"Ragtime" by Theater Latte Da at the Ritz Theater

Jill SchaferCherry and Spoon

September 26, 2016

Theater Latte Da is opening their 19th season (and their first season in their new home, the Ritz Theater in NE Minneapolis, where they have been in residence for a few years but only recently purchased) with a Tony-winning musical written nearly 20 years ago, set 110 years in the past, that is perhaps the most timely and relevant musical for the America we're living in now.Ragtime (book by Terrence McNally, music by Stephen Flaherty, lyrics by Lynn Ahrens) deals with the two biggest social issues of the day - anti-immigrant sentiment and racism (not to mention issues of class and gender). Based on the 1975 novel by E.L. Doctorow, Ragtime explores the tension that arose from the clash of cultures in New York City in the early 20th Century. When viewed through the lens of the present time, in which black men are repeatedly killed for no reason other than the color of their skin, the clothing they're wearing, or being in the wrong place at the wrong time, and businesses in our own small towns put up signs that say "no Muslims allowed," this already powerful story, beautifully told through words, characters, and music, becomes even more meaningful and important. Director Peter Rothstein and his incomparable team of actors, singers, musicians, and designers have brought this story to life in a way that's aesthetically pleasing, highly entertaining and engaging, and most importantly, clearly delineates the parallels with our own world. Ragtime tells the story of three families - an upper class White family, an African American family, and an immigrant family. The three families' lives become intertwined with each other, as well as with several historical events and figures, such as anarchist Emma Goldman, magician Harry Houdini, and chorus girl Evelyn Nesbit. The hero of our story is Coalhouse Walker, Jr., a ragtime piano player in love with a poor servant named Sarah. Coalhouse's journey takes a drastic turn when he's faced with discrimination and tragedy. Sarah lives with the seemingly perfect well-to-do family consisting of a father, a mother, and a son, as well as mother's younger brother and father. Curiously, these characters (with the exception of the son, Edgar) don't have names, so that they could be anyone or everyone. Mother keeps the home fires burning while Father explores the world, and Younger Brother is on a journey all his own, always looking for something to cling to and finding it in unfortunate places (or persons). Finally, at the center of our third family is a poor immigrant trying to make a better life for his daughter. Tateh's path crosses with Mother's several times; in fact all of the characters in this story are connected somehow, and what each does affects the others.*

Several moments in the show clearly spoke to me about today's world, and sound like they could be heard on the news on any day. Struggling to find a way to support his daughter and facing opposition at every turn, Tateh cries out, "I'm not 'you people,' I'm Tateh!" Ragtime shows us that immigrants are not "others," they're people, most of whom are coming here to make a better life for their children, the same reason that all of our ancestors came to America. After his car is vandalized simply because he dared to drive into a white neighborhood, Coalhouse demands, "I'm not some fool, I'm not their n***er, I will have what's fairly owed me," which sounds very much like the demands of the Black Lives Matter movement. All Coalhouse is asking for is to be seen as a worthy human being, to be fairly treated, and to live his life with his family unencumbered by discrimination and violence.

As usual with Theater Latte Da, the show is perfectly cast. Just 14 actors play all the roles, which is a fairly small number for a show this epic (in listening to the score again and reading about the show, it seems there are a few minor characters that were cut or combined to make the small cast feasible). Many of the actors also double as chorus members, and while there are a few moments of "What's Tateh doing in this scene? Why is Emma Goldman there?" you quickly learn to let that go and see them as players in the story. The small cast really works to accentuate the intimacy of this epic story. Highlights in the cast include, well, everyone:

• David L. Murray, Jr.** is a welcome new addition to the Twin Cities theater scene (thank you Yellow Tree Theatre!), and one we can hopefully keep for a while. Firstly he has a gorgeous voice, and secondly he imbues Coalhouse with all of the strength, rage, desperation, and humanity required for the character.
• Traci Allen Shannon** is a lovely Sarah, making the audience understand and empathize with the choices she makes.
• Britta Ollmann sings with a voice so clear and pure it cuts right to the soul and makes you feel all of the sadness and joy that Mother feels.
• Sasha Andreev brought tears to my eyes every time he opened his mouth, so passionate and believable is he as the immigrant Tateh, desperate and determined to care for his daughter. Perhaps being himself an immigrant who came to this country as a child with his parents brings a first-hand knowledge and authenticity to his portrayal.
• All of the supporting players are truly wonderful too, including Andre Shoals as the wise and distinguished Booker T. Washington; James Ramlet as the grumpy Grandfather; Benjamin Dutcher pulling double duty as the heroic Houdini and the despicable fire fighter who destroys Coalhouse's car; Daniel S. Hines, almost making the absent and unyielding Father sympathetic; Emily Jansen as Evelyn Nesbit, "the girl on the swing;" Riley McNutt, so good as the lost and searching Younger Brother that I wish he had a bigger role; and Debra Berger, whose Emma Goldman is so convincing I'd follow her to the picket lines!
• Finally, the smallest members of the cast are the most charming. Soren Thayne Miller as Edgar bravely opens the show alone on stage, and is adorably precocious throughout the show ("warn the Duke!"). Georgia Blando is a sweetheart as Tateh's thoughtful and sad daughter, and Julia Fé Foster Warder creates some beautiful lines as the silhouetted skater.

Ragtime is one of my favorite musical theater recordings to listen to, featuring that distinct and rhythmic ragtime sound, as well as sweeping anthems. The offstage band directed by Denise Prosek sounds much richer than it should with just five members. I didn't miss a thing not having brass or strings. And the cast sounds gorgeous, individually and particularly in harmony.

The staging and every element of design is just stunning. Latte Da continues to make good use of its new home at the Ritz, fitting the shows into the gorgeous bones of the old theater rather than trying to cover them up. For this show, scenic designer Michael Hoover has created a false back wall on the otherwise open and empty stage, a wall that so closely matches the actual walls of the theater, with the exposed brick and mottled paint, that it looks like it's always been there (and I'm still not entirely convinced it hasn't). A floor-level door and two elevated doors, accessed by moving staircases of bare metal, are used for entrances and exits, and a well-placed piece of furniture or two is all that is needed to set the scene. The all important piano has a dual purpose, also representing Coalhouse's car as he sits on top of it. Not only is this an economic use of set pieces, but it somehow makes the destruction of the car more devastating as the piano is closely tied to the musician Coalhouse's identity. Recent Ivey Emerging Artist honoree Trevor Bowen has designed the authentic period clothing in a muted palate, saving a few pops of color for Coalhouse and the wealthy. Completing the picture is Mary Shabatura's lighting design, creating some beautiful silhouettes and shocking moments of terror.

I have no doubt that Ragtime will take its place on many year-end best-of lists. It deeply affected me in a way theater, or anything, rarely does. Not only is this show beautiful to look at and listen to and chock full of incredible performances, it does the thing that theater at its best is supposed to do. It provides thoughtful and meaningful commentary on the world we live in. I had tears behind my eyes for most of the show, and had trouble holding back sobs as it came to its intense conclusion. But the tears were not for Coalhouse, Sarah, Tateh, or Mother. The tears were for the Coalhouses, Sarahs, Tatehs, and Mothers of our own world, the ones we see suffering injustice on the news every day. In his final song, Coalhouse sings, "make them hear you." It's easy to feel frustrated and helpless at all of the injustices of the world. But there's one easy way to "make them hear you" - vote. If the issues illuminated in Ragtime are important to you, look at the candidates' stand on these issues. Look at their track records in fighting for justice and equality for all genders, sexual orientations, races, classes, and nationalities. And then vote. Make them hear you! Because "we'll never get to heaven 'til we reach that day," when every child can "ride on the wheels of a dream."

Ragtime is not just an exquisite piece of music-theater, it also shines a light on the issues of the day, issues that were never more crucial to consider than now in this election season. Thank you Peter Rothstein and Theater Latte Da for recognizing the brilliance of Ragtime and bringing it to us now when we need it most. Go see Ragtimebetween now and October 23, and then vote on November 8. Make them hear you!

*Plot summary borrowed from what I wrote about Park Square Theatre's 2012 production of Ragtime. **Sarah and Coalhouse will get a second chance at a happy ending; Traci Allen Shannon will play Cinderella and David L. Murray Jr. will play her prince in Cinderella at the Children's Theatre Company, opening in November.

Ragtime by Theater Latté Da

David and Chelsea BerglundHowWasTheShow

September 26, 2016

David: It is easy to see why Theater Latté Da chose this moment to mount their own production of Ragtime(running through October 23^rd at their newly acquired Ritz Theater home). In times of civil unrest and political uncertainty, its themes of racial injustice and immigration anxieties resonate strongly with our contemporary realities.

Chelsea: So strongly, in fact, that it’s hard to believe that the show was written nearly 20 years ago. Intersecting and intertwining three quintessentially American stories from the turn of the twentieth century,Ragtime follows a few characters from each of three major people groups as reflections of that group’s experience: African Americans, Eastern European immigrants, and wealthy white families.

David: Sadly, it highlights that this country has yet to overcome many of the struggles it has always faced. And yet, despite the aptness of the themes, I can say with confidence after having now seen three productions, including this very inventive and astute rendition, that I am not a big fan of the show itself. Condensed from a sizeable novel by E.L. Doctorow, it is simply too noisy with plot, emotion, and characters to hit as deep a chord as it needs.

Chelsea: I definitely see what you mean, as Ragtime’s book by Terrence McNally is broad, with a number of primary characters each with involved arcs, but it generally really works for me. Despite a couple of odd character shifts and some unnecessary bits, I still find myself getting involved in the story every time I see it. Some of this may have to do with the incredible score (music by Stephen Flaherty and lyrics by Lynn Ahrens) and timely themes, and some may result from the arc of Mother, whose character most organically interacts with all of the other storylines and helps tie things together for me.

David: Her character is definitely the heart of the show and has the most fully fleshed transformation. And it doesn’t hurt that Britta Ollman imbues this figure with subtle and nuanced shifts throughout. Her showstopping, second act rendition of “Back to Before” is exquisite and utterly heartbreaking.

Chelsea: Ollman is fantastic in this part, and generally speaking, Latte Da’s production boasts fabulous performances all around from its fairly stripped down cast (most of the non-principal actors play multiple roles). Sasha Andreev beautifully captures the plight of the immigrant in Tateh’s every labored movement and seems to feel every wrenching note of his early song, “Success.” Traci Allen Shannon’s Sarah is warm, tentative, and expresses pain with poignancy in “Daddy’s Son.”

David: The show’s set (scenic design by Michael Hoover) is also stripped down and mostly bare, which somewhat counteracts the show’s busyness, utilizing a striking lighting design (by Mary Shabatura) to isolate moments and performances, making the occasionally bombastic plotting more personal. Most of director Peter Rothstein’s decisions indeed work for the best, stemming from a keen sense of space that creates some memorable vignettes along the way. That said, I did think that some of the ideas, such as wheeled scaffold staircases, created for some at times awkward movements despite their visual flair.

Chelsea: I thought the staircases worked well and their inauspicious nature focused attention on the actors and music rather than the surroundings—something I found extremely effective, especially considering the vocal talent on stage and Denise Prosek’s rich musical direction. As far as direction is concerned, I loved the ways Rothstein staged many scenes, from the use of silhouette throughout to echo Tateh’s artistic profession to a beautiful choice of timing to end Act I. Ultimately, that choice, like so many in this particular production, underlined the way this story mirrors contemporary America. Ragtime simply feels important.

David: Well, with its many emotional and musical crescendos, it certainly wants to feel important. And while I may personally desire more focused plotting, this production nevertheless managed to induce goosebumps at several key moments. In these moments, the show indeed felt essential and the strength of the production far overshadowed any flaws in the writing.

Chelsea: It’s absolutely worth seeing. Latte Da manages yet another first-rate musical experience, even if the book may not be as clean as some would want. But then again, neither is the American story.

A powerful 'Ragtime' at the Ritz; Graywolf author is a MacArthur Fellow

Pamela EspelandMinnPost

September 27, 2016

Theater Latté Da makes more magic with less than almost any theater we know. We first saw this in 2005, when director Peter Rothstein staged Puccini’s “La Bohème” in the tiny Loring Playhouse. “Bohème” is a warhorse opera, with a large cast and chorus, 80-piece orchestra, grand costumes and sets. Rothstein pared down the cast and used a five-piece band: piano, accordion, guitar, violin and woodwinds. People who saw it still rave about it.

And now there’s “Ragtime,” a lollapalooza of a musical written for a large cast and chorus, dancers and orchestra. At the Ritz Theater, Latté Da’s new home in northeast Minneapolis, Rothstein tells the sweeping, epic story with 14 actors and four musicians. Michael Hoover’s sets are minimalist: gray walls and floors, three doors, a curtain, some crates, a few sticks of furniture and a pair of rolling metal ladders. There are rarely more than two props on stage at the same time. The rolling ladders become, among other things, gangways on ships and stands at a baseball game. A grand piano on wheels doubles as a Model T. Don’t worry, it works.

Everything about this “Ragtime” works, including the timing. The musical is based on the award-winning book by E.L. Doctorow, published in 1975 and set in the years 1902-1912. In 18 scenes and nearly 40 songs, this historical pageant tells the stories of three groups: upper-class white Americans, African-Americans and Eastern European immigrants.

Except for the costumes (by Trevor Bowen, who last week won the Emerging Artist Award at the Iveys), some of the events, and the famous characters who thread through the story – anarchist Emma Goldman, Harry Houdini, showgirl Evelyn Nesbit, Booker T. Washington – “Ragtime” could be set in 2016. It’s way more contemporary than it should be. In our world right now, and our country, and our political climate, it’s impossible to experience it solely as a period piece. Not when police officers shout “She’s got a gun!” before beating a black character. Or when wealthy white people sing of a once-ideal world where “there were no Negroes and there were no immigrants.” Or when they dream that “everything will be like it was – the same as it was before, when we were happy.”

The prosperous white family are Mother (Britta Ollmann), Father (Daniel S. Hines), Younger Brother (Riley McNutt) and Little Boy (Soren Thayne Miller). The African-Americans are Sarah, a poor washerwoman (Traci Allen Shannon), and the father of her child, ragtime pianist Coalhouse Walker Jr. (David L. Murray Jr.). The immigrants are Jewish-Latvian artist Tateh (Sasha Andreev) and his daughter, Little Girl (Georgia Blando). The cast are all terrific singers and utterly convincing in their roles, performing with clarity and passion.

As Mother, Ollmann is the story’s moral center, the character with the most accepting, color- and class-blind heart. Her performance of “Back to Before” toward the end of Act II is tremendous and shattering. So is Murray’s “Make Them Hear You,” the cry that echoes today in “Black Lives Matter.” That one caused a lot of sniffling in the theater. Have tissue handy for the end of Act I, for “Wheels of a Dream,” for the epilogue. Latté Da should leave the lights down just a few moments longer at the end, for the audience’s sake and the cast’s, because everyone needs time to pull themselves together.

This is such a powerful show. By peeling away the pomp and excess of a Broadway production, Rothstein gets to the core of “Ragtime,” a tale of family, humanity, and more hope than we probably deserve.

“Ragtime” continues at the Ritz Theater through Oct. 23. FMI and tickets ($35-$48, student rush $20, rush $24).

'Ragtime' gives heart to a powerful American parable

Graydon RoyceStar Tribune

September 25, 2016

Review: The old story turns on current issues like wealth, racial division and immigration.

America needs to see this musical.

America the beautiful, fragile, ugly bully needs to peer into the reflection that is “Ragtime” and contemplate how it is that a nation so full of hope and good heart has become so mean and angry.

“Ragtime” asks us to pause and consider why we are so fearful of the future as we are losing confidence in our past.

Theater Latte Da opened its 19th season Saturday in its new permanent home, the Ritz Theater in northeast Minneapolis, with a poignant revival of this musical adapted from E.L. Doctorow’s sweeping novel. Though set in fin de siècle New York, “Ragtime” is concerned with the same triumphs and tragedies that are in today’s headlines.

Director Peter Rothstein has scaled this once massive show into a stripped down ritual that makes what might have been nostalgia feel current and urgent. Eleven adults and three children tell the parable of our nation’s fraught psyche on a bare stage defined by a back brick wall (Michael Hoover’s set) and a rolling grand piano that represents ragtime, that syncopated music so full of the rhythms and contradictions in Terrence McNally’s script.

Mary Shabatura’s lighting scheme uses shadows and small instruments to fine effect, and costume designer Trevor Bowen works overtime to clad the actors for their double and triple roles.

“Ragtime” follows three families through the wrenching transitions of turn-of-the-century America. Father (Daniel S. Hines) is rich enough to seek adventure elsewhere, leaving the home to Mother (Britta Ollmann). Coalhouse Walker Jr. (David L. Murray Jr.) seeks reconciliation through music with his beloved Sarah (Traci Allen Shannon). Tateh (Sasha Andreev) is fresh off the boat from Eastern Europe and seeking his fortune.

“Ragtime” does not pretend these are terribly complex portraits. The show, with music by Stephen Flaherty and lyrics by Lynn Ahrens, is a pageant of metaphor — a string of vignettes stitched together to tell a larger parable that feels relevant: how the avarice of great wealth seeks its own adventure and comfort; how the aspirations of people of color denied justice can be radicalized into protest, and how immigrants ironically are the greatest believers in the American dream.

And there on the periphery are the celebrities who distract us from what is important.

Ollmann is the pure heart of this show as the sympathetic Mother who takes in an abandoned baby and comforts the child’s mom, played by Shannon with many layers of hurt.

Murray’s face changes into hard disillusionment as Coalhouse turns to terrorism. Andreev as Tateh and Andre Shoals as Booker T. Washington do excellent work, as do Hines and Riley McNutt as a disillusioned man of privilege. Kelli Foster Warder’s choreography uses silhouette to great effect.

Latte Da opened last season at the Ritz with the masterful “Sweeney Todd.” The cool virtuosity of that work can’t be matched by “Ragtime,” but what this musical illustrates so well is the heart that Rothstein and music director Denise Prosek have always brought to Latte Da. And it is more than mere sentiment. Rothstein convinces us that these are the raw and honest emotions of people caught in hard times. This elegant staging provokes and comforts.

America needs provocation and comfort right now. Desperately so.

With 'Ragtime,' Latte Da puts down new roots

Euan KerrMPR News

September 23, 2016

Theater Latte Da will be launching a new era when it opens its production of "Ragtime" this weekend. The longtime nomadic company recently bought the Ritz Theater in northeast Minneapolis.

"Ragtime" is an epic tale of America at the dawn of the 20th century. It's a time of change, of new ideas, industrial innovation and, of course, new music.

"Giving the nation a new syncopation, the people called it 'Ragtime!'" the cast sings in the prologue.

Based on E.L. Doctorow's 1975 novel, the musical version of "Ragtime" hit Broadway in the late 1990s. It follows the story of a middle-class white family, an African-American musician and a Jewish immigrant from Latvia, all living in New York. Their tales unfold and entwine amidst the famous and the infamous of the time: Harry Houdini, Henry Ford, J.P. Morgan and Emma Goldman. It was also a time of unrest.

"Ladies with parasols, fellas with tennis balls! There were gazebos! And there were no Negroes!" sings the cast. "And everything was Ragtime!"

Demands for equality in the face of violent racism and anti-immigrant sentiment led to riots.

"I began reimagining it primarily because I was trying to find the right story to tell right now," said Peter Rothstein, artistic director of Latte Da.

Rothstein had been scouring the musical theater canon. With a new building to fill and a local community to serve, he had to meet many needs. He was "looking for shows that would work in an intimate space like the Ritz Theater, that were looking at issues of national identity around the election season," he said. "Looking towards our more immediate community around the role of civil disobedience towards racial justice.

"And I just kept coming back to 'Ragtime' as the perfect show for now."

Let's go back to that word "reimagining," through. The Broadway production of "Ragtime" was huge, with a chorus and dancers. For all its charms, the Ritz is no Broadway theater. Rothstein's "Ragtime" has been pared way down.

"Yeah, I think the original Broadway production has around 48 people, and we are doing it with 14," he said.

All while maintaining every big song and the show's epic span. Actor Sasha Andreev plays the Jewish immigrant Tateh. He said the Ritz is so intimate, performers are often just inches from audience members.

"I have to constantly remember to be as authentic as I can be on stage, because when the audience is right there, they can see you lie," he said.

Fellow cast members David Murray and Traci Allen Shannon agree. Murray plays Coalhouse Porter, a musician making a name in the Harlem nightclubs. Shannon plays Sarah, his lost love. He doesn't know she's had his child, and has been taken in by a wealthy white family.

Shannon said the show's intensity is heightened by the small size of the cast. She and David Murray said the depictions of police brutality are especially upsetting.

"These are some of the things that my parents and their parents talked about, and explained to us," he said. "The same stuff we learned in school, you know, black history. It just repeats, over and over and over."

Shannon agreed, but said while "Ragtime" explores historical ugliness, it also offers the hope that future generations will find a way forward. "Because that, I actually believe, is the promise of America," she said. "The coming together of these cultures and backgrounds and experiences and every voice being heard."

For Rothstein, "Ragtime" is just a beginning. He wants to use the Ritz as a hub to continue Latte Da's work of developing new musical theater. The company committed two years ago to developing 20 new musicals by 2020. He laughed and said he needs to get through opening first.

"The stakes feel high," he said. "I think we have been so fortunate to have this building and call this building our home that there is now a responsibility to shepherd it well."

But Rothstein is confident that "Ragtime" is the show that will declare the Ritz to be Theater Latte Da's home.

‘Ragtime’ the musical is a period piece for the present period

Chris HewittPioneer Press

September 22, 2016

The musical drama “Ragtime” opened on Broadway 18 years ago, but it’s not much of a stretch to call it a show for the Black Lives Matter era.

Based on the novel by E.L. Doctorow, “Ragtime,” which Theater Latte Da opens Saturday night at the Ritz Theater in Minneapolis, connects three stories in the years leading up to World War I: Latvian immigrant Tateh and his daughter try to make their way in America; a wealthy New York family (the youngest has the same first name as Doctorow, Edgar, but the others are known as Father, Mother, Younger Brother, etc.) faces choices that may rip it apart; and an African-American ragtime pianist named Coalhouse Walker embraces anarchy after he is sent over the edge by a series of tragedies.

It’s that last segment that makes “Ragtime” feel timely (or timeless, since you could say the 1831 Nat Turner rebellion was the first Black Lives Matter event, albeit with much different methods). Although “Ragtime” is fictional, protest is real today.

Set at a time of enormous change, “Ragtime” turns many real-world things into the stuff of musical drama, using music — something people of different ethnicities and classes share — as a metaphor for revolution. In fact, one song in the show, called “New Music,” promises that “the world is changing.”

Here are a few of the big changes signaled in “Ragtime”:

Flip book — Called “movie books” by Tateh (the show seems to credit him with inventing them, although they predate the character), they’re a forerunner of animated movies. When you quickly flip the pages of the book, silhouetted drawings on their edges appear to spring to life.

Rag — Doctorow’s book connects the characters to different meanings of the term. Tateh and his daughter come to America on a “rag ship,” an oceanliner bringing European immigrants to America (many of them to work in the rag trade, or clothing industry). Coalhouse plays rags on the piano. And Father’s business turns rags of fabric into American flags.

Ragtime  — A form of music that began to appear in the late 1800s. Scott Joplin, whom “Ragtime” indicates was a friend of the fictional Coalhouse, is its most famous composer and “Maple Leaf Rag” is probably his most famous song. Or it was, until Marvin Hamlisch used Joplin’s music in “The Sting” and made “The Entertainer” a hit. (A side note: “The Sting” is set in the mid-1930s, when Joplin’s music had dipped in popularity.)

Ragtime — Doctorow’s National Book Award-winning novel, inspired by his ancestors and turn-of-the-century history, was considered groundbreaking for incorporating real people such as Harry Houdini, Booker T. Washington and Emma Goldman into its fictional universe. The book is substantially altered for the musical. Father, for instance, is a smaller character in the show than in the book, and Coalhouse, who doesn’t appear until the book is half over, is a much larger character.

Suburbs — New Rochelle, where much of “Ragtime” is set, was one of the first American suburbs, its growth made possible by commuter railroads and wide ownership of automobiles. One particular auto, Coalhouse Walker’s Model T, leads directly to the action of the musical and the Model T’s producer, Henry Ford, is a character in it.

World War I — No spoilers on the ending of “Ragtime,” but it encompasses both the assassination of Austrian Archduke Franz Ferdinand, which helped touch off WWI, and the sinking of the Lusitania, which convinced the United States to enter the war that changed the face of the world.

IF YOU GO

What: “Ragtime”

When: Through Oct. 23

Where: Ritz Theater, 345 14th Ave. N.E., Mpls.

Tickets: $48-$35, 612-339-3003 or theaterlatteda.com

Election season means it's the right time for 'Ragtime'

Rohan PrestonStar Tribune

September 22, 2016

Election season means it's the right time for 'Ragtime'

American dreams and despair mingle in the musical, getting a revival by Theatre Latté Da.

A Latvian man with an unusual name and even funnier accent faces scorn as an interloper, even as he imagines making it big in America. An African-American family longing for justice and truth has an encounter with the police that ends tragically. And a family of white suburbanites despairs about the state of the nation.

These are not people being held up for discussion in this year of presidential politics and Black Lives Matter. They are characters in “Ragtime,” the big musical by composer Stephen Flaherty and librettist Lynn Ahrens being revived this weekend by Theatre Latté Da.

The show is set a century ago, but its animating questions seem as urgent as ever as some folks question whether the American experiment is being torn beyond repair.

“Even though the show is historical fiction, we’re reminded that history repeats itself,” said Sasha Andreev, who plays Tateh, the Jewish immigrant.

“I wish certain scenes didn’t remind me of things I’ve recently seen on the news,” said Traci Allen Shannon, who plays Sarah, a young black mother.

 The sweeping 1996 musical, based on E.L. Doctorow’s 1975 novel, is a forbidding project to tackle, not least because of its scale. On Broadway, it had a massive cast of 30-plus.

Director Peter Rothstein has changed things up for this “Ragtime,” which opens Friday for a five-week run at the Ritz Theater in Minneapolis. Originally, the show suggested the segregation of early 20th-century life by having three ensembles represent the black, white and immigrant worlds.

Rothstein has distilled the cast to 11 adults and three children. The change is made not by economic necessity but by aesthetic considerations. He hopes to show the promise of the nation even as he blurs the lines between these cultures.

The actors welcome this integrative approach, in which all are onstage in supporting roles.

“It’s a reminder that in our country we do have the opportunities to lend our voices to the telling of each other’s stories,” Shannon said. “In some ways we’re seeing some ugly moments in the show, as we are in the world, but there’s a lot of beauty and promise there.”

The cast includes David Murray, a native of Jackson, Miss., and New York transplant who is much buzzed about in the Twin Cities. (He will play Prince Charming opposite Shannon in “Cinderella” at Children’s Theatre later this fall.) Murray plays Coalhouse Walker, Sarah’s love.

“If you’re an African-American man, this is one of those bucket-list heroes,” Murray said. “But beyond the personal level, he’s someone with character and strength who is always seeking justice.”

Some of the “Ragtime” actors have found parallels between their lives and those of their characters.

Andreev, who emigrated from Russia in 1990, recalls that, like Tateh, he was mocked for his accent. “I spent many years trying to escape that accent, to assimilate and blend in,” he said. “I wanted to pass as an American. That’s what I share with a lot of immigrants.”

But his kinship to the character goes beyond that obvious commonality: Tateh becomes a successful film director. “In my own family, there was a lot of pressure to do something else that my family would see making money,” he said. “I pride myself on the fact that after 26 years in this country, I make my living as an artist.”

For Shannon, the connection is motherhood.

“Sarah is a new mother with a tragic story — I’m a new mother with a lot of joy and love in my life,” she said. “In some ways, it’s challenging because the show has an autobiographical style. A lot of the characters are narrating themselves and telling their own stories. So, you identify deeply with your character.”

She invoked the song “Wheels of a Dream,” a song that Coalhouse sings to his new son, to express the sentiments shared by all parents:

I see his face, I hear his heartbeat, I look in those eyes. How wise they seem. Well, when he is old enough, I will show him America. And he will ride on the wheels of a dream.

“All these characters have children — that right there is a sign of hope, of believing that there’s a future,” Shannon said, alluding to the issues roiling this election season. “I have a child. I have no choice but to be hopeful.”

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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