him wherever he goes by a quarter of an hour"—serves the purpose of bringing a disfigured quality to his otherwise handsome face. He has perhaps more of the poetry and less of the panache seen in some Cyranos, more nonchalance than bravado as he defeats all comers in swordplay (exquisitely choreographed by fight director Annie Enneking), but it all works in creating a character that is of whole cloth.

Kendall Anne Thompson is a lovely Roxanne, with a beautiful voice and robust energy. She projects a woman possessing intelligence and humor, ready to embrace life with confidence and vigor. Her embrace of a more sober wisdom in the closing scene is skillfully portrayed. David Darrow's Christian is handsome, but projects a boyish rather than rakish physicality, making him seem less of a threat than a partner to Cyrano in pursuit of Roxanne's love.

John Middleton as the nobleman with his own designs on Roxanne is the villain of the piece and comes across less odious than in other productions of Cyrano I have seen, in keeping with the tone of a story of human longing and folly, rather than of exaggerated types. Max Wojtanowicz is endearing as Papadeau, the baker with a poet's heart. The remainder of the cast all play their parts well and sing beautifully.

Could C. be improved? Greenwald's book takes liberties with anachronisms, such as Roxanne and Papadeau bringing food and comfort to Cyrano's company on a 17th century battlefield via automobile rather than horse-drawn wagon, and references to Insulin and Mrs. O'Leary of Chicago Fire fame. Each of these moments prompts audience laughter, but there is enough humor within the text and in the action of the play, that these feel pinned on at the expense of, rather than in service to, the beautifully wrought play.

Nonetheless, C. succeeds at making the romantic heart of Cyrano de Bergerac beat with more joy and stirs its well of regret with more longing. It is a gift to Twin Cities theatergoers, one that deserves an extended life beyond this maiden voyage.

C. continues through April 24, 2016, at the Ritz Theater, 345 13th Avenue NE, Minneapolis, MN. Tickets: $35.00 - $45.00. For tickets call 612-339-3303 or go to theaterLattéda.com.

Book and Lyrics: Bradley Greenwald, adopted from the play Cyrano de Bergerac by Edmond Rostand; Music: Elhai; Director: Peter Rothstein; Music Director: Jason Hansen; Dramaturg: Elissa Adams; Set Designer: Jim Smart; Costume Designer: Rich Hamson; Lighting Designer: Marcus Dillard; Sound Designer and Engineer: Sean Healey; Properties Master: Benjamin Olsen; Fight Director: Annie Enneking; Technical Director: Stein Rosburg; Production Manager: Dylan Wright; Stage Manager: Tiffany K. Orr; Assistant Stage Manager: Lisa M. Smith; Assistant Scenic Designer: Mika Ichikawa.

Cast: Bear Brummel (a chorus boy, a cadet, a priest), Sarah Burk (a Bohemian), Caleb Fritz Craig (a chorus boy, a cadet), David Darrow (Christian Beauregard), Bradley Greenwald (Cyrano de Bergerac), Jason Hansen (a Bohemian, a cadet), Janet Hanson (Sister Claire), Kim Kivens (Mrs. DeWight, Atchette, Sister Agnes), Grace Lowe (L'Allouette), John Middleton (Senator DeWight), Luke Pickman (a Bohemian, a cadet), James Ramlet (Orson Déjaloux), Matt Riehle (Bellrose, a cadet, a Bohemian), Kendall Anne Thompson (Roxanne), Evan Tyler Wilson (Uncle Monty, a cadet), Max Wojtanowicz (Papadeau).

Review: Cyrano truly sings in Latté Da's poetic new musical 'C.'

Graydon RoyceStar Tribune

April 4, 2016

Starting with the very best ingredients does not guarantee the success of a theatrical adaptation. Consider the checkered history of "Cyrano de Bergerac" as a stage musical. The crashing thunder of full orchestra sadly curdles the delicate fragrance that distinguishes Edmond Rostand's original play.

Writer Bradley Greenwald and composer Robert Elhai have approached the challenge of bringing music to Cyrano with a different tack in "C.," which had its premiere Saturday in a Theater Latté Da production at the Ritz Theater.

Greenwald and Elhai rarely allow the music to trample on Cyrano's bravado, his fragile insecurity and his self sacrifice. Melody and instrument are unmistakably there but they express themselves in a solo fife, a guitar, a piano, a small combo, bass line or an a cappella voice. Rare for a musical, the song seems an essential part of the action.

In fashioning music that springs from the life of the play, Greenwald and Elhai manage a small triumph in elevating the poetry while retaining the enduring charm, honesty and nobility of Cyrano's story. The finest illustration is the lovely and famous balcony scene in which Cyrano, hidden by the night, expresses his love for Roxane. Greenwald's lyrics sit perfectly on the meter of Elhai's eclectic and always tuneful score.

Greenwald also portrays the hero in director Peter Rothstein's ambitious production. The show seemed a bit unsure as it opened Saturday but found its rhythm shortly. Greenwald's interpretation of Cyrano has less of the robust bluster and winking confidence that some actors have used to define the man. He is more human, a vulnerable outsider who even in swagger shows a psyche damaged by the weight of carrying around that preposterous nose.

 Kendall Anne Thompson is fine, with a lyrical soprano voice, as Roxane, the woman Cyrano has long loved. David Darrow plays Christian, the handsome young man for whom Roxane has fallen. Darrow finds rich humor in Christian's transparency as a dunce, his comfort as a simpleton — the perfect id contrast to Cyrano's ego.

Rothstein's production looks great on Jim Smart's set of a rustic French village. Costumer Rich Hamson works in a palette of earth tones that reflect Marcus Dilliard's dusty lights with a constant sepia effect.

On two occasions, the music's good intentions interfere with the words in this excellent production. In Cyrano's initial duel with Senator DeWhite (John Middleton, with the right tone of pomposity and dry menace), we struggle to hear the full throat of his poetic elan. Then again at play's end, when Cyrano reads one last letter to Roxane, an offstage chorus sings. As lovely as this evensong is, it competes with Cyrano's reading — which in some respects is the emotional zenith of this play. Something to think about.

Greenwald and Elhai have taken an exquisite approach to this old story. Rothstein has made it fill the stage, with Jason Hansen directing the music, and a cast that is full of good voice and lively spirit. The classic work is honored.