"Peter and the Starcatcher" by Theater Latte Da at the Ritz Theater

Jill SchaferCherry and Spoon

February 5th, 2017

The 2012 Broadway play with music Peter and the Starcatcher is not your typical Broadway musical, or rather, play. I was fortunate enough to see the original Broadway production and the subsequent Broadway tour, and was charmed by the innovative storytelling. I don't know how long it's been available for regional production, but I'm so glad Theater Latte Da snapped it up quickly. It's a perfect piece for the company whose motto is "we don't do musical theater, we do theater musically." And innovatively, and smartly, and brilliantly. With director Joel Sass making his Latte Da debut and a fantastic and diverse ensemble of nine actors (slightly smaller than the 12-person ensemble used on Broadway), this Peter and the Starcatcher is so charming and clever and inventive, just sheer delight from start to finish.

Peter and the Starcatcher is based on the 2004 novel Peter and the Starcatchers by Dave Barry and Ridley Pearson, a prequel to the Peter Pan story with which we're all familiar. Much of the story is explained to us in narration by the ensemble. The title character is an unnamed and unloved orphan who's sold into slavery along with two other boys. They're being transported on the ship Neverland, captained by Slank and his rough and rowdy crew. Also on board are 13-year-old Molly and her nurse, Mrs. Bumbrake. Molly's father, the well-to-do and important Lord Aster, has entrusted her to the captain while he travels on a more dangerous route aboard the Wasp, on a mission for the queen. He's transporting a trunk of the mysterious "starstuff" that unbeknownst to him has been swapped with a similar trunk of worthless sand by the devious Captain Slank. Aster's ship is overtaken by pirates, namely the dastardly Black Stache and his sidekick Smee, and much hijinks and hilarity ensue as the pirates try to get the treasure and Molly and the boys try to save it and her father. The action continues in the second act as they all land on a colorful tropical island. It's a sweet and engaging story with a heroine and a hero to root for, clever puns and alliterations mixed with modern references, and a theme of home and friendship and belonging, as the unnamed boy becomes the legend that is Peter Pan.*

This truly is an ensemble in the best sense of the word, with all nine actors playing multiple parts and taking equal turns in the storytelling. Each one of them is completely invested in the playful nature of the storytelling, and they really work and play beautifully together. You could spend the entire show just watching any one of the actors, and be thoroughly entertained.

In a serendipitous (and perhaps intentional) twist of casting, Tyler Michaels reprises his role as Peter Pan, whom he played in the Children's Theatre's marvelous production a few years ago. But this is a very different Peter, a broken and hurting Peter who only wants love and a family, two things he's lived without his whole life. It's really fun to watch Tyler in that transformation from lost boy to hero, even striking the familiar hands-on-hips pose as he comes into his own. Tyler always imbues his characters with a specific physicality, and the nimble boy Peter is a perfect showcase for his unique talents.

But Tyler is by no means the only star in the show, in fact they're all stars, none less so than Megan Burns, who is perfectly delightful as our spunky heroine Molly. She just shines from the stage, with a natural charm and great energy as she plays this wonderful role model of a young woman who's smart, determined, kind, and knows how to get things done.

This wonderful ensemble also includes Ricardo Beaird and Silas Sellnow as the adorably boyish orphans; Pearce Bunting, hamming it up deliciously as the pirate Black Stache; Adam Qualls as two different but equally hilarious characters; Andre Shoals as Molly's kind and distinguished father and the leader of the island people; James Rodriguez as the conniving Captain Slank; and last but not least, the endlessly watchable Craig Johnson as the stern and loving Nanny Bumbrake and a wise mermaid.

The music is integrated organically into the script, and is often sung a capella or with minimal accompaniment by the cast beating on various objects on the set, or Silas Sellnow on various stringed instruments. On a few songs an offstage piano can be heard, presumably played by Latte Da's resident Music Director Denise Prosek. Because the music is woven seamlessly and sparingly into the story, there are no annoying applause breaks to interfere with the spell being cast.

As he often does at the Jungle, director Joel Sass has also designed the set, making for a beautiful cohesion in the production. The proscenium arch is decorated with all sorts of flotsam and jetsam (I think I recognized a few pieces from Joel's equally inventive Great Expectations at Park Square last year), while the trunks, a ladder, and the frame of a tiny room are constantly moved on and off the stage with intricate and perfectly executed choreography. Unlike the Broadway production, in which the second act looked markedly different from the first, the island set is mostly the same as the ship set, but with a tropical blue-green color projected on the backdrop (lighting design by Marcus Dilliard). Sonya Berlovitz's shabby chic costumes complete the look of the design.

Theater Latte Da is not doing a "Broadway Re-imagined" project this year, but Peter and the Starcatcher fills that hole. It was already re-imagined on Broadway, meaning the kind of innovative low-tech physical theater style of storytelling rarely seen on Broadway. This makes it the perfect Broadway show for Latte Da to put their unique spin on, and the smaller theater and smaller cast really suits the piece and offers even more opportunities for creativity, which this terrific cast and creative team have capitalized on perfectly.

Peter and the Starcatcher continues through February 26 at the Ritz Theater in Northeast Minneapolis. It's a thrill for children of all ages, even those of us devoid of starstuff who have been forced to grow up.

*Plot summary adapted from what I wrote about the Broadway tour.

Theater review: Musical ‘Starcatcher’ shoots for the sky, and will hook you

Chris HewittPioneer Press

February 5th, 2017

I’ve seen preschools full of toddlers that didn’t have as much energy as the cast of “Peter and the Starcatcher” at Theater Latte Da.

The nine actors in the cast whiz from role to role in the show, which doesn’t have quite enough songs to be called a musical but has too many to be called a straight play.

Actually, “Peter” takes the form of an English music-hall show that makes lowbrow humor highly entertaining, deftly blending bawdy digressions, raucous jokes, outrageous anachronisms and relentless puns (“You made your bed, Pan”) into an evening of frothy fun.

Regularly busting through the fourth wall — which seems to be contagious, since they’re doing the same thing over at the Guthrie’s “The Royal Family” — the actors are members of a troupe in Victorian England who share with us a story that gradually begins to acquire familiar characters and situations.

An origins story, “Peter and the Starcatcher” is to “Peter Pan” as “Wicked” is to “The Wizard of Oz,” a fairy tale that purports to show us how another fairy tale — and beloved characters such as Peter Pan, Wendy and Captain Cook — came into being.

It’s meant to be imaginative and homespun, which means “Peter and the Starcatcher” fits perfectly in Latte Da’s cozy Ritz Theater.

Director/designer Joel Sass greets us with a gorgeously organic-looking false proscenium over a set that will be used to suggest many different places but always reveals its humble origins in ropes, wooden planks, ladders, hunks of vine and pieces of picture frames. The props, too, are imaginative, with the cast using nothing more elaborate than a whistle to suggest various animals, waves and foreign tongues.

There is wonder and magic in “Peter and the Starcatcher.” Befitting the broad material, Sass seems to have encouraged the actors to make their performances as out-sized as possible and that mostly works, with Tyler Michaels’ sweet-natured boy as the grave center of the piece.

The show asks a lot of its performers, who must summon that wonder and magic from within themselves and, on opening night, I suspect not all of the actors had reached the peaks they’ll be hitting a few performances into the “Peter” run.

But some — Michaels, the wryly amusing Andre Shoals and the gut-busting Craig Johnson — are there already. Johnson confidently morphs from a gung-ho nanny to a world-weary mermaid, among many other characters, and he’s hilarious as all of them.

If the rest of the cast catches up, this could be the sort of show where you can’t stop laughing. This occasionally airborne production is so clearly headed in the right direction that I believe it can fly.

“PETER AND THE STARCATCHER”

• When: Through Feb. 26
• Where: Ritz Theater, 345 13th Ave. NE, Mpls.
• Tickets: $48-$35, 612-339-3003 or theaterlatteda.com
• Capsule: It’ll hook you.

Twin Cities holiday staple ‘A Christmas Carole Petersen’ returns after 8-year hiatus

Dominic P. PapatolaPioneer Press

December 5, 2016

Creating a holiday show can be tricky business. It can’t run too hot or too cold. It can’t be too hard or too soft. It can’t feel too big or too small. Bringing back “A Christmas Carole Petersen” after an eight-year hiatus, Theater Latte Da has summoned an artistic Goldilocks and gotten things just right.

“Carole,” a holiday staple for Latte Da in the early 2000s, is Tod Petersen’s more-or-less true-to-life story about living through the holiday season as he was growing up in southern Minnesota in the 1960s and 1970s. Petersen channels his entire family and much of his neighborhood, but most of his reminiscences center on his mother, whose name gives the play its title.

Purse-lipped, proper and adorably clueless (particularly when discussing the Guthrie Theater’s production of “A Christmas Carol” by Charles Dickenson, featuring an appearance by the ghost of Bob Marley that scared the liver and lights out of her), it’s Carole and her annual holiday letters that frame the story and serve as segues to the musical interludes by Ryan Lee, Sara Ochs and Dominique Wooten.

There are plenty of laugh-out-loud moments — the Petersens’ caroling tour through their neighborhood — “the only ethnically diverse block in Mankato” chief among them.

But it’s not all sweetness and light. “A Christmas Carole Petersen” is, among other things, a coming-of-age story, and Petersen, working with co-creator and director Peter Rothstein, deftly blends in other flavors as well — the bittersweet tang of Christmas away from familiar surroundings, the dilute savor of a faded faith, the nourishing warmth of finding a place that feels like home.

The dozen and a half songs arranged and accompanied on piano by Denise Prosek are deft as well. One might quibble with the song assignments — Wooten’s classically trained tenor is an unorthodox pairing with the bluesy “Please Come Home for Christmas” and Lee reaches for some notes in Joni Mitchell’s high, airy “River” — but the three vocalists are a game and rangy bunch, singing and playing a slew of instruments from flute and accordion to maracas and the ukulele.

Petersen might be little more ample and a little less flexible than he was a decade back, but hasn’t lost a step as a storyteller. His imitation of his mom lovingly borders on ditsy without quite becoming a caricature. And when he’s telling his own more grown-up tales of some less-than-joyful Christmases, he’s clear-eyed and sincere without being self-pitying.

The show was periodically refreshed throughout its early years, and while much is familiar, there are some tweaks in this revival as well. The show runs about 100 minutes including intermission, and though it seldom feels padded, the second act hits what feel like a couple natural ending points — an up-tempo Partridge Family-esque tune, Och’s wistful rendering of Julie Gold’s “Christmas Eve” — but continues to motor through another couple stories and songs before finally arriving at a cozy end.

That’s a bother, but a minor one. Petersen and his pals aren’t like the Christmas party guests who stay too long. If anything, you might wish they’d stick around just a little longer.

IF YOU GO

What: “A Christmas Carole Petersen,” produced by Theater Latte Da When: Through Dec. 23 Where: Ritz Theater, 345 13th Ave. N.E., Minneapolis Tickets: $45-$35 Information: 612-339-3003 or theaterlatteda.com Capsule: An erstwhile Twin Cities holiday theater tradition makes a welcome return.

Latte Da's 'Christmas Carole Petersen' wishes us a happy holiday, sincerely

Graydon RoyceStar Tribune

December 4, 2016

When a paean to nostalgic Christmas memories becomes the piece of nostalgia itself, you know you're getting old.

Around the turn of the century, Tod Petersen put together a charming, campy and funny homage to his mother, his family traditions and his own journey from the high of his childhood role in "A Christmas Carol" to the low of feeling alienated from all things Yule.

Petersen first staged "A Christmas Carole Petersen" in 2000 with Peter Rothstein's direction at the now-defunct Loring Playhouse. It ran in that intimate setting for several years before moving to the Ordway's Mc­Knight Theatre (also no longer there) in 2007 and 2008.

After eight years of absence, Petersen, Rothstein, music director Denise Prosek and a new group of "Carolettes" have revived the show in Theater Latté Da's new permanent home, the Ritz, in northeast Minneapolis.

Petersen is not the lanky whip with the snarky sense of humor — well, the humor is still there, but he's thicker in his face and thinner in his hair. It has been 16 years since he wrote a show that reflected his mood about Christmas — a moment of the year that can often define our relationships with our families, the world and ourselves.

So it was natural to wonder if Petersen and his mates could rediscover the magic that made this a small but quite popular Christmas entertainment.

Indeed, at Saturday's opening it took a moment to reacquaint ourselves with the awe-filled 5-year-old who got his first role in the Mankato Community Theater's production of "A Christmas Carol."

"Little Toddy" was just crushed when he walked into an empty school auditorium on the first night of rehearsal. Why wasn't everyone wearing costumes (Scrooge was in cowboy boots!)? Where was the Victorian street scene, the snow falling? Why were actors reading from scripts; didn't they know their lines?

Petersen hit his stride with timeless stories — none more beautiful than the remembrance his mother must have told him about her childhood Christmas on the Nebraska prairie. In another vignette, Petersen tells of coming home to his Chicago apartment late one frosty Christmas night, seeing his sleeping partner and two cats on the bed and feeling for the first time in years that he was really home.

He can still make us weepy with the earnest sincerity he always has worn on his sleeve.

The Carolettes and Prosek provide beautiful music for this cabaret. Ryan Lee, Sarah Ochs and Dominique Wooten are all accomplished singers and the selections are a nice mix of the obscure and familiar.

Welcome back, Tod. Your story is worth telling and it is worth seeing again. And if you've never seen it, it's all new.

Graydon Royce is a longtime Star Tribune journalist and critic. Reach him at roycegraydon@gmail.com.

Guide to Twin Cities 2016 Holiday Shows

Quinton SkinnerMinnesota Monthly

November 2016

There are so many holiday-themed shows each year in the Twin Cities that it can be daunting to keep track of them all—much less decide which to take in to burnish that end-of-year glow. Here are a few of the best to help you fill your entertainment dance card.

Old Faithful

A Christmas Carol

Scrooge’s journey from humbug to redemption goes down with the familiar sweetness of a glass of eggnog—and while it’s never going to surprise, J.C. Cutler as Ebenezer sells his character with heartfelt distinction. • Guthrie Theater, through 12/30, guthrietheater.org

Timeless Treasure

Black Nativity

Penumbra’s own reliable standard serves up Langston Hughes’s story about holiday heartbreak and community with enough power to evoke bittersweet tears; with choreography by Uri Sands, a full choir, and sharp performances, it’s an emotional journey that’s become a tradition for good reason. • Penumbra Theatre, 12/1–23, penumbratheatre.org

Snow Globe

Irving Berlin’s White Christmas

This musical with big dance numbers is based on the classic film, with let’s-put-on-a-show repartee and easy charm amid classic tunes such as “Blue Skies,” “I Love a Piano,” and the title song that made Bing Crosby a Yuletide immortal. • Ordway Center for Performing Arts, 12/8–31, ordway.org

Let It Ring

A Christmas Celebration with The Steeles

Among the all-time greats of Minnesota stages and concert halls, siblings J.D., Fred, Jearlyn, Jevetta, and Billy are a transcendent powerhouse when they get together—this show returns after a seven-year hiatus to bring sounds both secular and sacred. • Fitzgerald Theater, 12/9–10, publicradio.org

All About Family 

A Christmas Carole Petersen

Actor and storyteller Tod Petersen mines memories of the holidays with his family in Mankato for this funny-because-it’s-true look at how the season brings out our best as well as our… less than best. • Ritz Theater, 11/30–12/23, theaterlatteda.com

Visions of Sugarplums

Loyce Houlton’s Nutcracker Fantasy

Entering its second half-century, this extravaganza teams up more than 150 dancers and other artists in a fairytale journey with all ages represented onstage as well as in the audience. • State Theatre, 12/16–23, hennepintheatretrust.org

Earning Wings 

It’s a Wonderful Life: Live in Concert

It’s easy to forget that the 1946 film starring James Stewart wasn’t much of a success in its day, and didn’t really become a holiday standard until the 1980s—it’s also easy to argue that its sharp sensibility was ahead of its time, and that we’re more in need of happy endings than ever. The Minnesota Orchestra accompanies the movie with Dimitri Tiomkin’s score. • Orchestra Hall, 12/17–18, minnesotaorchestra.org

Pass the Eggnog

What the Elf?

The Brave New Workshop’s annual holiday revue sums up the year that was with laughs and hopefully the spirit of reconciliation that accompanies the best holiday seasons—they’re saying we should bring the family members with whom we’ve been vehemently disagreeing all year on Facebook. • Brave New Workshop, 11/11–1/28/17, bravenewworkshop.com

Going out: A dozen sure bets for the holiday season

Pamela EspelandMinnPost

November 23, 2016

For your Thanksgiving weekend pleasure: our holiday dozen. Twelve sure bets for the season. Many are classics, but there’s a reason for that: They work, and people want to see them again and again. (Congrats to the New Standards on their tenth year.) This won’t be our last word on holiday shows, but it’s a good start, and you might want to peruse this list over leftovers and score some tickets.

At the Guthrie: “A Christmas Carol.” A Twin Cities tradition for 42 years. The story never gets old, and neither does the production, refreshing itself often enough to keep things interesting. Joe Chvala directs; J.C. Cutler returns as Scrooge. Ends Dec. 30. FMI and tickets ($17-137).

At Penumbra Theatre: “Black Nativity.” We’ve seen a few different presentations of Langston Hughes’ song-play, and this is the one we love best: the concert version, straightforward and so powerful. Lou Bellamy narrates; Dennis Spears and Jamecia Bennett sing (do they ever!), with the mighty Fellowship Missionary Baptist Church Choir; Sanford Moore provides musical direction. New this year: dancing and footwork choreographed by Uri Sands of TU Dance. Dec. 1-23. FMI and tickets ($15-40).

At the Ritz Theater: Theater Latté Da: “A Christmas Carole Petersen.” It’s been eight years since we’ve had the chance to laugh along with Tod Petersen’s stories about his family Christmases in Mankato and his mom, Carole. This is the welcome return of a funny, feel-good show. Written by Petersen and Peter Rothstein, directed by Rothstein. Through Dec. 23. FMI and tickets ($30-45).

At the Mill City Museum: “An Eventually Christmas: Holidays at the Mill.” The Ghost of Mill City Past is your guide in a play set in the museum’s Flour Tower elevator ride. Scenes from the 1920 Washburn Crosby holiday party unfold on different floors. Dec. 15-17, shows at 6, 7 and 8 p.m. FMI and tickets ($10-14).

At the O’Shaughnessy: St. Paul Ballet: “Clara’s Dream from The Nutcracker.” Zoë Emilie Henrot’s re-imagining of the holiday chestnut (so to speak) makes Clara the star of a “magical mystery tour” from adolescence to adulthood. With 100 dancers, elaborate costumes by Christina Onusko, new scenery for the opening set (the party scene) by Anne Henley, and a just-right length (90 minutes), this is a perfect holiday outing for all ages. 7:30 p.m. Friday, Dec. 2 and Saturday, Dec. 3; 2 p.m. Sunday, Dec. 4. FMI and tickets($19-32).

At the Basilica of St. Mary and the Ordway Concert Hall: The Saint Paul Chamber Orchestra: Handel’s “Messiah.” English conductor Paul McCreesh will lead the SPCO, the Minnesota Chorale and soloists in Handel’s great masterpiece. 8 p.m. Friday, Dec. 16, at the Basilica; 9 p.m. Saturday, Dec. 17 and 2 p.m. Sunday, Dec. 18 at the Concert Hall. FMI and tickets ($15-53).

In Apple Valley, Roseville and Minneapolis: VocalEssence: Welcome Christmas. Each year, VocalEssence gives us something new and unexpected for Christmas: a world premiere commission, or a special piece of holiday music we haven’t heard before. This year it’s Conrad Sousa’s “Carols & Lullabies,” a lovely, luminous setting of the Christmas story that weaves in music of Mexico and the American Southwest, accompanied by harp, marimba and guitar. The concert also includes the 2016 Welcome Christmas Carol Contest winners by Sean Sweeden and Lee Blaske. 7:30 p.m. Dec. 3 at Shepherd of the Valley Lutheran Church, 7:30 p.m. Dec. 9 at Roseville Lutheran Church, 4 p.m. Dec. 10 and 11 at Plymouth Congregational Church. FMI and tickets ($20-40).

At Orchestra Hall: “Jingle Bell Doc.” The Minnesota Orchestra’s pops conductor laureate, Doc Severinsen turned 89 in July, but you can’t tell by seeing him strut across the stage in his outrageously loud jackets, or hearing him blow the trumpet like a man half his age. Severinsen will lead the Orchestra, the Minnesota Chorale, vocalists, a rhythm section (with Mary Louise Knutson on piano) and a handbell ensemble in a spirited program of holiday faves. 8 p.m. Friday, Dec. 16 and 1 p.m. Saturday, Dec. 17. FMI and tickets ($30-75).

At the State Theatre: The New Standards Holiday Show. Now in its 10th year, this annual event starring the jazzy Standards – Chan Poling, John Munson and Steve Roehm – has always been a spectacle, and it’s always been a blast. Per usual, there will be a large supporting cast and a stellar lineup of surprise guests. 8 p.m. Friday and Saturday, Dec. 2 and 3, plus an all-ages 2 p.m. Saturday matinee. FMI and tickets ($25-100).

At the Ordway: “A Darlene Love Christmas: Love for the Holidays.” Rock & Roll Hall of Famer, hitmaker and music icon Darlene Love has been a star for more than 50 years, from the girl-group heydays to her time as an in-demand back-up singer and the present, when she’s currently on a tour schedule so fierce it would exhaust most 20-year-olds. Of course she’ll sing “Christmas (Baby Please Come Home).” 7:30 p.m. Wednesday, Nov. 30. FMI and tickets ($38-111.50).

At Crooners in the Dunsmore Room: Christmas with Joey D. Hammond B-3 organ master Joey DeFrancesco gave a knock-out, sold-out show here in September, called the Dunsmore Room his favorite place on the planet and promptly booked a pair of return dates. With Dan Wilson on guitar, Jason Brown on drums, he’ll set his favorite holiday tunes on funky fire. Dec. 5-6, sets at 7 and 9 p.m. FMI and tickets ($25-40; $75 dinner show).

At Union Depot: Canadian Pacific Holiday Train. Over 750 feet of steel, diesel and twinkling lights, the CP Holiday Train will roll through St. Paul for a good cause: benefiting Merrick Community Services Food Shelf in St. Paul. Lit up for Christmas, it will stop at the Depot for a live concert by Juno Award-winning singer-songwriter Colin James and Canadian country singer Kelly Prescott. (The stage is a car on the train--cool!) Friday, Dec. 9. Free or $5 VIP tickets (proceeds go to the food shelf), but please bring a heart-heathy food donation. General admission opens at 5 p.m. Train arrival at 7:15 p.m., concert at 7:30, train departure at 8:10. FMI (be sure to read this).

Review: A Christmas Carole Peterson

Arthur DormanTalkin' Broadway

December 6, 2016

Carole Peterson is an irrepressibly positive woman who finds the good in everyone and every situation, and makes darn sure that everyone in her family does the same. At least, that is the image Tod Peterson creates of his mother in A Christmas Carole Peterson. With Peter Rothstein, Peterson assembled this memoir of his mother's role as ringmaster of the family Christmas at their home in Mankato, Minnesota. The show, which blends Tod's narration with songs performed by three singers, or "Carolettes", was first mounted in 2000 by Theater Latté Da, and returned as a much loved holiday offering through 2008. After an eight year hiatus, Tod has brought his Mom back to delight old friends and fans, and give new audiences a chance to get in on the fun.

Tod Peterson appears as himself, but at times impersonates his mother Carole as well. The other family members—Tod's father, older brother, and two younger sisters—mainly are present by way of Tod's account of holidays gone by. Using the classic family Christmas letter, accounting for the highlights of each family member's year gone by, read by Tod in his Carole Peterson impersonation, we are able to mark the passage of years. In the first letter, Carole announces the arrival of baby Tod in 1958. Anyone familiar with these holiday missives (and who is not?) will smile broadly at the insistently upbeat news, in which each child has spent the past year developing one of their many interests to great success. Not bragging—at least not intentionally—but wanting to share the pride and joy their children give with their extended family and friends. No need for pesky details of struggles or disappointments.

Tod shares his journey, through the loving eyes of his mother, from his first acting role as one of Ebenezer Scrooge's childhood classmates in a community theater Christmas Carol, to his childhood best friend Maura Maisel, and his role as the family "entertainer," his suspicions over the truth about Santa Clause and disappointment in the church, especially in relation to his identity as a gay man, and his early adult efforts to find success in his acting career and in love. Carole always sought a way to put a happy spin on his hardships, no matter how much that grated on Tod.

The show is a fast-moving 85 minutes, with an intermission, with the Carolettes—performed by Ryan Lee, Sara Ochs and Dominque Wooten—entering after each episode of Tod's narration with a song that suits the Peterson saga. When the family is temporarily living in Hawaii, we are treated to "Mele Kalikamaka" and "Christmas Island." To celebrate Carole's job at the International Students Office of Mankato State University, we are feted with "Feliz Navidad." A particularly droll sequence depicts the Peterson family's annual caroling, singing a song with each of their neighbors—including an African American, a Japanese, and a Jewish family—in mind. There is also a tremendous "Partridge Family" send-up, going back to days of yore when Tod imagined himself David Cassidy and his friend Maura was Susan Dey. Bring on the tambourines!

The Carolettes, each a singer-actor, also perform, as soloists, songs that reflect on Tod's feelings, especially after leaving his childhood home in pursuit of his own home as an adult, songs that express longing, tenderness and hope. These include beautiful renditions of "Please Come Home for Christmas" sung by Dominque Wooten, "River" and "I'll Be Home for Christmas" sung by Ryan Lee, and "Christmas Eve" sung by Sara Ochs. Ms. Ochs also performs a comically manic number written by Peterson, "Christmas Vacation," that rails against the holiday hubbub. Tod himself sings "Our First Christmas," which tenderly recollects sharing the holidays with a new love. Adding mightily to the entire piece is music director Denise Prosek, on stage throughout, on piano.

Peter Rothstein clearly has tremendous affinity for this piece, and his direction maintains the show's affection for the people and times it portrays. He puts the cast through good-humored paces as they perform some of the campier musical numbers, while bringing out the heart in the more reflective songs. Michael Hoover's setting resembles a late 1950s department store salon, decked out for the holidays with wreaths, trees and greenery. Rich Hamson's costumes have the players tastefully dressed in holiday colors (nothing garish), and Mary Shabatura's lighting helps to create the various feelings emitted from Tod's reminiscence.

A Christmas Carole Peterson is more than one man's good-humored fan letter to his mom, and to the benefits (albeit, not always easy to accept) of unconditional acceptance and love. For anyone who has a warm spot in their heart for the heightened feelings the holidays brought to their childhoods—whatever holidays those might be—the show offers a warm embrace that tells us, even if we can never return there, "there's no place like home for the holidays." We can laugh anew at the old frolics, shed a tear for what is no more, and feel the surging warmth of a past that lives still within us.

A Christmas Carole Petersoncontinues through December 23, 2016, at the Ritz Theater, 345 13th Avenue NE, Minneapolis, MN. Tickets: $35.00 - $48.00. For tickets call 612-339-3303 or go to theaterlatteda.com.

Written by: Tod Peterson and Peter Rothstein; Director: Peter Rothstein Music Director: Denise Prosek; Set Design: Michael Hoover; Costume Design: Rich Hamson; Lighting Design: Mary Shabatura; Sound Design and Engineer: Kevin Springer; Properties Master: Abbee Warmboe; Technical Director: Stein Rosburg; Stage Manager: Tiffany K. Orr; Assistant Director: Emily England; Assistant Stage Manager: April Harding.

Cast: Ryan Lee (Carolette), Sara Ochs (Carolette), Tod Peterson (himself), Dominque Wooten (Carolette)

REVIEW: Still Resonant Ragtime

Bev WolfeTwin Cities Arts Reader

October 3, 2016

Is musical theatre relevant or mere entertainment? The musical Ragtime deals with immigration, economic disparity, and the killing of unarmed blacks by police. Although Ragtime is a period drama set in the United States near the start of the 20th century, the issues at its heart are unfortunately very much alive today.

Ragtime is an adaptation of the 1975 novel of the same name by E.I. Doctotrow; its 1998 Broadway debut garnered nominations for 13 Tony awards and 4 Tony Award wins.  The original Broadway show had a cast of 30, but Director Peter Rothstein smoothly uses a slimmer ensemble cast to convey Theatre Latte Da’s rendition of this musical, which opens Theatre Latté Da’s new season in its newly purchased home, the Ritz Theatre in Northeast Minneapolis.

The needless murders by police of the two main black characters give the show a very chilling relevance today. The central storylines follow three families: a well-to do traditional couple with a mother, father and son; a ragtime black musician by the name of Coalhouse Walker and Sarah, the mother of his newborn son; and a newly arrived impoverished Jewish immigrant by the name of Tateh and his young daughter. The characters are connected by association with several better known names of the era including Harry Houdini, Evelyn Nesbit, Henry Ford, J.P. Morgen, Emma Goldman, Admiral Perry, and Booker T. Washington. A central character, Mother, interacts with all three families.

Director Rothstein’s casting of a very enthusiastic and talented ensemble elevates this production. Chief among these are Britta Ollmann as the Mother character. Ollmann successfully conveys a woman who, after her husband leaves for a trip to the North Pole with Admiral Perry, finds her opportunity to break out of her traditional role to become independent, assertive, and compassionate. Her passionate rendition of the ballad “Back to Before,” is one of the highlights of the show.

David L. Murray, Jr. as Coalhouse charmingly plays an idealistic young man who is proud of his ability to buy a brand new Model T Ford and who truly seeks to reform his tomcatting days to win back Sara. Traci Allen Shannon as Sarah creates another of the show’s highlights with her heartfelt song “Your Daddy’s Son.” Sasha Andreev as Tateh conveys a nobleness in his efforts to bring his daughter a better life. Debra Berger as Emma Goldman brings-out the real fire of Goldman’s socialistic preaching to the people in the lower-depths of American society. The entire ensemble stands out in both the prologue and epilogue renditions of the title song “Ragtime.”

Scenic designer Michael Hoover uses sparse set pieces such as two moveable scaffold stairs, a piano and the use of two existing stage doors to effectively create multiple locations. Lighting designer Mary Shabatura’s incredible lighting works well with the sparse set to lift the scenes outside of the three warehouse type walls that create the stage.

I have seen four outstanding shows so far this year; Ragtime and Theatre Latté Da’s earlier C are two of these four. This production is not only very entertaining, its glaring relevance to today’s America reaches to the very heart.

History repeats: 'Ragtime' is a timely classic with modern urgency

Jay GablerCity Pages

September 28, 2016

Ragtime is about “a nation on the cusp of great change,” states Peter Rothstein, director of Theater Latté Da’s new production in a program note. Seen today, though, Ragtime makes American history feel less epochal than cyclical. From racist cops to frightened immigrants, the musical’s vision of American life in the early 1900s is painfully resonant with the reality we face over a century later.

For an epic historical pageant encompassing figures both factual and fictional, this musical adaptation of E.L. Doctorow’s 1975 novel has proven surprisingly amenable to chamber-sized productions. Ten Thousand Things staged an acclaimed, intimate take on the show in 2005, and now Latté Da is presenting an only moderately less minimal Ragtime as the company’s first Ritz Theater production since it purchased the northeast Minneapolis landmark.

In the 20 years since its premiere, Ragtime — written by Terrence McNally, with music by Stephen Flaherty and lyrics by Lynn Ahrens — has started to look increasingly like a contemporary classic. McNally preserves Doctorow’s sweeping tone while reining in his sprawling structure, sharpening the focus on the black pianist Coalhouse Walker (David L. Murray Jr.) and the affluent white Mother (Britta Ollmann) as twin moral centers around which the story revolves.

Rothstein’s precisely choreographed production honors that concentration on character, with a Michael Hoover scenic design that’s so subtly integrated with the Ritz’s unpolished interior that sometimes the set hardly seems to exist at all. Two rolling stairs carry actors in and out of twin doors positioned in the middle of the stage’s rear wall, with a piano doubling as Coalhouse’s shiny new Ford. A band, led by music director Denise Prosek, is completely hidden.

The story weaves several plot threads together, in a manner that could seem contrived if this stellar cast didn’t feel so organically connected. The child of Coalhouse and his lover Sarah (Traci Allen Shannon, luminous) ends up being cared for by Mother, whose husband (Daniel S. Hines) has just taken off on a polar expedition. Meanwhile, a Jewish immigrant of artistic bent (Sasha Andreev) is struggling to provide for his daughter (Georgia Blando).

Rothstein’s production has enough of the ol’ razzle-dazzle to carry off showboating numbers like Coalhouse’s “Gettin’ Ready Rag” and the darkly comedic “Crime of the Century” (with Emily Jansen, as Evelyn Nesbit, glibly singing on a swing). Then, however, the show clears the decks for poignant ballads that soar — notably the climactic “Back to Before” and “Make Them Hear You,” which Ollmann and Murray, respectively, perform with strong clear voices and rock-steady sureness of purpose.

It’s hard to imagine a more apt show to open Theater Latté Da’s new season. Highly entertaining and deeply moving, this Ragtime makes a case not only for itself but for musical theater as a means of communion and as a catalyst for action. Just in case you didn’t get the message, there are voter registration forms in the lobby.

"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.