Scott Ford directs the witty, thought-provoking comedy opening at Lyric Arts Main Street Stage on Friday, May 29, 2026. Tickets are on sale now at Lyricarts.org or by calling the Box Office at 763-422-1838.

HOME, I’M DARLING features Kyler Chase, Roberta Gibbons, Lyreshia Ghostlon-Green, Kayla Hambek, Siri Hellerman, Patti Hynes-McCarthy, Izzy Maxwell, Charlie Morgan, Kendra Mueller, and Tucker Stone.

Performances begin May 29, 2026 and run thru June 21, 2026 at the Main Street Stage.

(Anoka, MN) Lyric Arts Company of Anoka announced today the cast of HOME, I’M DARLING by Laura Wade. This satirical comedy is directed by Scott Ford. Ford directs the incredible cast featuring Kyler Chase, Roberta Gibbons, Lyreshia Ghostlon-Green, Kayla Hambek, Siri Hellerman, Patti Hynes-McCarthy, Izzy Maxwell, Charlie Morgan, Kendra Mueller, and Tucker Stone.

HOME, I’M DARLING will run May 29–June 21, 2026 at the Lyric Arts Main Street Stage. Single tickets start at $47. Group and other discounts are available. Tickets are on sale now through the box office at 763.422.1838 or online at www.lyricarts.org. Post-show discussions and access services (ASL/AD performances) are available on select dates and by request.

Judy and Johnny seem to have the perfect 1950s marriage—except it’s the 21st century. Determined to live the ultimate vintage dream, Judy trades in modern conveniences for a life of domestic bliss. But as cracks begin to show, she’s forced to ask: is nostalgia worth the cost of reality?

Witty, thought-provoking, and delightfully sharp, HOME, I’M DARLING won the Olivier Award for Best New Comedy. A stylish and surprising theatrical gem that explores love, gender roles, and what it really means to find happiness.

“We are excited to bring Laura Wade's sharply-written play to the Twin Cities for the first time,” shares director Scott Ford. “It is a funny and thought-provoking take on whether it is wiser to look at the past nostalgically or realistically. The cast is just outstanding and the design team is taking us back to the 1950s with style and panache!”

The cast of HOME, I’M DARLING features the talents of Kyler Chase (SERVANT OF TWO MASTERS), Roberta Gibbons (Lyric Arts debut), Lyreshia Ghostlon-Green (A NICE FAMILY CHRISTMAS), Kayla Hambek (LOG KYA KAHENGE), Siri Hellerman (Lyric Arts debut), Patti Hynes-McCarthy (THE GLASS MENAGERIE), Izzy Maxwell (Lyric Arts debut), Charlie Morgan (PETER AND THE STARCATCHER), Kendra Mueller (Lyric Arts debut), and Tucker Stone (AND THEN THERE WERE NONE).

The artistic team for HOME, I’M DARLING includes Scott Ford (Director), Greg Vanselow (Scenic Designer), Sarah Christenson (Costume Designer), Lucas Granholm (Lighting Designer), Laura Felde (Sound Designer), Ren Edson (Props Designer), and Emerson Stenbeck (Stage Manager).

HOME I’M DARLING runs May 29–June 21, 2026 at Lyric Arts. Single tickets are currently available! More information and tickets can be found by clicking the link below!

For our latest THANK YOU, 10 article, we met with Raquel Ponce, who returns to Lyric Arts in our upcoming production of MAMMA MIA! as the spirited and determined Sophie. Raquel shares what makes stepping into this beloved role so meaningful—from embracing Sophie’s fearless outlook on life to finding joy in a deeply supportive cast. Continue reading to hear Raquel reflect on her acting journey, her surprising personal connection to Sophie, and how this production brings new emotional depth to a fan-favorite musical.

LYRIC ARTS (LA): Tell us a little more about your character. What is some of your favorite parts about tackling this role?

RAQUEL PONCE (RP): I love how Sophie has such an innocent outlook on life. She tends to go for what she wants, when she wants, and then just hopes for the best. I also love that when everything hits the fan, she continues to stand her ground, but also take responsibility for her actions.

LA: Have you been in a production with Lyric Arts before? If not, tell us a little bit about your acting journey that brought you here!

RP: Yes! I have been in two other shows! MAMMA MIA! is definitely my favorite. I grew up watching the movie so it feels like I am living out a piece of my childhood!

LA: What's one thing that has brought you joy in doing this show?

RP: My cast-mates! We have such an incredibly talented, supportive cast, it feels like I’m hanging out with my closest friends every night!

LA: Do you have any character inspiration that you're drawing from the help you create your role?

RP: Honestly, a bit of Mia Thermopolis from The Princess Diaries. I have pulled from her for the times when Sophie is being stubborn and sassy!

LA: How do you relate to your character personally, and what surprised you about stepping into their shoes?

RP: I have realized that I am actually so similar to Sophie, it’s a bit scary. What stood out to me the most is how Sophie goes for what she wants and is soooo stubborn about it. I do the exact same.

LA: Tell us about your first-ever time being on stage!

RP: I was in the Ensemble of GREASE when I was in middle school! It was honestly one of the highlights of my childhood!

LA: What's a piece of art that you’re really digging at the moment? Why?

RP: I am obsessed with The Gilded Age. It is SOOOO GOOD!!! All of my favorite actors are in it, especially Carrie Coon, and I live for the “sophisticated drama” and dresses!!

LA: If you could give your younger self one piece of advice what would it be?

RP: Do not pay attention to what others say about you. Their opinions do not matter. The ONLY thing that matters is what you think.

LA: ABBA’s music is such a huge part of the show—do you have a favorite number to perform?  

RP: I loveeeee “Thank You For The Music!” It is such a wholesome song/scene and I think it’s just so cute!! A close second would have to be “Voulez Vous!”

LA: How does this production put its own spin on such an iconic musical?

RP: MAMMA MIA! is such a fun show, sometimes I feel like that’s all it is portrayed to be. But, we have really focused on the raw and real emotions that each character goes through, both good and bad. I think that it has helped with making each relationship be more relatable and not just seen as people who sing and dance with each other.

Thank you so much, Raquel for taking the time out of your busy rehearsal schedule to interview with us! MAMMA MIA! opens on April 10 and tickets are going fast! Make sure to grab yours before they’re gone by clicking the button below!

For our latest THANK YOU, 10 article we met Bruce Abas, who’s making his Lyric Arts debut as Sir Lawrence Wargrave in our upcoming production AND THEN THERE WERE NONE. A longtime Twin Cities theater artist, Bruce shares what excites him about portraying the ever-observant, intellectually driven Wargrave and the joy of collaborating with a stellar cast and crew. Continue reading to hear Bruce reflect on his artistic journey, his unexpected character inspiration, and the thoughtful message he hopes audiences carry with them.

LYRIC ARTS (LA): Tell us a little more about your character. What is some of your favorite parts about tackling this role?

BRUCE ABAS (BA): Wargrave is a distinguished man who uses his intellect and powers of deduction to find the answers in a perilous situation. He's doesn't rush to judge anyone or point fingers. It's been a challenge to portray a man who's constantly thinking.

LA: Have you been in a production with Lyric Arts before? If not, tell us a little bit about your acting journey that brought you here!

BA: This is my first production at Lyric Arts. I've had a long and varied career in the Twin Cities theater community. Lyric Arts is an amazing institution with a long history. I'm always grateful to find new challenges and opportunities with companies that are committed to this great art form.

LA: What's one thing that has brought you joy in doing this show?

BA: The cast and crew. Everyone is doing fantastic work.

LA: Do you have any character inspiration that you're drawing from the help you create your role?

BA: Adam West as Batman.

LA: How do you relate to your character personally, and what surprised you about stepping into their shoes?

BA: Wargrave insists on not adopting the easy answer to the puzzles in the play, always encouraging the characters to dig deeper and look into corners that may have been missed.

LA: Tell us about your first-ever time being on stage!

BA: I was The Boy in WAITING FOR GODOT at Theatre In a Trunk in Boise, Idaho.

LA: What's a piece of art that you’re really digging at the moment? Why?

BA: I've been reading the early novels of Edna O'Brien. Eloquent, hilarious, heart-breaking work by this seminal Irish writer.

LA: If you could give your younger self one piece of advice what would it be?

BA: Don't try so hard.

LA: AND THEN THERE WERE NONE asks its characters to look back on their pasts. Has working on this show made you more reflective about your own life?   

BA: I'm plagued with constant self-reflection, and revisiting the past. I try not to let my regrets overwhelm my daily thoughts. Best advice: Be Here Now!

LA: If there’s one idea or feeling from the show you hope audiences carry with them afterward, what would it be?

BA: Be careful not to judge people too harshly, we all carry burdens from the past.

Thank you so much, Bruce for taking the time to interview with us! Make sure you grab your tickets to see Bruce and the chilling cast of AND THEN THERE WERE NONE opening at Lyric Arts on February 27!

Kassy Skoretz directs the iconic ABBA musical opening at Lyric Arts Main Street Stage on Friday, April 10, 2026. Tickets are on sale now at Lyricarts.org or by calling the Box Office at 763-422-1838.

MAMMA MIA! features Asher Bennett-Hays, Daze Bishop, Cody Dahlson, Caitlin Featherstone, Jonathan P. Haller, Malea Hanson, Christopher Harney, Emily Jabas, Carly Joseph, Morgan Kempton, Jordan Dewayne-White Kueng, Holli Kingdon, Eric Lee, Jack Moorman, Raquel Ponce, Keith Reilly, France A. Roberts, Gianna Schiller, Timothy Snook, Lisa Vogel, and Quinn Wambeke.

Performances begin April 10, 2026 and run thru May 10, 2026 at the Main Street Stage.

(Anoka, MN) Lyric Arts Company of Anoka announced today the cast of MAMMA MIA! with music and lyrics by Benny Andersson and Björn Ulvaeus, some songs written by Stig Anderson, and book by Catherine Johnson. MAMMA MIA! was originally conceived by Judy Cramer. This ultimate feel-good musical is directed by Kassy Skoretz. Skoretz directs the incredible cast featuring Asher Bennett-Hays, Daze Bishop, Cody Dahlson, Caitlin Featherstone, Jonathan P. Haller, Malea Hanson, Christopher Harney, Emily Jabas, Carly Joseph, Morgan Kempton, Jordan Dewayne-White Kueng, Holli Kingdon, Eric Lee, Jack Moorman, Raquel Ponce, Keith Reilly, France A. Roberts, Gianna Schiller, Timothy Snook, Lisa Vogel, and Quinn Wambeke.

MAMMA MIA! will run April 10–May 10, 2026 at the Lyric Arts Main Street Stage. Single tickets start at $50. Group and other discounts are available. Tickets are on sale now through the box office at 763.422.1838 or online at www.lyricarts.org. Post-show discussions and access services (ASL/AD performances) are available on select dates and by request.

Set on a sun-soaked Greek island, MAMMA MIA! follows bride-to-be Sophie as she secretly invites three men from her mother Donna’s past—hoping to discover which one is her father. As old flames reunite and chaos unfolds, this feel-good musical bursts to life with ABBA’s greatest hits.

Since its West End premiere in 1999 and Broadway debut in 2001, MAMMA MIA! has become one of the most successful jukebox musicals of all time. Nominated for five Tony Awards, including Best Musical, MAMMA MIA! is a joyful celebration of love, family, and friendship that will have you singing and dancing in your seat!

“MAMMA MIA! It’s a party and you’re all invited! This iconic musical, headlined by a diverse and strong group of women, is a story about joy in a chosen family,” shares director Kassy Skoretz. “As Harry says, ‘There’s all kinds of families, aren’t there?’ Families don’t come in one size or configuration; this play celebrates the work we do that makes family. Sophie reminds us ‘[our] destination makes it worth the while, pushing through the darkness, still another mile.’ In this moment in time, I hope you come and revel in imagining our destination; renew yourselves for another mile by celebrating the return of family, the creation of new bonds, and the dreams that keep us going together.”

The cast of MAMMA MIA! features the talents of Asher Bennett-Hays (Lyric Arts Debut), Daze Bishop (KINKY BOOTS), Cody Dahlson (KINKY BOOTS), Caitlin Featherstone (SISTER ACT), Jonathan P. Haller (BIG FISH), Malea Hanson (Lyric Arts Debut), Christopher Harney (SISTER ACT), Emily Jabas (AND THEN THERE WERE NONE), Carly Joseph (THE SPONGEBOB MUSICAL), Morgan Kempton (GEORGIANA & KITTY: CHRISTMAS AT PEMBERLEY), Jordan Dewayne-White Kueng (Lyric Arts Debut), Holli Kingdon (THE MUSIC MAN), Eric Lee (SISTER ACT), Jack Moorman (Lyric Arts Debut), Raquel Ponce (SISTER ACT), Keith Reilly (LEADING LADIES), France A. Roberts (THE MUSIC MAN), Gianna Schiller (SISTER ACT), Timothy Snook (Lyric Arts Debut), Lisa Vogel (THE MUSIC MAN), and Quinn Wambeke (SISTER ACT).

The artistic team for MAMMA MIA! includes Kassy Skoretz (Director), JJ Gisselquist (Music Director), Michael Terrell Brown (Choreographer), Michaela Lochen (Scenic Designer), Caroline A. Zaltron (Costume Designer), Andrew Vance (Lighting Designer), Paul Estby (Sound Designer), Brandt Roberts (Props Designer), and Laini Devin (Stage Manager).

MAMMA MIA! runs April 10–May 10, 2026 at Lyric Arts. Single tickets are currently available! More information and tickets can be found by clicking the link below!

Lee Hannah Conrads directs the famous play opening at Lyric Arts Main Street Stage on Friday, February 27, 2026. Tickets are on sale now at Lyricarts.org or by calling the Box Office at 763-422-1838.

AND THEN THERE WERE NONE features Bruce Abas, Alex Cavegn, David Denninger, Nadya Dominique, Sarah Furniss, Phoenicia Gamble, Davin Grindstaff, Emily Jabas, Jeremy Lostetter, Margaret Reid, Michael Quadrozzi, Drew Reynhout, Matt Saxe, Tucker Stone, Edwin Strout, and Brendan Veerman.

Performances begin February 27 and run thru March 22, 2026 at the Main Street Stage.

(Anoka, MN) Lyric Arts Company of Anoka announced today the cast of AND THEN THERE WERE NONE by Agatha Christie. This suspenseful thriller is directed by Lee Hannah Conrads. Conrads directs the incredible cast featuring Bruce Abas, Alex Cavegn, David Denninger, Nadya Dominique, Sarah Furniss, Phoenicia Gamble, Davin Grindstaff, Emily Jabas, Jeremy Lostetter, Margaret Reid, Michael Quadrozzi, Drew Reynhout, Matt Saxe, Tucker Stone, Edwin Strout, and Brendan Veerman.

AND THEN THERE WERE NONE will run February 27–March 22, 2026 at the Lyric Arts Main Street Stage. Single tickets start at $50. Group and other discounts are available. Tickets are on sale now through the box office at 763.422.1838 or online at www.lyricarts.org. Post-show discussions and access services (ASL/AD performances) are available on select dates and by request.

Ten strangers are lured to a secluded island, each with a dark secret. One by one, they begin to die. Trapped with no way to escape and suspicion mounting, the guests must unravel the mystery before it’s too late. But who is the killer—and will anyone survive?

Agatha Christie’s AND THEN THERE WERE NONE is the world’s best-selling mystery novel, adapted into a gripping stage play that has captivated audiences for decades. Packed with suspense, twists, and a shocking finale, this thrilling whodunit will keep you on the edge of your seat!

“Agatha Christie, the queen of crime and inventor of the modern murder mystery, is one of the most popular and celebrated authors in any genre,” shares director Lee Hannah Conrads. “AND THEN THERE WERE NONE is her most popular and most adapted story, and one of the best selling novels in any language. And yet, AND THEN THERE WERE NONE is unlike any other Christie story: no one is who they seem, (almost) everyone is guilty, and Poirot is not coming to save us.”

The cast of AND THEN THERE WERE NONE features a cast nearly all making their debut at Lyric Arts including Bruce Abas, Alex Cavegn, David Denninger, Nadya Dominique, Sarah Furniss, Phoenicia Gamble, Davin Grindstaff (A NICE FAMILY CHRISTMAS), Emily Jabas (9 TO 5: THE MUSICAL), Jeremy Lostetter, Margaret Reid (A NICE FAMILY CHRISTMAS), Michael Quadrozzi (THE SERVANT OF TWO MASTERS), Drew Reynhout (BIG FISH), Matt Saxe, Tucker Stone, Edwin Strout (A NICE FAMILY CHRISTMAS), and Brendan Veerman (PETER AND THE STARCATCHER).

The artistic team for AND THEN THERE WERE NONE includes Lee Hannah Conrads (Director), Justin Hooper (Scenic Designer), Zamora S. (Costume Designer), Alyssa Kraft (Lighting Designer), Brodyn Byington (Sound Designer), Kat Walker (Props Designer), and Maggie Baukol (Stage Manager).

AND THEN THERE WERE NONE runs February 27–March 22, 2026 at Lyric Arts. Single tickets are currently available! More information and tickets can be found by clicking the link below!

It’s the first THANK YOU, 10 article of 2026! Recently, we met Lexi Johnson, who’s making her Lyric Arts debut as Ocean O’Connell Rosenberg in RIDE THE CYCLONE. Lexi brings sharp wit, powerhouse vocals, and pop-diva flair to Ocean, the ambitious class president with something to prove. Continue reading to hear Lexi reflect on what excites her most about this iconic role, the joy of working with a close-knit cast, and the journey that led her back to Minnesota and onto the Lyric Arts stage.

LYRIC ARTS (LA): Tell us a little more about your character. What is some of your favorite parts about tackling this role?

LEXI JOHNSON (LJ): Ocean is a quintessential type A, Capricorn, overachiever. Her tenacity and drive to unapologetically go after what she wants (although sometimes a bit misguided) has been so much fun to play with. I've particularly enjoyed developing the relationships between her and each of the other students. There are so many dynamics to explore, and I think we've uncovered some really fun things!

LA: Have you been in a production with Lyric Arts before? If not, tell us a little bit about your acting journey that brought you here!

LJ: This is my first show with Lyric Arts! I was born and raised in the NW suburbs here in Minnesota and started acting around the age of 10. I spent a lot of my formative years working with Stages Theater Company, which gave me a great base of skills as I got older. I attended Benilde-St. Margaret's for high school and then graduated with a BFA in Musical Theater with a dance minor from Millikin University in Illinois. After some time living and working in theater in both Chicago and Nashville, I felt the pull to come back to Minnesota at the end of 2022. Since being back i've had the privilege to work on some of my dream shows here in the cities with some of my dearest friends. I am overjoyed that Lyric Arts and RIDE THE CYCLONE have now become a part of that journey.

LA: What's one thing that has brought you joy in doing this show?

LJ: The cast, hands down. This is a show where our offstage relationships with each other are just as, or even more, important than the ones onstage. Each actor is not only phenomenally talented, but also so deeply kind and genuinely delightful to be around. Getting to catch up with them before and after rehearsals has truly been the highlight of my day these last few months.

LA: Do you have any character inspiration that you're drawing from the help you create your role?

LJ: The only specific inspiration I am drawing from is on the musical side of things, and that would be from the queen, Britney Spears. We love a pop diva moment! Outside I've that, I watched a lot of early 2000s teen dramas and rom coms to really work to embody that stereotypical overachieving, class president archetype.

LA: How do you relate to your character personally, and what surprised you about stepping into their shoes?

LJ: As a fellow Capricorn, I relate to Ocean's passion, ambition, and drive. I am a person that gives 110% once she sets her mind to something and Ocean definitely does that to the extreme. I think her emotional arc that we see completed at the end of the show really surprised me (no spoilers!)....but it was interesting to get to develop her EQ as opposed to her IQ as the story progressed, and see how that impacts her relationships, particularly with her best friend, Constance.

LA: Tell us about your first-ever time being on stage!

LJ: I was straw peddler #3 in The 3 Piggy Opera in Kindergarten. I still remember the tune to my song "Straw for Sale".

LA: What's a piece of art that you’re really digging at the moment? Why?

LJ: In an un-shocking turn of events, I am a big ol' nerd. I am currently halfway through the book Iron Flame and LOVING it! High stakes fantasy and dragon riders? Sign me up! I am also watching Stranger Things through for the first time (I know, I'm so late to that party), but I have really enjoyed that as a DnD player myself.

LA: If you could give your younger self one piece of advice what would it be?

LJ: I know it's cliche, but it would be: Just do "you", and don't care about what other people think! Focusing on what you want and feel is best for you in any aspect of your life is always going to matter more than the judgement of others. Asking for advice is an important skill, but not if its at the expense of your own dreams or happiness.

LA: In RIDE THE CYCLONE, the characters reflect on their lives and regrets—if you could relive one moment from your life, what would it be?  

LJ: OH MY GOODNESS this is a hard one.... I am not someone who likes to feel or believe in regret. I think the way our lives play out always informs/betters us for what is still to come. So I think I have to pick a moment for the sake of wanting to relive the joy of it all over again. I recently played Ariel in THE LITTLE MERMAID and the pure joy and wonder that radiated off of all of the little kids in the audience, some dressed head to toe as our characters, is something I'd love to live in again with my fellow cast mates. Bringing a character to life that was that important to so many little humans was awe inspiring, and something I will be eternally grateful for.

LA: The show deals with fate, chance, and “what ifs.” Do you believe in fate, or do you think life is more about choices we make?

LJ: I kind of fall into both camps of thought. I do believe "everything happens for a reason", but I think how we get there is up to us and our choices. Fate may have somethings predetermined, but it is entirely up to us how we get there and how we handle those things as they come into our path.

Thank you so much, Lexi for taking the time to interview with us! Make sure you grab your tickets to see Lexi and the incredible cast of RIDE THE CYCLONE opening at Lyric Arts on January 16!

Marci Lucht directs the darkly comedic musical opening at Lyric Arts Main Street Stage on Friday, January 16, 2026. Tickets are on sale now at Lyricarts.org or by calling the Box Office at 763-422-1838.

RIDE THE CYCLONE features DeZhané Antoinette, Elizabeth Dunn, Cassie Edlund, Nadia Franzen, Erik Haering, Cameron Roy Hall, Imani Harris, Lexi Johnson, Kaoru Shoji, Benni Siglin, and Jonah Smith.

Performances begin January 16, 2026 and run thru February 8, 2026 at the Main Street Stage.

(Anoka, MN) Lyric Arts Company of Anoka announced today the cast of RIDE THE CYCLONE with book, music, and lyrics by Jacob Richmond and Brooke Maxwell. RIDE THE CYCLONE was originally produced by Kevin McCollum and Morris Berchard. This dark musical is directed by Marci Lucht. Lucht directs the incredible cast featuring DeZhané Antoinette, Elizabeth Dunn, Cassie Edlund, Nadia Franzen, Erik Haering, Cameron Roy Hall, Imani Harris, Lexi Johnson, Kaoru Shoji, Benni Siglin, and Jonah Smith.

RIDE THE CYCLONE will run January 16–February 8, 2026 at the Lyric Arts Main Street Stage. Single tickets start at $50. Group and other discounts are available. Tickets are on sale now through the box office at 763.422.1838 or online at www.lyricarts.org. Post-show discussions and access services (ASL/AD performances) are available on select dates and by request.

Six teenagers board a roller coaster—only to find themselves in limbo, competing for a second chance at life. As they share their stories through an eclectic and electrifying score, RIDE THE CYCLONE blends dark comedy, heartfelt emotion, and unexpected twists into a theatrical experience like no other.

A cult-favorite musical that has earned acclaim across North America, RIDE THE CYCLONE won the Dora Award for Outstanding Musical Theatre Production. Quirky, poignant, and wildly inventive, this thrilling ride through fate, identity, and what it truly means to live is one you won’t want to miss!

“RIDE THE CYCLONE is one of those rare shows that manages to be both funny and deeply moving,” shares director Marci Lucht. “On its surface, it’s about sudden tragedy, yet it’s a story about what it means to be alive — about identity, purpose, and how we each want to be remembered. What I love most about this show is that it doesn’t shy away from darkness, yet it always finds light, finds humor and a sense of gratitude for life.”

The cast of RIDE THE CYCLONE features the talents of DeZhané Antoinette (SISTER ACT), Elizabeth Dunn (Lyric Arts Debut), Cassie Edlund (SISTER ACT), Nadia Franzen (THE MUSIC MAN), Erik Haering (Lyric Arts Debut), Cameron Roy Hall (Lyric Arts Debut), Imani Harris (BIG FISH), Lexi Johnson (Lyric Arts Debut), Kaoru Shoji (SISTER ACT), Benni Siglin (Lyric Arts Debut), and Jonah Smith (MISS BENNETT: CHRISTMAS AT PEMBERLEY).

The artistic team for RIDE THE CYCLONE includes Marci Lucht (Director), Laura Long (Music Director), Madi Nelson (Choreographer), Cory Skold (Scenic Designer), Sarah Christenson (Costume Designer), Shannon Elliott (Lighting Designer), Michaela Lochen (Projections Designer), Paul Estby (Sound Designer), Ren Edson (Props Designer), Ian Pirner (Videographer), and Emily Ludewig (Stage Manager).

RIDE THE CYCLONE runs January 16–February 8, 2026 at Lyric Arts. Single tickets are currently available! More information and tickets can be found by clicking the link below!

And what an incredible story it’s been. In recent years, we’ve brought you big, joy-filled musicals like KINKY BOOTS, 9 TO 5, SISTER ACT, THE MUSIC MAN, A CHORUS LINE, and BIG FISH; intimate works like THE LAST FIVE YEARS and THE PAVILION; and bold, thought-provoking pieces like RADIANT VERMIN, LOG KYA KAHENGE, and WHITE RABBIT RED RABBIT. Not to mention three unforgettable CHRISTMASES AT PEMBERLEY!

Our education programs have also grown beyond what we ever imagined—offering more classes, day camps, and school residencies, and providing more scholarships than ever before. Because we firmly believe no child’s financial situation should stand in the way of participating in the performing arts.

If you’ve attended a show at Lyric Arts, you already know what makes it special—the energy, the artistry, the laughter and connection that fill our theater.

Even as audiences return and our stages shine bright, the cost of creating live theater continues to climb. Lumber, fabric, royalties, scripts—everything costs more. And the artists who bring these productions to life need and deserve fair pay to keep making their art and living in our community.

This year, we were so close to finally overcoming the deficit budgets we’ve carried since the pandemic. But with funding slashed at the Minnesota State Arts Board, we’ve suffered a sweeping $37,000 in unexpected cuts— $25,000 of which directly supported our education programs. Lyric Arts now faces a serious shortfall.

We must raise $140,000 by December 31 from individuals, businesses, and foundations to stay on track. Without it, we will be forced to make painful choices—which could mean fewer productions, reduced opportunities for students, or cuts that would directly impact our artists and the quality you’ve come to expect from Lyric Arts.

Your gift today will make an immediate difference. You’ll join a community of supporters who make everything you love about Lyric Arts possible—from the lights coming up on stage to the smiles in our classrooms. This is not just about keeping the lights on. It’s about protecting everything we’ve built together over three decades—the joy, the artistry, the sense of belonging that lives inside this theater.

In times like these—when the world can feel divided and heavy—the performing arts are a reminder of what connects us. They help young people grow in confidence, help audiences laugh and feel and dream together. That is worth protecting. This is not the moment for Lyric Arts to step back. It’s the moment to step up—to keep our mission going strong, for you and because of you.

Every dollar helps us continue our work, ensuring that the story of Lyric Arts continues for the next thirty years and beyond. If this inspires you, please make a donation today at the link below.

Thank you for your support, now and always.

Laura Tahja Johnson
Artistic & Executive Director of Lyric Arts

For our latest THANK YOU, 10 article, we caught up with Patrick Kozicky, who’s making his Lyric Arts debut as Carl in A NICE FAMILY CHRISTMAS! A longtime fan of Lyric Arts, Patrick brings humor and heart to Carl, the “fairly well-adjusted” middle child in a delightfully chaotic family. Continue reading to hear Patrick reflect on his journey to the Lyric Arts stage, the joy of becoming part of a new “family” of artists, and some of his favorite holiday traditions.

LYRIC ARTS (LA): Tell us a little more about your character. What is some of your favorite parts about tackling this role?

PATRICK KOZICKY (PK): Carl is the middle child in a family full of recognizable characters. He likes to consider himself fairly well adjusted, but that is certainly not the case. He’s an observer in his family zoo, but he’s also a resident.

LA: Have you been in a production with Lyric Arts before? If not, tell us a little bit about your acting journey that brought you here!

PK: Long time fan, first time performer on the Lyric Arts stage. I’ve been performing and directing in Minnesota for…a certain number of years…and I’m thrilled to add Lyric Arts to my list of places to call home.

LA: What's one thing that has brought you joy in doing this show?

PK: The cast and crew. This show is 100% about the chemistry and talent of everyone both on and off stage in this production. We are hoping to show you a family full of love and flaws by becoming a family of artists who bounce off of each other.

LA: Do you have any character inspiration that you're drawing from the help you create your role?

PK: Carl is a little bit Charlie Brown, and a little bit Snoopy with a hint of Lucy for good measure.

LA: How do you relate to your character personally, and what surprised you about stepping into their shoes?

PK: Carl is just a guy trying to get through the day without too many meltdowns. Our specific journeys aren’t the same, but our desire to make it work is very similar.

LA: Tell us about your first-ever time being on stage!

PK: My very first role was playing Pop Troll in The Billy Goats Gruff at SteppingStone theater, roughly one thousand years ago.

LA: What's a piece of art that you’re really digging at the moment? Why?

PK: I’m re-reading a lot of David Sedaris books right now. And I like to listen to classical music on my way to rehearsals. Someone once told me that classical music organizes the mind. Fingers crossed. It’s a mess up there.

LA: If you could give your younger self one piece of advice what would it be?

PK: Take a step back and breathe. It’s okay not to be okay all the time.

LA: What's your favorite thing about the Holidays? Do you have a favorite Holiday tradition in your household?

PK: Any holiday movie. A Christmas Story, Elf, Miracle on 34th Street….and of course Christmas Eve on Sesame Street. A classic.

LA: What's one of the best gifts you've received?

PK: I should say something deep and meaningful here…but to know me is to know that I love Chicago mix popcorn as a gift.

Thank you so much, Patrick for taking the time out of your rehearsal schedule to interview with us! Make sure you grab your tickets to see Patrick and the fantastic cast of A NICE FAMILY CHRISTMAS opening on the Main Street Stage November 21!

Ben Thietje directs the hilarious holiday comedy opening at Lyric Arts Main Street Stage on Friday, November 21. Tickets are on sale now at Lyricarts.org or by calling the Box Office at 763-422-1838.

A NICE FAMILY CHRISTMAS features Lori Constable, Lyreshia Ghostlon-Green, Davin Grindstaff, Patrick Kozicky, Sophenia Marchant, Waverly Ann McCollum, Margaret Reid, Edwin Strout, Sam Sweere, Kathleen Winters, and Anthony Zadra.

Performances begin November 21, 2025 and run thru December 21, 2025 at the Main Street Stage.

(Anoka, MN) Lyric Arts Company of Anoka announced today the cast of A NICE FAMILY CHRISTMAS by Phil Olson. This holiday comedy is directed by Ben Thietje. Thietje directs the incredible cast featuring Lori Constable, Lyreshia Ghostlon-Green, Davin Grindstaff, Patrick Kozicky, Sophenia Marchant, Waverly Ann McCollum, Margaret Reid, Edwin Strout, Sam Sweere, Kathleen Winters, and Anthony Zadra.

A NICE FAMILY CHRISTMAS will run November 21–December 21, 2025 at the Lyric Arts Main Street Stage. Single tickets start at $50. Group and other discounts are available. Tickets are on sale now through the box office at 763.422.1838 or online at www.lyricarts.org. Post-show discussions and access services (ASL/AD performances) are available on select dates and by request.

It’s Christmas Eve, and one quirky Midwestern family is gathering for a holiday full of love, laughter—and plenty of dysfunction. When a young journalist is assigned to write about his family’s Christmas traditions, secrets spill, tempers flare, and chaos ensues. Will the holiday spirit survive the night?

Packed with quick wit, heartfelt moments, and laugh-out-loud surprises, A NICE FAMILY CHRISTMAS, is an audience-favorite holiday hit. Written by Phil Olson who is best known for his award-winning DON’T HUG ME series, this festive comedy proves no matter how crazy family can be, there’s no place like home for the holidays!

“A NICE FAMILY CHRISTMAS is the perfect holiday event for those who've survived a family dinner during the holidays,” shares director Ben Thietje. “It’s lighthearted and hilarious, but also sneaks up on you with moments of genuine warmth. You'll leave feeling entertained but also uplifted — which is exactly what we all need right about now.”

The cast of A NICE FAMILY CHRISTMAS features a cast nearly all making their debut at Lyric Arts including Lori Constable, Lyreshia Ghostlon-Green (SIGNIFICANT OTHER), Davin Grindstaff, Patrick Kozicky, Sophenia Marchant, Waverly Ann McCollum (GEORGIANA & KITTY: CHRISTMAS AT PEMBERLEY), Margaret Reid (BIG FISH), Edwin Strout, Sam Sweere, Kathleen Winters, and Anthony Zadra.

The artistic team for A NICE FAMILY CHRISTMAS includes Ben Thietje (Director), Greg Vanselow (Scenic Designer), Eleanor Schanilec (Costume Designer), Ellie Simonett (Lighting Designer), Bailey Fenn (Sound Designer), Vicky Erickson (Props Designer), and Gabriella Mancl-Saxon (Stage Manager).

A NICE FAMILY CHRISTMAS runs November 21–December 21, 2025 at Lyric Arts. Single tickets are currently available! More information and tickets can be found by clicking the link below!

It’s the first THANK YOU, 10 article for Lyric Arts’ 25–26 Season! Recently, we caught up with Lyric Arts alum Kate Beahen, who will be returning to the Main Street Stage as Sandra in our upcoming production of BIG FISH! From her Pocket Theatre debut in the mid-90s to drawing inspiration from her own love story, Kate shares what makes this show so deeply meaningful. Continue reading to hear Kate reflect on her roots at Lyric Arts, what inspires her portrayal of Sandra, and the “Big Fish” in her own life.

LYRIC ARTS (LA): Tell us a little more about your character. What is some of your favorite parts about tackling this role?

KATE BEAHEN (KB): I play Sandra Templeton, the woman madly in love with her husband, Edward Bloom. Sandra is such a loving, warm soul, so digging into her story leads to so much reflection of what it means to love so surely.

LA: Have you been in a production with Lyric Arts before? If not, tell us a little bit about your acting journey that brought you here!

KB: My first show with Lyric Arts was with the original pocket theatre in the mid 90s! I stood on stage with a rag-tag group of kids and a few adult volunteers as we performed the locally-written musical MISCHIEF AND EVE which chronicled the history of how Anoka became the Halloween Capital of the World. Many of those same kids, adults and designers are not only still a part of my life, but many of us have gone on to pursue theater as a profession. There is so much to be said about the opportunities Lyric Arts has provided over the years. I am undoubtedly who I am as an artist today because Lyric Arts provided my rag-tag, eye-patch wearing self a chance to shine!

LA: What's one thing that has brought you joy in doing this show?

KB: Watching this incredible ensemble bring this story to LIFE. They are so remarkably-talented.

LA: Do you have any character inspiration that you're drawing from the help you create your role?

KB: Jessic Lange plays the role in the movie, and her strength and calm spirit almost have a vibration. I try and hear this hum in my soul when I begin to reach for the two men in my life and hold them close.

LA: How do you relate to your character personally, and what surprised you about stepping into their shoes?

KB: I was lucky enough to only-recently discover the same level of love I see Sandra and Edward share. I found a partner who beautifully flows between best friend, adventure seeker, love maker, growth inspirer and home creator. I cannot look at my own love without smiling and feeling a sense of peace. This is the same way I view Edward through Sandra's eyes.

LA: Tell us about your first-ever time being on stage!

KB: I had the honor of playing Amaryllis in the 1997 production of THE MUSIC MAN at Lyric Arts Pocket Theatre!

LA: What's a piece of art that you’re really digging at the moment? Why?

KB: I've been listening to a lot of Nickel Creek and otherwise-bluegrassy tunes as I move through my house and get things done. Give me mandolin music and tight harmonies all day!

LA: If you could give your younger self one piece of advice what would it be?

KB: Your instincts will be right every time.

LA: Do you have a ‘Big Fish’ in your life; someone who told wild stories or inspired you?

KB: My grandpa Roger was notorious for his stories. I never asked if they were true, and I never considered they might not be until this very moment. It wouldn't change a thing.

LA: BIG FISH began as a novel, became a major film, and is now a stage musical. Why do you think this story continues to resonate with audiences today? 

KB: This is a story about love, death and the mark we leave on this world once we leave. Who amongst us cannot connect to these three pillars of existence?

Thank you so much, Kate for taking the time out of your rehearsal schedule to catch up with us! Make sure you grab your tickets to see Kate the incredible cast of BIG FISH opening on the Main Street Stage September 5!

Written by Iranian playwright Nassim Soleimanpour, this unique theatrical experience opens at Lyric Arts Main Street Stage on Friday, October 17. Tickets are on sale now at Lyricarts.org or by calling the Box Office at 763-422-1838.

WHITE RABBIT RED RABBIT features Tyler Michaels King, Noah Hynick, Lauren Anderson, Pedro Juan Fonseca, Kate Beahen, Emma Schuld, Armando Harlow Ronconi, Kiko Laureano, Shanan Custer, Joy Dolo, and Nora Sonneborn.

Performances begin October 17, 2025 and run thru November 2, 2025 at the Main Street Stage.

(Anoka, MN) Lyric Arts Company of Anoka today announced the cast of WHITE RABBIT RED RABBIT written by Nassim Soleimanpour. Lyric Arts’ incredible cast features Tyler Michaels King, Noah Hynick, Lauren Anderson, Pedro Juan Fonseca, Kate Beahen, Emma Schuld, Armando Harlow Ronconi, Kiko Laureano, Shanan Custer, Joy Dolo, and Nora Sonneborn.

WHITE RABBIT RED RABBIT will run Oct 17–Nov 2, 2025 at the Lyric Arts Main Street Stage. Single tickets start at $47. Group and other discounts are available. Tickets are on sale now through the box office at 763.422.1838 or online at www.lyricarts.org. Post-show discussions and access services (ASL/AD performances) are available on select dates and by request.

No rehearsals. No director. No second chances. One actor walks on stage, opens a sealed envelope, and performs the script for the first and only time—alongside the audience.

Written by Iranian playwright Nassim Soleimanpour, WHITE RABBIT RED RABBIT has been performed worldwide and won the Dublin Fringe Festival Award for Best New Performance. A thrilling, unpredictable, and thought-provoking theatrical experience, it explores power, obedience, and the nature of storytelling. Every performance is unique. Every night is an experiment. Be part of the mystery. Be part of the moment.

"As you witness this audacious and daring work, you will experience firsthand the magic that unfolds when both performer and audience embrace the unexpected," shares Artistic and Executive Director Laura Tahja Johnson. "This play explores themes of freedom, power, and human connection in a way that is both deeply personal and universally resonant."

The cast of WHITE RABBIT RED RABBIT features the talents of Tyler Michaels King (Lyric Arts Debut), Noah Hynick (SIGNIFICANT OTHER), Lauren Anderson (Lyric Arts Debut), Pedro Juan Fonseca (Lyric Arts Debut), Kate Beahen (BIG FISH), Emma Schuld (OUR TOWN), Armando Harlow Ronconi (SHE LOVES ME), Kiko Laureano (SOMETHING ROTTEN!), Shanan Custer (9 TO 5), Joy Dolo (Lyric Arts Debut), and Nora Sonneborn (9 TO 5).

The artistic team for WHITE RABBIT RED RABBIT includes Shannon Elliott (Lighting Designer), Matthew Meeks (Stage Manager), and Emerson Stenbeck (Assistant Stage Manager).

WHITE RABBIT RED RABBIT runs October 17–November 2, 2025 at Lyric Arts. Single tickets are currently available! More information and tickets can be found by clicking the link below!

It’s the last THANK YOU, 10 article for Lyric Arts’ 24–25 Season! Recently we met Tony Potts who will be making his Lyric Arts debut as Harold Hill in our upcoming production of THE MUSIC MAN! Continue reading to learn more about Tony and his joy and inspiration for tackling one of the most iconic roles in musical theater.

LYRIC ARTS (LA): Tell us a little more about your character. What is some of your favorite parts about tackling this role?

TONY POTTS (TP): Harold Hill is one of those iconic characters in the musical theater canon. He's a con man who you find out has a big heart. In some ways, we can't help but be drawn to him. He’s warm and open, optimistic and curious, filled with energy, and full of life. He sees every situation as an opportunity, and doesn't let a closed door stop him! His curiosity, tenacity, and big smile lead him into all sorts of wacky, wild, and heartfelt situations. We find him complex in that he is obviously conning the town for his own personal gain, but throughout the course of the show we begin to see the cracks appear in his carefully constructed and charismatically executed salesman facade. I love expressing and exploring the dynamics between which Harold Hill we are getting. Whether it's this salesman persona, or the real Harold.

LA: Have you been in a production with Lyric Arts before? If not, tell us a little bit about your acting journey that brought you here!

TP: This is my first show at Lyric Arts! I've been involved in the theater and music community both here and in Dallas, where I completed my Master's in Voice Performance, for the past seven years. Since completed my training, I've had one foot in both the worlds of musical theater and opera. You might have seen me around town at Theater Latté Da, Skylark Opera Theater, or with the Minnesota Opera. Some recent highlights have been Marcello in LA BOHEME at Theater Latté Da, Gus and Editor Daily in THE CRADLE WILL ROCK with An Opera Theater, a soloist in CARMINA BURANA with the Minnesota Dance Theater, and Federov in Skylark's production of THE CHRISTMAS SPIDER. I'm absolutely delighted and filled with gratitude to be here doing this classic piece of musical theater with such an incredible group of people!

LA: What's one thing that has brought you joy in doing this show?

TP: I love getting to perform all of these big show-stopping tunes in the first act, particularly “Ya Got Trouble”, “76 Trombones”, “Sadder But Wiser Girl”, and “Marian”. These numbers chock-full of high-energy, beautiful and electrifying movements. I love getting to march my way into the town of River City, shake my arms and raise the roof with the townspeople as Harold tells them of the dangers of a pool table in their town, and create chaos in the Library as Marian tries to keep up with all of Harold's outlandish and silly antics.

LA: Do you have any character inspiration that you're drawing from the help you create your role?

TP: Danny Kaye and Dick Van Dyke are two people who come to mind. These actors were always a big inspiration for me as a kid and in some ways I'm always chasing them and pulling from their rich catalogue of characters and style. Some specific characters might be Bert from Mary Poppins and Hubert Hawkins from The Court Jester. Of course no performance of Harold would be complete without acknowledging the impact of Robert Preston on the role and in shaping our collective perceptions of the great Professor Hill. His performance has been an important part of my life for a long time and continues to influence me today.

LA: Do you currently play any instruments or were you involved in a band at all growing up? 

TP: Now, I mostly play the piano, but have been a bit of a "jack of all trades" when it comes to instruments. I dabble with the guitar, bass, drums and accordion. In middle school and high school I played the cello and tenor sax in the orchestra and band, respectively.

LA: Tell us about your first-ever time being on stage!

TP: Growing up with musical and theatrical parents, my first role was playing an angel in a production at our church, where I had to hold a sword and remain completely still for the duration of the show. Later on, I played Archibald in the play SECRET GARDEN. Looking back I'm grateful my English teacher gently forced my friend and I to audition! My foray into the musical theater world was with Snoopy in YOU'RE A GOOD MAN, CHARLIE BROWN in high school. This really kicked it off for me. I caught the bug, and it's really the show that changed my life.

LA: What's a piece of art that you’re really digging at the moment? Why?

TP: These past couple months with rehearsals and everything have been a whirlwind, so I really feel like my art consumption has been down! That being said, I've been watching Parks and Rec, which is always a fun escape in addition to a great character study. I've been enjoying listening to an Irish Band called The Mary Wallopers. We just saw PASSION at Latté Da, so that kind of sent me down a rabbit hole of listening to and reading about Sondheim and that show in particular. Up next in my reading queue is the Red Rising series, so hopefully I can get around to that soon.

LA: If you could give your younger self one piece of advice what would it be?

TP: To just go for it. We don't know how much time we have. We spend so much time thinking and worrying about things, that we sometimes never start. Show up, say yes, and take that leap. We figure out our safety and our path in the free-fall. Trust the fall. When we show up in this way, we open up and gratitude flows. We are so blessed.

LA: “Ya Got Trouble” and “Seventy-Six Trombones” are iconic numbers. What’s it like performing such well-known songs, and how do you keep them fresh?

TP: I think the keyword is fun. You gotta have fun with these songs and let it rip! I've found that staying curious, listening, and letting the moment unfold always gives me something to discover. The songs are just so good that there's really plenty to work with! The words really give me everything I need. When in doubt, I can always up the stakes a little bit, too! There's also so much movement and dance in these songs that always helps to keep it fresh. It's been a joy connecting and finding little moments each night with my acting partners onstage. These little explorations and surprises make the scene come to life!)

LA: How do you relate to your character personally, and what surprised you about stepping into their shoes?

TP: I love having a good adventure. I think that Harold is always doing this sort of thing, too. He’s figuring it out as he goes. Each moment is a discovery. Even from the beginning of the show, we see that he didn’t plan on stopping in River City. Because he was running from Charlie Cowell, he had to jump off the train. This decision changed the entire course of Harold’s life and set him on the path that he was searching for all along, which was love and belonging. This is a powerful idea— that your life can can change in an instant because you say “yes”. There is still adventure left to be had, and it’s available to all of us!

Thank you so much, Tony for taking some time our of your busy rehearsal schedule to meet with us! Make sure you grab your tickets to see Tony the fantastic cast of THE MUSIC MAN opening on the Main Street Stage July 11!

Scott Ford directs the heartwarming musical based on the beloved novel and film opening at Lyric Arts Main Street Stage on Friday, September 5. Tickets are on sale now at Lyricarts.org or by calling the Box Office at 763-422-1838.

BIG FISH features Jonah Dale Matias Anderson, Ben Bakken, Kate Beahen, Megan Beard, Justin Betancourt, Sarah Christenson, Finnola Coughlin, James Ehlenz, Will Gaspar, James Grace, Jonathan P. Haller, Imani Harris, Kaden Hesser, Brooklyn Klekamp, Catherine Maki, Brandon Osero, Lydia Rose Prior, Drew Reynhout, Margaret Reid, Alex Stokes, and Tim Wollman.

Performances begin September 5, 2025 and run thru September 28, 2025 at the Main Street Stage.

(Anoka, MN) Lyric Arts Company of Anoka today announced the cast of BIG FISH with book by John August, music and lyrics by Andrew Lippa, and based on the novel by Daniel Wallace and the Columbia Motion Picture written by John August. This magical musical is directed by Scott Ford. Ford directs the incredible cast featuring Jonah Dale Matias Anderson, Ben Bakken, Kate Beahen, Megan Beard, Justin Betancourt, Sarah Christenson, Finnola Coughlin, James Ehlenz, Will Gaspar, James Grace, Jonathan P. Haller, Imani Harris, Kaden Hesser, Brooklyn Klekamp, Catherine Maki, Brandon Osero, Lydia Rose Prior, Drew Reynhout, Margaret Reid, Alex Stokes, and Tim Wollman.

BIG FISH will run Sept 5–28, 2025 at the Lyric Arts Main Street Stage. Single tickets start at $50. Group and other discounts are available. Tickets are on sale now through the box office at 763.422.1838 or online at www.lyricarts.org. Post-show discussions and access services (ASL/AD performances) are available on select dates and by request.

Step into a world of imagination, adventure, and unforgettable storytelling in BIG FISH, the heartwarming musical based on the beloved novel and film. As Edward Bloom spins fantastical tales of his extraordinary life, his son Will sets out to uncover the truth behind the myths.

With a sweeping score and breathtaking theatricality, BIG FISH—nominated for multiple Drama Desk Awards—is a moving celebration of family, love, and the power of a great story. Don’t miss this magical, larger-than-life journey!

"We have assembled a stellar cast and a top-shelf design team to bring to life this beautiful show full of magic, imagination, humor and heart," shares director Scott Ford.

The cast of BIG FISH features the talents of Jonah Dale Matias Anderson (Lyric Arts debut), Ben Bakken (Lyric Arts debut), Kate Beahen (PROOF), Megan Beard (A TASTE OF THINGS TO COME), Justin Betancourt (THE SPONGEBOB MUSICAL), Sarah Christenson (THE MUSIC MAN), Finnola Coughlin (A TASTE OF THINGS TO COME), James Ehlenz (A CHORUS LINE), Will Gaspar (Lyric Arts debut), James Grace (SIGNIFICANT OTHER), Jonathan P. Haller (THE MUSIC MAN), Imani Harris (Lyric Arts debut), Kaden Hesser (Lyric Arts debut), Brooklyn Klekamp (Lyric Arts debut), Catherine Maki (Lyric Arts debut), Brandon Osero (THE MUSIC MAN), Lydia Rose Prior (A TASTE OF THINGS TO COME), Drew Reynhout (THE MUSIC MAN), Margaret Reid (THE MUSIC MAN), Alex Stokes (THE MUSIC MAN), and Tim Wollman (Lyric Arts debut).

The artistic team for BIG FISH includes Scott Ford (Director), Wesley Frye (Music Director), Hannah Weinberg-Goerger (Choreographer), Curtis Phillips (Scenic Designer), Samantha Fromm Haddow (Costume Designer), Shannon Elliott (Lighting Designer), JJ Gisselquist (Sound Tech), Brady Whitcomb (Projections Designer), Kat Walker (Props Designer), and Jenna Hyde (Stage Manager).

BIG FISH runs September 5–28, 2025 at Lyric Arts. Single tickets are currently available! More information and tickets can be found by clicking the link below!

Lauri Kraft directs and choreographs the beloved musical classic opening at Lyric Arts Main Street Stage on Friday, July 11. Tickets are on sale now at Lyricarts.org or by calling the Box Office at 763-422-1838.

THE MUSIC MAN features Evie Blake, Alyse Boudreau, Sarah Christenson, Cyrus Degneau, Shana Eisenberg, Ava Fox, Nadia Franzen, Ben Glisczinski, Jonathan P. Haller, Sienna Hannay, William Kroeger, Anna Maher, Andrew Newman, Brandon Osero, Parker David Payne, Tony Potts, Margaret Reid, Paul Reyburn, Drew Reynhout, Holli Richgels, France A. Roberts, Joe Sorenson, Alex Stokes, Cole Strelecki, Maddox Tabalba, Emily Thorkildson, Tic Treitler, and Lisa Vogel.

Performances begin July 11, 2025 and run thru August 10, 2025 at the Main Street Stage.

(Anoka, MN) Lyric Arts Company of Anoka today announced the cast of THE MUSIC MAN with book, music and lyrics by Meredith Willson and story by Meredith Willson and Franklin Lacey. This beloved classic is directed and choreographed by Lauri Kraft. Kraft directs the stellar cast featuring Evie Blake, Alyse Boudreau, Sarah Christenson, Cyrus Degneau, Shana Eisenberg, Ava Fox, Nadia Franzen, Ben Glisczinski, Jonathan P. Haller, Sienna Hannay, William Kroeger, Anna Maher, Andrew Newman, Brandon Osero, Parker David Payne, Tony Potts, Margaret Reid, Paul Reyburn, Drew Reynhout, Holli Richgels, France A. Roberts, Joe Sorenson, Alex Stokes, Cole Strelecki, Maddox Tabalba, Emily Thorkildson, Tic Treitler, and Lisa Vogel.

THE MUSIC MAN will run July 11–Aug 10, 2025 at the Lyric Arts Main Street Stage. Single tickets start at $46. Group, senior, student, and other discounts are available. Tickets are on sale now through the box office at 763.422.1838 or online at www.lyricarts.org. Post-show discussions and access services (ASL/AD performances) are available on select dates and by request.

River City, Iowa. 1912. Enter Harold Hill: charming, charismatic, and out to swindle the citizens of this small town with his promise of a boys’ band. But when Hill finds himself falling for spirited and skeptical Marian Paroo, all bets are off the table. Suddenly, the smooth-talking con man will have to decide if deceiving the people of River City will be worth betting his heart.

With unforgettable songs like 76 Trombones and Till There Was You, this beloved classic celebrates love, community, and the power of music. Infused with colorful characters and set against a rich backdrop of turn-of-the-century Americana, THE MUSIC MAN promises to be the perfect night out at the theater. Don’t miss your chance to fall under the timeless spell of this beloved classic!

“This show is so charming, fun, and funny! There’s so much great humor in the script, and the characters just leap off the page. And at the same time, it’s a beautiful story that radiates joy, hope and happiness,” shares director Lauri Kraft. “It’s such a perfect love letter to small town America and we’re planning to bring people a bright, lighthearted show that makes them smile, laugh, and feel like they’ve spent a couple of hours out in the Iowa sunshine.”

The cast of THE MUSIC MAN features the talents of Evie Blake (Lyric Arts debut), Alyse Boudreau (Lyric Arts debut), Sarah Christenson (PETER AND THE STARCATCHER), Cyrus Degneau (Lyric Arts debut), Shana Eisenberg (IF/THEN), Ava Fox (Lyric Arts debut), Nadia Franzen (GEORGIANA & KITTY: CHRISTMAS AT PEMBERLEY), Ben Glisczinski (SIGNIFICANT OTHER), Jonathan P. Haller (SISTER ACT), Sienna Hannay (Lyric Arts debut), William Kroeger (Lyric Arts debut), Anna Maher (Lyric Arts debut), Andrew Newman (THE SERVANT OF TWO MASTERS), Brandon Osero (PETER AND THE STARCATCHER), Parker David Payne (PETER AND THE STARCATCHER), Tony Potts (Lyric Arts debut), Margaret Reid (BRIGHT STAR), Paul Reyburn (Lyric Arts debut), Drew Reynhout (Lyric Arts debut), Holli Richgels (Lyric Arts debut), France A. Roberts (PETER AND THE STARCATCHER), Joe Sorenson (Lyric Arts debut), Alex Stokes (PETER AND THE STARCATCHER), Cole Strelecki (Lyric Arts debut), Maddox Tabalba (Lyric Arts debut), Emily Thorkildson (Lyric Arts debut), Tic Treitler (PETER AND THE STARCATCHER), and Lisa Vogel (SENSE AND SENSIBILITY).

The artistic team for THE MUSIC MAN includes Lauri Kraft (Director & Choreographer), JJ Gisselquist (Music Director), Greg Vanselow (Scenic Designer), Eleanor Schanilec (Costume Designer), Alyssa Kraft (Lighting Designer), Paul Estby (Sound Designer), Ren Edson (Props Designer), and Ainsley Cox (Stage Manager).

THE MUSIC MAN runs July 11–August 10, 2025 at Lyric Arts. Single tickets are currently available! More information and tickets can be found by clicking the link below!

For our next THANK YOU, 10 article we caught up with Eva Gemlo who plays Laura in our upcoming production of SIGNIFICANT OTHER! Continue reading to learn more about Eva, her first major role that she still gets asked about today, and how she met her significant other!

LYRIC ARTS (LA): Tell us a little more about your character. What is some of your favorite parts about tackling this role?

EVA GEMLO (EG): My character is Laura, Jordan’s best friend and confidant! My favorite part about her is her big heart: she loves her friends and she goes out of her way to be there for them whenever they need. My favorite part about tackling this role is getting to do my very favorite thing onstage: listening to my scene partner.

LA: Have you been in a production with Lyric Arts before? If not, tell us a little bit about your acting journey that brought you here!

EG: I have! This is actually my first non-christmas show at Lyric Arts, and my first one set in the present day! I was Lizzie Darcy (neé Bennet) in THE WICKHAMS: CHRISTMAS AT PEMBERLEY, and Mary Bailey in IT’S A WONDERFUL LIFE, so...lots of Christmas celebrating and lots of beautiful dresses.

I would say that this one I'm working on right now is my favorite! It's an incredible script, it's a perfect room of actors, and from what I've seen and heard of the design work, it's going to look and feel stunning. I cannot wait to get this one open!

LA: What's one thing that has brought you joy in doing this show?

EG: This rehearsal room! Everyone involved with this production is so funny, inventive, and CLEVER, it's different every day. I've never laughed this much during a show! We're all playing best friends in the show, and it's been a real delight getting to know these wonderful actors and how we can uplift and support each other offstage and onstage.

LA: Do you have any character inspiration that you're drawing from the help you create your role?

EG: Here's the thing: I feel like I'm playing a version of myself, so I don't really have specific character inspirations that I'm drawing from! I feel like I was Laura a few years back: when you're so focused on your job that the most important relationships in your life are with your friends, and feeling like you're missing some of the major milestones that people you've graduated with are hitting without you (getting married, having kids, etc).

When I get to do these scenes with Noah Hynick (who is truly stunning in this, it's insane), I get to tap into my real friendship with him for those easy bantery moments we get to have, and it's just...it's lovely to live in this space onstage.

LA: Do you have a Significant Other? If so, how did you both meet? 

EG: Yes: my lovely Significant Other is Ben. We actually met through mutual theater friends a couple of months before getting to work together on a show, but we fell in love on the drive to Lyric Arts (half an hour there and half an hour back is a long time to spend with someone!) He is such a source of joy and peace in my life, and I am very lucky that he is working on this show with me.

LA: Tell us about your first-ever time being on stage!

EG: I was MANY things in many dinky little class plays, but I remember intensely the first time I was a MAIN character in a school play, and I was The Big Bad Wolf in third grade. Huge honor. I still get stopped on the street and asked about it.

LA: What's a piece of art that you’re really digging at the moment? Why?

EG: I'm digging the FLOWERS RIGHT NOW. It's May! Everything is in bloom! I listen to a lot of music and watch a lot of movies, but mostly what I'm doing is trying to inhale an entire lilac bush and feel the sun on my skin.

LA: If you could give your younger self one piece of advice what would it be?

EG: Helping others is important, but it's also important to allow people to help YOU. It's a kindness to help and be helped.

LA: What is it about SIGNIFICANT OTHER that feels especially relatable or timely today?

EG: Not to be all "now more than ever" about it, but! Now more than ever, it's important to center queer voices and tell queer stories. This is a wonderful, heartbreaking, joyful play about a young gay man navigating the closest relationships in his life, and we don't usually get stories like that where there isn't also trauma. I think this is also a universally relatable story: we've all felt like we're not moving as quickly through the main stages of life as our peers, we've all felt isolated in our friend groups, we've all worked through difficult friend breakups and romantic woes! I think anyone can see this show and feel their story is being told onstage (like when Jordan is trying and failing to flirt with his crush...agonizing!)

LA: Give us your best relationship advice!

EG: Be friends! And you are on the SAME TEAM. Find a teammate!

Thank you so much, Eva for taking the time and catching up with us! Make sure you grab your tickets to see Eva the incredible cast of SIGNIFICANT OTHER opening on the Main Street Stage May 30!

Max Wojtanowicz directs the romantic comedy by Joshua Harmon opening at Lyric Arts Main Street Stage on Friday, May 30. Tickets are on sale now at Lyricarts.org or by calling the Box Office at 763-422-1838.

SIGNIFICANT OTHER features Colleen Barrett, Eva Gemlo, Lyreshia Ghostlon-Green, Ben Glisczinski, James Grace, Emily Hensley, Noah Hynick, Miriam Monasch, Dale O’Dell, Ben Qualley, and Katrina Stelk.

Performances begin May 30, 2025 and run thru June 22, 2025 at the Main Street Stage.

(Anoka, MN) Lyric Arts Company of Anoka today announced the cast of SIGNIFICANT OTHER by Joshua Harmon. This modern romantic comedy is directed by Max Wojtanowicz. Wojtanowicz directs the stellar cast featuring Colleen Barrett, Eva Gemlo, Lyreshia Ghostlon-Green, Ben Glisczinski, James Grace, Emily Hensley, Noah Hynick, Miriam Monasch, Dale O’Dell, Ben Qualley, and Katrina Stelk.

SIGNIFICANT OTHER will run May 30–June 22, 2025 at the Lyric Arts Main Street Stage. Single tickets range from $30.77–49.50. Group, senior, student, and other discounts are available. Tickets are on sale now through the box office at 763.422.1838 or online at www.lyricarts.org. Post-show discussions and access services (ASL/AD performances) are available on select dates and by request.

Jordan Berman would love to be in love. But finding Mr. Right is easier said than done, especially for a young, charming, and perpetually single young man in New York City. In the meantime, Jordan and his three closest girlfriends drink and gossip their struggles away. As singles night happy hours evolve into bachelorette parties, Jordan watches his best friends get engaged one by one. As his tight-knit trio starts to “settle down,” Jordan is left grappling with his own desire for companionship.

Diving into the complexities of modern relationships with humor and heart, SIGNIFICANT OTHER is a candid and charming exploration of all types of love. With razor-sharp wit and genuine tenderness, Jordan sets out to discover that the most important relationship we have is the one with ourselves. Whether you’re single, in a relationship, or navigating the waters of somewhere in between, SIGNIFICANT OTHER will explore highs and lows of being in love, and certainly capture your heart in the process.

“When I first read SIGNIFICANT OTHER, I was gobsmacked by its sincerity, its wit, and its joy,” shares director Max Wojtanowicz. “This is a play with enormous heart. We can all relate to a story about looking for love, but Jordan's feels so simultaneously specific and universal to me. He's a hero we root for because he wears his heart on his sleeve. He's funny, he's smart, and he's a total idiot. (Aren't we all?) He's not perfect, but his friends love him anyway.”

The cast of SIGNIFICANT OTHER features the talents of Colleen Barrett (Lyric Arts debut), Eva Gemlo (Lyric Arts: THE WICKHAMS: CHRISTMAS AT PEMBERLEY), Lyreshia Ghostlon-Green (Lyric Arts debut), Ben Glisczinski (Lyric Arts debut), James Grace (Lyric Arts: 9 TO 5: THE MUSICAL), Emily Hensley (Lyric Arts: 9 TO 5: THE MUSICAL), Noah Hynick (Lyric Arts: GEORGIANA & KITTY: CHRISTMAS AT PEMBERLEY), Miriam Monasch (Lyric Arts: THE MOUSETRAP), Dale O’Dell (Lyric Arts debut), Ben Qualley (Lyric Arts: THE RAINMAKER), and Katrina Stelk (Lyric Arts: THE SERVANT OF TWO MASTERS).

The artistic team for SIGNIFICANT OTHER includes Max Wojtanowicz (Director), Michaela Lochen (Scenic Designer), Samantha Fromm Haddow (Costume Designer), Lucas Granholm (Lighting Designer), Katie Korpi (Sound Designer), Vicky Erickson (Props Designer), and Emerson Stenbeck (Stage Manager).

SIGNIFICANT OTHER runs May 30–June 22, 2025 at Lyric Arts. Single tickets are currently available! More information and tickets can be found by clicking the link below!

We’re back with our THANK YOU, 10 article for our upcoming production of SISTER ACT! This time, we sat down with Cassie Edlund who plays Deloris! We were so excited to learn more about Cassie and how much fun she is having taking on this role made famous by the one and only Whoopi Goldberg. Plus, we learned about the women who inspire her and a thing or two about her interests at the moment, which just happen to include a popular Apple TV show... Continue reading to learn more about Cassie in this edition of “Thank You, 10!”

LYRIC ARTS (LA): Tell us a little more about your character. What is some of your favorite parts about tackling this role?

CASSIE EDLUND (CE): Deloris is a fine, fierce, fabulous diva with dreams of becoming a star. Deloris' icon is Donna Summer and she's determined to do whatever it takes to be the next "Disco Queen" and get that white sequin dress and white fox fur! She’s bold and sassy, so when she has to hide out in a convent, the contrast between her flashy life as an aspiring singer and the humble, quiet world of the nuns creates some really fun moments for me as a performer.

What I love most about this role is getting to showcase Deloris’ evolution as a person. It’s a beautiful journey of self-discovery, where she shifts from being all about herself and what she wants to finding a deeper sense of community, purpose, and sisterhood in the convent. I really enjoy watching her tough exterior soften as she learns what it means to be truly seen for who you are and to support others. It’s a role that’s both comedic and heartfelt, and that balance makes it so rewarding to play.

LA: Have you been in a production with Lyric Arts before? If not, tell us a little bit about your acting journey that brought you here!

CE: This is my very first show with Lyric Arts, and I couldn’t be more excited to make my debut as Deloris Van Cartier in SISTER ACT. You might be surprised to know that when I was younger, I was incredibly shy. It was my grandma and mom who saw the potential in me and encouraged me to step into theatre and music, pushing me to break out of my comfort zone. I’ve been involved in theatre and choir since middle school, but it wasn’t until high school that I really started coming into my own, taking on roles that allowed me to embrace big, bold characters. Along the way, I also competed in speech throughout high school and college, which helped me grow my performance skills and build my confidence.

I've performed in several community productions but this is my first time performing with a professional theater company, and it’s been an incredible experience. The journey to get here has been filled with growth, challenges, and so many valuable lessons, and I’m grateful for everyone who has supported and encouraged me along the way. Working with Lyric Arts has been nothing short of amazing—the team has been so welcoming, the cast is so talented and the entire process has truly been a dream come true.

LA: What's one thing that has brought you joy in doing this show?

CE: The sisterhood! SISTER ACT is all about the power of sisterhood, but what’s truly incredible is how we’ve created our own beautiful, supportive sisterhood within this cast. I’ve learned so much from each of my castmates, and we truly uplift and support one another. It’s something really special. When I think about it, it truly brings me to tears with happiness at how much I love my sisters, both on and off stage. The sense of community and support within this cast has been one of the highlights of this entire journey, and I couldn’t be more grateful for it.

LA: Do you have any character inspiration that you're drawing from the help you create your role?

CE: Definitely! The women who’ve inspired me are all Black women I grew up watching, listening to, and aspiring to be like—women with star power who unapologetically owned themselves and took up space. Icons like Aretha Franklin, Tina Turner, Mary J. Blige, Jennifer Hudson, Beyoncé, Raven, Keke Palmer, Kyla Pratt, Whoopi (of course), and so many more have all influenced how I bring something unique to Deloris as a character.

And honestly, I feel like Deloris reflects a lot of my own personality. I can definitely relate to her confidence and her passion for dreaming big. Ever since I was little, I wanted to be a star on stage. I used to sing constantly—no matter where I was, even in the grocery store. I’d belt out songs, hoping someone would discover me. Deloris has that same larger-than-life energy, and there’s a part of me that shares that same sense of living life fully and pushing boundaries. So, bringing that energy to her character has been such a joy, all while honoring the incredible Black women who’ve inspired me along the way.

LA: March is International Women's Month! Who are some of the women who inspire you? 

CE: For me, the women who inspire me the most are all Black women I grew up watching, listening to, and aspiring to be like—women who exude star power and unapologetically take up space. Artists like Aretha Franklin, Tina Turner, Mary J. Blige, Jennifer Hudson, Beyoncé, Raven, Keke Palmer, author Roxane Gaye and so many others have taught me the importance of owning who you are and taking up space.

On a personal note, the women who inspire me every day are my grandma, mom, and little sister. Each of them has shaped who I am today, not just through their actions, but through the qualities they’ve shown me—support, encouragement, and kindness. These women, along with many others, have been a strong foundation in my life and my journey, and they continue to guide me every day.

LA: Tell us about your first-ever time being on stage!

CE: My first-ever supporting lead role was Mayzie LaBird in SEUSSICAL THE MUSICAL back in middle school! I think this role really sparked my love for big, dramatic characters with flair. Mayzie is such a diva—her sass and larger-than-life personality brought out that bold side of me. I had so much fun tapping into that energy. That show taught me a lot about stage presence and how thrilling it can be to embrace a persona that reflects a powerful part of my own personality as a performer. I had an absolute blast, and it definitely solidified my passion for performing.

LA: What's a piece of art that you’re really digging at the moment? Why?

CE: Right now, I’m really into Severance, the TV show. It’s definitely become a big talking point in my life lately—especially with some of my castmates, who love discussing it too. It's both fascinating and a little unsettling. The way it blends suspense, mystery, and psychological drama is so unique, and it really makes you reflect on the balance between your personal life and work. For me, it’s especially interesting because during the day, I work in public health, but outside of work, I’m a performer. So, it’s been cool to think about the show in that context of having multiple sides of yourself. On top of that, it’s beautifully filmed and has some great acting in it!

LA: If you could give your younger self one piece of advice what would it be?

CE: I would tell my younger self, "Don’t count yourself out. What's for you is for YOU." I truly believe that what’s meant for you will find its way to you. If something is meant to be yours—whether it’s a role, an opportunity, or a dream—it’s meant for you for a reason. Growing up, there were times when I struggled to see myself in certain roles or spaces, and I found myself doubting my abilities or feeling like I didn’t quite fit. But over time, I’ve learned that if you stay true to who you are and commit to what you love, the right people will see you for you and what you have to offer.

Playing the role of Deloris in SISTER ACT at Lyric Arts has been such a reminder of that for me. It’s truly a dream come true, especially to be able to step into a role that feels meaningful and relatable. As a Black woman, having the opportunity to portray a character who isn’t just a stereotype but a complex, heartfelt individual is incredibly significant. It’s moments like these that make me appreciate how important it is to see ourselves in roles that reflect our full humanity.

LA: Tell us what makes SISTER ACT so special?

CE: The story, message, and music! The storyline is so much fun, yet it carries a deeper message about the power of community, redemption, and finding strength in unexpected places. The characters, each with their own flaws, quirks, and backgrounds, come together in such a beautiful way. And the music... it’s on a whole other level! From the disco beats to the gospel-inspired numbers, the songs capture a wide range of emotions and truly bring the story to life. The combination of humor and music creates an atmosphere that makes you want to laugh, cheer, and even cry. It’s this perfect blend that makes the show so special and unforgettable.

LA: What's your favorite song from SISTER ACT?

CE: "Raise Your Voice" is such a powerful song! I love how it takes place over time, and we get to see Deloris step into this leadership role while the sisters break out of their shells and find their voices. And Deloris teaching them how to groove and get down is such a blast. I have so much fun with it. The energy of the song is so uplifting and empowering, and it really marks a turning point in the show for these characters.

Thank you so much, Cassie for such a fun and inspiring interview! Let us tell you, it has been such a joy to have Cassie in the rehearsal room here at Lyric Arts and we are so excited that she’s making her professional debut with us! Make sure you get your tickets to see Cassie and the rest of this phenomenal cast in SISTER ACT opening on the Main Street Stage on April 11!

Siddeeqah Shabazz directs the uproarious musical comedy based on the classic 1992 motion picture opening at Lyric Arts Main Street Stage on Friday, April 11. Tickets are on sale now at lyricarts.org or by calling the Box Office at 763-422-1838.

SISTER ACT features Dezhané Antionette, Justin Cervantes, Carmen Christine Chávez, Cassie Edlund, Ann Farrell, Caitlin Featherstone, Darius A. Gillard, Jonathan P. Haller, Fjaere Harder, Christopher Harney, Carter Hoffer, Eric Lee, Quintin Michael, Reagan Bailee Moss, Nicholas Ohren, Raquel Ponce, Maddie Schafer, Gianna Schiller, Kaoru Shoji, Eric Sorum, Sher U-F, Quinn Wambeke, and Rachel Williams

Performances begin April 11, 2025 and run thru May 11, 2025 at the Main Street Stage.

(Anoka, MN) Lyric Arts Company of Anoka today announced the cast of SISTER ACT with book by Cheri Steinkellner, Bill Steinkellner, and Douglas Carter Beane, music by Alan Menken, and lyrics by Glenn Slater. This musical comedy is directed by Siddeeqah Shabazz. Shabazz directs the stellar cast featuring Dezhané Antionette, Justin Cervantes, Carmen Christine Chávez, Cassie Edlund, Ann Farrell, Caitlin Featherstone, Darius A. Gillard, Jonathan P. Haller, Fjaere Harder, Christopher Harney, Carter Hoffer, Eric Lee, Quintin Michael, Reagan Bailee Moss, Nicholas Ohren, Raquel Ponce, Maddie Schafer, Gianna Schiller, Kaoru Shoji, Eric Sorum, Sher U-F, Quinn Wambeke, and Rachel Williams.

SISTER ACT will run Apr 11–May 11, 2025 at the Lyric Arts Main Street Stage. Single tickets start at $42. Group, senior, student, and other discounts are available. Tickets are on sale now through the box office at 763.422.1838 or online at www.lyricarts.org. Post-show discussions and access services (ASL/AD performances) are available on select dates and by request.

Get ready to go to church with SISTER ACT! Join us for a toe-tapping, spirit-lifting extravaganza based on the beloved film starring Whoopi Goldberg. Follow the hilarious escapades of Deloris Van Cartier, a disco diva turned reluctant nun, as she finds herself hiding out in a convent after witnessing a crime. What ensues is a righteous comedy of errors as Deloris transforms the convent's lackluster choir into a powerhouse ensemble, all while trying to evade danger and keep her true identity under wraps...or habit.

Filled with unforgettable characters, catchy tunes, and a message of redemption and sisterhood, SISTER ACT is a joyous celebration of the power of music to unite and uplift. Whether you're a fan of the hit film or experiencing the story for the first time, join Deloris and her fellow sisters as they spread love, laughter, and a whole lot of funk in this uproarious musical comedy coming to the Main Street Stage!

“Bringing SISTER ACT to life to the wonderful audiences of Lyric Arts has been nothing short of amazing. The actors onstage and the artisans behind the scenes are all incredible artists and I am honored to be among them,” shared Director Siddeeqah Shabazz. “At the heart of this show is love, sisterhood, transformation, and acceptance. The music is a vehicle in which this is expressed and it’s also a journey through fantasy to reality. Faith and friendship are highlighted through the characters we meet in the show and through the relationships they have with each other which I hope will inspire all those who join us in this experience.”

The cast of SISTER ACT features the talents of Dezhané Antionette (Lyric Arts debut), Justin Cervantes (Lyric Arts debut), Carmen Christine Chávez (Lyric Arts debut), Cassie Edlund (Lyric Arts debut), Ann Farrell (Lyric Arts debut), Caitlin Featherstone (9 TO 5), Darius A. Gillard (Lyric Arts debut), Jonathan P. Haller (KINKY BOOTS), Fjaere Harder (LITTLE WOMEN), Christopher Harney (Lyric Arts debut), Carter Hoffer (A CHORUS LINE), Eric Lee (KINKY BOOTS), Quintin Michael (Lyric Arts debut), Reagan Bailee Moss (Lyric Arts debut), Nicholas Ohren (A CHORUS LINE), Raquel Ponce (A TASTE OF THINGS TO COME), Maddie Schafer (A CHORUS LINE), Gianna Schiller (EVITA), Kaoru Shoji (Lyric Arts debut), Eric Sorum (Lyric Arts debut), Sher U-F (THE WEDDING SINGER), Quinn Wambeke (Lyric Arts debut), and Rachel Williams (Lyric Arts debut).

The artistic team for SISTER ACT includes Siddeeqah Shabazz (Director), Laura Long (Music Director), Michael Terrell Brown (Choreographer), Brady Whitcomb (Scenic Designer), Khamphian Vang (Costume Designer), Ellie Simonett (Lighting Designer), Paul Estby (Sound Designer), Ren Edson (Props Designer), and Grace Happe (Stage Manager).

SISTER ACT runs April 11–May 11, 2025 at Lyric Arts. Single tickets are currently available! More information and tickets can be found by clicking the link below!

For our next “Thank You, 10!” interview, we recently caught up with Eric Knutson (PETER AND THE STARCATCHER, OUR TOWN) who plays Bill Starbuck in our upcoming production of THE RAINMAKER. Keep reading to learn more about Eric, his inspiration for his character, and his best relationship advice!

LYRIC ARTS (LA): Tell us a little more about your character. What is some of your favorite parts about tackling this role?

ERIC KNUTSON (EK): Starbuck is this sad sack dreamer who refuses to give up on his dreams. I love how he can see the beauty in everything particularly in places that other people either don't see or refuse to see.

LA: Have you been in a production with Lyric Arts before? If not, tell us a little bit about your acting journey that brought you here!

EK: This is a tough one because I have been blessed to be in so many wonderful ensemble driven shows at Lyric Arts. However, I guess if I have to pick one it would be OUR TOWN because not only did I love the the fact that it was a great ensemble piece but it also incorporated fun physical movement and musical instruments played by really talented people. (And yes, I am a little jealous.)

LA: What's one thing that has brought you joy in doing this show?

EK: This is a play where you can't help but love every character and it has been a joy watching my fellow actors bring out the beauty in their characters.

LA: Do you have any character inspiration that you're drawing from the help you create your role?

EK: I guess there is an element of Moliere's character Scapin or Dale & Dunlop's character Scapino to Bill Starbuck especially when he is selling his "rain" offer and getting the Curry men to do his rainmaker rituals. Also, (this kind of sounds silly) I feel Starbuck has a child like exuberance similar to Buddy in ELF particularly when he is telling Lizzie the Melisande story.

LA: What's one item you never leave home without?

EK: Rarely do I ever leave my house without underwear and pants.

LA: Tell us about your first-ever time being on stage!

EK: My first "legit" play was performing Jesus in GODSPELL.

LA: What's a piece of art that you’re really digging at the moment? Why?

EK: I just finished the first book in the Mistborn series. Vin rocks!

LA: If you could give your younger self one piece of advice what would it be?

EK: Don't take yourself too seriously!

LA: Give us your best relationship advice!

EK: When you say or do something stupid or hurtful don't let pride get in the way and give yourself the gift of apologizing.

LA: THE RAINMAKER was first originally published in 1954, why do you think it remains so relevant today?

EK: Like the characters in THE RAINMAKER many of us are living in a drought of hopelessness and despair. My hope is that this story will convey to the audience that if you believe in yourself and you can find not only the beauty in others but also in yourself then the rain will come and wash the hopeless despair away like a deluge.

Eric, thank you so much for taking the time to talk with us and sharing a bit about yourself! Make sure to purchase your tickets and see Eric as Bill Starbuck in THE RAINMAKER playing at Lyric Arts from February 28–March 23!

Ben Thietje directs the sweeping romance by N. Richard Nash opening at Lyric Arts Main Street Stage on Friday, February 28. Tickets are on sale now at Lyricarts.org or by calling the Box Office at 763-422-1838.

THE RAINMAKER features Callie Baack, Bruce Bell-Myers, Jack Bonko, Samuel Burnham, Eric Knutson, Christopher D. Knutson, Brandon Osero, Ben Qualley, Warren Sampson, and Nora Targonski-O’Brien.

Performances begin February 28, 2025 and run thru March 23, 2025 at the Main Street Stage.

Lyric Arts Company of Anoka today announced the cast of THE RAINMAKER with book by N. Richard Nash. This timeless classic is directed by Ben Thietje. Thietje directs the stellar cast featuring Callie Baack, Bruce Bell-Myers, Jack Bonko, Samuel Burnham, Eric Knutson, Christopher D. Knutson, Brandon Osero, Ben Qualley, Warren Sampson, and Nora Targonski-O’Brien.

THE RAINMAKER will run Feb 28–Mar 23, 2025 at the Lyric Arts Main Street Stage. Single tickets start at $39. Group, senior, student, and other discounts are available. Tickets are on sale now through the box office at 763.422.1838 or online at www.lyricarts.org. Post-show discussions and access services (ASL/AD performances) are available on select dates and by request.

The day the rainmaker comes is the day Lizzie Curry’s life changes forever. Set in a time of a paralyzing drought in Depression-era America, THE RAINMAKER tells the story of a pivotal hot summer day. The Curry family has a lot to worry about: there’s the never-ending drought, their dying cattle, and of course, Lizzie, whose marriage prospects are just about as bleak as the chance for rain. When the sweet-talking Starbuck appears claiming to be able to make the rains come for $100, the Curry family is skeptical but intrigued. As the day unfolds and Starbuck spends time with the Currys, Lizzie finds herself drawn more and more toward this enigmatic and mysterious man. But how can she trust that anything he says is true?

With powerful storytelling and unforgettable characters, THE RAINMAKER is a hopeful and sweeping romance set against one of the most trying times in American history. As the Currys search for dreams amidst the disparity, THE RAINMAKER will tug at your heartstrings and refresh your soul. Let yourself get swept away and discover the magic that comes when you believe.

“THE RAINMAKER is over 70 years old, but it certainly doesn't show its age,” shares Director Ben Thietje. “Themes of hope, love, and self-belief can be found in every scene — and Lizzie, our strong central character, is a perfect reflection of the pressures placed on all of us to conform to societal standards. It's a story that feels grounded yet sweeping, thoughtful yet funny, heart-wrenching yet joyous. This one is not to be missed.”

The cast of THE RAINMAKER features the talents of Callie Baack (Lyric Arts: RADIANT VERMIN), Bruce Bell-Myers (Lyric Arts debut), Jack Bonko (Lyric Arts: 9 TO 5), Samuel Burnham (Lyric Arts: A 1940s RADIO CHRISTMAS CAROL), Eric Knutson (Lyric Arts: PETER AND THE STARCATCHER), Christopher D. Knutson (Lyric Arts debut), Brandon Osero (Lyric Arts: PETER AND THE STARCATCHER), Ben Qualley (Lyric Arts: GEORGIANA & KITTY: CHRISTMAS AT PEMBERLEY), Warren Sampson (Lyric Arts: 9 TO 5), and Nora Targonski-O’Brien (Lyric Arts debut).

The artistic team for THE RAINMAKER includes Ben Thietje (Director), Justin Hooper (Scenic Designer), Samantha Fromm Haddow (Costume Designer), Alyssa Kraft (Lighting Designer), Corinne Steffens (Sound Designer), Vicky Erickson (Props Designer), and Emily Ludewig (Stage Manager).

A TASTE OF THINGS TO COME runs February 28–March 23, 2025 at Lyric Arts. Single tickets are currently available! More information and tickets can be found by clicking the link below!

It’s the first Thank You, 10 of 2025! To ring in our first production of 2025, we caught up with Lydia Rose Prior (THE LAST FIVE YEARS) who plays Connie in our upcoming production of A TASTE OF THINGS TO COME. Keep reading to learn more about Lydia, her favorite parts about taking on this role, and her go-to dish that will have you craving more!

LYRIC ARTS (LA): Tell us a little more about your character. What is some of your favorite parts about tackling this role?

LYDIA ROSE PRIOR (LRP): Connie is a peacemaker. She's so empathetic, and she just wants everyone around her to be happy. The trouble is, everyone assumes that she has it all together because she spends her time helping others, and in this show, we see all of it catch up to her. Being a grown-up isn't easy sometimes, but all we can do is learn and grow from past experiences. The second act of this show takes place ten years later than the first act. I think it is so beautiful that we get to see how these women have learned from themselves and from each other and took those pieces of wisdom with them into an entirely new chapter of their lives. We get to see how they grew, and I think that's very special.

LA: Have you been in a production with Lyric Arts before? If not, tell us a little bit about your acting journey that brought you here!

LRP: The only other show I've done with Lyric is THE LAST FIVE YEARS, which was one of the most memorable and magical processes I have ever been a part of.

LA: What's one thing that has brought you joy in doing this show?

LRP: I have really enjoyed working with this cast and production team. I've never worked with an all female team before! And these people specifically are so silly and supportive and kind. We can all show up and be authentically ourselves! We just get to play! I feel very lucky.

LA: Do you have any character inspiration that you're drawing from the help you create your role?

LRP: There are a few, but the one that I am most attached to is the Margot Robbie version of Barbie.

LA: What's one item you never leave home without?

LRP: My water bottle! You've gotta stay hydrated!

LA: Tell us about your first-ever time being on stage!

LRP: I played a poppy in the Wizard of Oz. Yes, a flower.

LA: What's a piece of art that you’re really digging at the moment? Why?

LRP: I love the band Sammy Rae & The Friends, and they released a new album last year called Something for Everybody. It's incredible! They explore different genres and different skill sets. There's a song where all of them switched instruments! It's amazing! I highly recommend!

LA: If you could give your younger self one piece of advice what would it be?

LRP: You are allowed to be exactly who you want to be. If you spend your whole life trying to be what others want you to be, the one you're hurting is you. So celebrate your weird! Take risks! And ALWAYS follow the joy!

LA: What is your favorite meal or dessert when you go out? What do you like to eat when you're enjoying a night at home? 

LRP: I love a good chocolate shake. When I'm having a cozy night in, I like to make a fancy grilled cheese and tomato soup!

LA: Are you a cooker or baker? If so, what's one of your favorite recipes?

LRP: I'm more of a cooker. Baking is so much science! I get nervous! But I like exploring flavors! There's this pasta I like to make with a homemade white sauce. We're talking pesto. We're talking cream. We're talking heirloom tomatoes. It makes me feel like a little chef!

Lydia, thank you so much for taking the time to talk with us and sharing a bit about yourself! Make sure to purchase your tickets and see Lydia as Connie Olsen in A TASTE OF THINGS TO COME playing at Lyric Arts from January 17–February 9!

Laura Tahja Johnson directs the delightful musical by featuring the sounds of the 50s and 60s opening at Lyric Arts Main Street Stage on Friday, January 17. Tickets are on sale now at Lyricarts.org or by calling the Box Office at 763-422-1838.

A TASTE OF THINGS TO COME features the talents of Bridget Benson, Siri Ashley Wright, Natosha Guldan, and Lydia Rose Prior with understudies Megan Beard and Finnola Coughlin.

Performances begin January 17, 2025 and run thru February 9, 2025 at the Main Street Stage.

(Anoka, MN) Lyric Arts Company of Anoka today announced the cast of A TASTE OF THINGS TO COME with book, music and lyrics by Debra Barsha Hollye Levin. The musical is directed by Lyric Arts’ Artistic and Executive Director Laura Tahja Johnson. Johnson directs a stellar cast including Bridget Benson, Siri Ashley Wright, Natosha Guldan, and Lydia Rose Prior.

 A TASTE OF THINGS TO COME will run Jan 17­–Feb 9, 2025 at the Lyric Arts Main Street Stage. Single tickets start at $40. Group, senior, student, and other discounts are available. Tickets are on sale now through the box office at 763.422.1838 or online at www.lyricarts.org. Post-show discussions and access services (ASL/AD performances) are available on select dates and by request.

On a Wednesday afternoon in 1957, the four women of the Wednesday Winnetka Women’s Cooking Club meet at 1pm sharp. In the kitchen of Joan Smith, the ladies gather to worship at the altar of Betty Crocker while cooking a little, gossiping a lot, and talking about their lives as housewives, women, mothers, and lovers. But the events of this particular Wednesday afternoon lead Joan, Connie, Agnes, and Dottie on a path none of them expected. When their club is reunited ten years later, the Swingin’ Sixties are in full gear and times have certainly changed. Although life looks quite different in 1967, some things—like finding love, acceptance, friendship, and your own self-worth—never seem to go out of style.

A delightful musical featuring the sounds of the 50s and 60s, A TASTE OF THINGS TO COME showcases the profound societal change women both experienced and helped forge. Packed with songs that pay tribute to the chart-topping hits of the time, this show will charm you from start to finish while celebrating the strength of women and friendships that weather the storms of change.

“I am delighted to be working on this sweet and saucy show about food, friendship, and feminism,” shares Artistic and Executive Director Laura Tahja Johnson. “In addition to working with a cast of four talented and very funny women and an all-female band, it has been a treat to collaborate in the rehearsal room with a music director, choreographer, and stage manager who are all women, too. We’ve only been rehearsing for a couple of weeks and I can’t wait to see the relationships and performances that will develop by opening night.”

The cast of A TASTE OF THING TO COME features a phenomenal all women cast including Bridget Benson (Lyric Arts: KINKY BOOTS), Siri Ashley Wright (Lyric Arts: MISS BENNET: CHRISTMAS AT PEMBERLEY), Natosha Guldan (debut), and Lydia Rose Prior (Lyric Arts: LAST FIVE YEARS)

The artistic team for A TASTE OF THINGS TO COME includes Laura Tahja Johnson (Director), Emily D. H. Olson (Music Director), Dorian Brooke (Choreographer), Curtis Phillips (Scenic Designer), Sarah Christenson (Costume Designer), Andrew Vance (Lighting Designer), Paul Estby (Sound Designer), Ren Edson (Properties Designer), and Christian Erben (Stage Manager).

A TASTE OF THINGS TO COME runs January 17–February 9, 2025 at Lyric Arts. Single tickets are currently available! More information and tickets can be found by clicking the link below!

Our 2023–2024 season has been a testament to the power of community and storytelling. From the opening act to the final curtain, we’ve witnessed countless stories unfold on our stage—stories that have moved us, challenged us, and brought us together.

We opened our season with A CHORUS LINE, a Tony-winning box office smash that highlights the stories, dreams, and struggles of so many and was deeply resonant for many in the performing arts and our community. Our final production, KINKY BOOTS was a particular standout, and not only for its vibrant energy and warm reception in the Twin Cities. It was a sold-out production and a milestone moment as we welcomed our first Equity actor to the Lyric Arts stage!

The Lyric Arts’ education program continues to grow! In the past year, we welcomed over 600 youth to Lyric Arts to attend workshops, summer camps, and more. We continuously identify and create new opportunities to expand arts education in Anoka and our surrounding communities, creating a new generation of artists and theater lovers and promising a brighter future for the arts.

Over the past 29 years, telling stories has been, and will continue to be, the essence of our mission—to bring diverse voices and experiences to life through the authenticity and immediacy of live theater. Each show in our 2024–2025 season represents the heart of what Lyric Arts is all about—sharing stories. Through the simple act of sharing stories, artists and audiences have the opportunity to experience, sadness, anger, joy, and laughter together. And, you are an essential part of that experience. We hope you’ll see all our diverse season has to offer including GEORGIANA & KITTY: CHRISTMAS AT PEMBERLEY, THE RAINMAKER, SISTER ACT, and THE MUSIC MAN.

As we look to the future, we’re excited to build on the momentum of this past season and explore new artistic horizons. But to do this, we need your support. Our goal is to raise $75,000 by Dec 31. Your tax-deductible gift, no matter the amount, enables us to maintain our high standards of artistic excellence, compensate a wide variety of talented artists and technicians for their work, provide educational opportunities for young and emerging artists, and keep our performances accessible to all.

Every dollar helps us continue our work, bringing countless stories to life on the Lyric Arts stage. With your help, we are confident we can reach this goal. If this inspires you, please make a donation today at the link below.

Thank you for your support, now and always.

Laura Tahja Johnson
Artistic & Executive Director of Lyric Arts

It’s hard to imagine but this is the final Thank You, 10! interview before the New Year. For this special holiday edition, we caught up with Morgan Kempton from GEORGIANA & KITTY: CHRISTMAS AT PEMBERLEY. Keep reading to learn about Morgan’s favorite holiday traditions, her inspirations for tackling this role, and her insightful advice to her younger self.

LYRIC ARTS (LA): Tell us a little more about your character. What is some of your favorite parts about tackling this role?

MORGAN KEMPTON (MK): Georgiana is a very progressive individual who lives her life not afraid to pursue what she loves. A few things I really enjoy about the character is the youth she holds. There is so much joy she finds in things and how she works through hardships is very inspiring as well. I have really enjoyed the challenge of exploring her youthful energy in Act 1 and the contrast to her energy in Act 2. She is grounded in very different ways and it has been so fun to explore how she holds herself around each individual character she interreacts with.

LA: Have you been in a production with Lyric Arts before? If not, tell us a little bit about your acting journey that brought you here!

MK: This will be my 5th production with Lyric Arts, and I couldn't be more honored to be here again! If I had to choose a favorite show, I think it would be a 3 way tie between SOMETHING ROTTEN, THE WEDDING SINGER, and this show! I have met so many incredible people from each of these shows that I am grateful to call my second family, and especially my now best friend who I couldn't imagine my life without. I have been challenged in each show in different ways and learned so much throughout each rehearsal process and I hope to keep doing so for years to come! (A CHORUS LINE was also a blast, duh)!

LA: What's one thing that has brought you joy in doing this show?

MK: The whole company has been the biggest joy to work with! I don't think I have ever enjoyed a rehearsal process as much as I have with this show. From the very first rehearsal there has been so much trust within the company. We are able to joke around, make each other break, and support each other through the tougher rehearsals. The compassion each person brings to the rehearsal is inspiring and keeps me so engaged in each moment. I feel as though I have know these talented humans my whole life, and have the most fun exploring this world with them. Marci has created such a welcoming environment too, to trust us to play with each scene and asking such meaningful questions about our characters. Dallas has been super helpful as well in keeping rehearsals on track, supporting the company as needed and just providing an over all encouraging atmosphere. I look forward to these rehearsals everyday and hope the friendship we share in the rehearsal room is felt by the audiences in performances!

LA: Do you have any character inspiration that you're drawing from the help you create your role?

MK: I definitely have a couple of characters I have used to build my mannerisms, motivations, and energy for Georgiana. I pulled a lot from Bridgerton, between Francesca and Penelope in terms of physicality/motivation in Act 1. I was also very drawn to the joy that Mable from Gravity Falls exudes and how I can channel that in Act 1 as well. Act 2 is such a shift, and without reveling too much, I was very inspired by Meg from Hercules and Captain Amelia from Treasure Planet!

LA: What's your favorite thing about the Holidays? Do you have a favorite Holiday tradition in your household?

MK: Are you even KIDDING ME RIGHT NOW! The holidays are my favorite time of year, and my biggest reason why is because it is the time of year that I spend celebrating with family! My family is my biggest source of joy and happiness and getting to gather for the holidays is just such a special time as siblings travel back home from college, cousins fly in from out of town, and you can just make good food, and share so much laughter together. It is in these moments where I feel an overwhelming sense of comfort and joy, and it is something I look forward to and cherish every year! My favorite holiday tradition would have to be the Sibling Sunday before Christmas. This isn't much of a tradition just yet, but last year my siblings and I spent Christmas Eve together wrapping gifts for our parents and watched a Christmas movie together. It is always nice to just get frustrated and tying ribbons, running out of tape, or not measuring paper correctly when you have siblings there to tease you about it. I also am the kind of person who starts listening to holiday music on November 1st... my apartment is already decorated...

LA: Tell us about your first-ever time being on stage!

MK: My first role I can remember playing was The Big Bad Wolf in my elementary schools first grade production of THE THREE LITTLE PIGS (I was apparently the first girl to play the wolf)!

LA: What's a piece of art that you’re really digging at the moment? Why?

MK: I have always enjoyed live theater, I feel so many stories have been brought to life this way and being a bit biased as a performer myself, find it can be such a unique way to tell a story. I have recently gotten back in to the musical HADESTOWN, one of my favorite musicals at the moment! It, to me, is a great example of how you can tell such a well known, classic story and make it something so unique. One thing I especially enjoy about the show is seeing how diverse the casting usually is. As a woman of color myself, seeing a show like HADESTOWN bring in so may different types of body sizes, races/ethnicities, and even gender in their casting has been something I have been so inspired by. Proving that you don't always have to look a certain way to tell a story.

LA: If you could give your younger self one piece of advice what would it be?

MK: In the last year, I have learned a lot about myself as a performer and there are shows I have been in that my younger self would never have dreamed of being in. When I was cast as Connie Wong in Lyric Arts' production of A CHORUS LINE in 2023, I was in shock and felt I had so much to prove. Being a plus size actor, it can sometimes feel like people don't think you are able to "keep up" with other more seemingly athletic people in a room. Walking away from that production I couldn't help but feel proud of myself for not only rehearsing as much as everyone else in that room, and grateful to have been in a space where no one made me feel like I didn't belong there. I was also performing THE SPONGEBOB MUSICAL at Lyric at the same time we were rehearsing for A CHORUS LINE, and while it was a busy and at times exhausting summer, I was reminded how I am capable of anything. I would tell my younger self that looks are deceiving, and you CAN be in one of the most iconic dance musicals ever created, you CAN originate a role in a world premier musical, you CAN be the romantic lead in a play. You are capable of so much, simply because you work hard and perform for the honor of being on stage, not for the notoriety it can come with. Be kind to others in everything you do, find the joy when you can and share it with the world. (Also, don't give other actors notes).

LA: Are you a Jane Austen fan? Do you have a favorite book or movie adaptation of one of her works?

MK: I have never actually read any of her books, or seen any of the Pride and Prejudice movies/shows... But it is on my list...!

LA: What's one of the best gifts you've received?

MK: This is a great question! It's super cheesy but the best gift I have ever received was being cast in SOMETHING ROTTEN at Lyric Arts in 2022 because it opened the door for me to meet all of my closest friends now. Alex Stokes, Abilene Olson, Noah Hynick, Brendan Nelson Finn, and my best friend Marley Ritchie!

Morgan, thank you so much for taking the time to talk with us and sharing your journey with us! Make sure to purchase your tickets to see Morgan as Georgiana Darcy in GEORGIANA & KITTY: CHRISTMAS AT PEMBERLEY playing at Lyric Arts from November 22–December 22!

Marci Lucht directs the holiday play by Lauren Gunderson & Margot Melcon opening at Lyric Arts Main Street Stage on Friday, November 22nd. Tickets are on sale now at Lyricarts.org or by calling the Box Office at 763-422-1838.

GEORGIANA & KITTY: CHRISTMAS AT PEMBERLEY features Gillian Constable, William Edson, Lindsey Esch, Nadia Franzen, Noah Hynick, Morgan Kempton, Grace Klapak, Clara Marsh, Waverly AnnMcCollum, Michael Quadrozzi, Ben Qualley, and Faith Winship.

Performances begin November 22, 2024 and run thru December 22, 2024 at the Main Street Stage.

(Anoka, MN) Lyric Arts Company of Anoka today announced the cast of GEORGIANA & KITTY: CHRISTMAS AT PEMBERLEY with book by Lauren Gunderson & Margot Melcon. This new holiday tradition and heartwarming final installment of the Pemberley trilogy is directed by Marci Lucht. Lucht directs a stellar cast including Gillian Constable, William Edson, Lindsey Esch, Nadia Franzen, Noah Hynick, Morgan Kempton, Grace Klapak, Clara Marsh, Waverly Ann McCollum, Michael Quadrozzi, Ben Qualley, and Faith Winship.

GEORGIANA & KITTY: CHRISTMAS AT PEMBERLEY will run Nov 22 – Dec 22, 2024 at the Lyric Arts Main Street Stage. Single tickets start at $42. Group, senior, student, and other discounts are available. Tickets are on sale now through the box office at 763.422.1838 or online at www.lyricarts.org. Post-show discussions and access services (ASL/AD performances) are available on select dates and by request.

Return to Pemberley once again for the third and final installment of the Christmas at Pemberley trilogy by Lauren Gunderson and Margot Melcon! It’s Boxing Day at Pemberley and best friends Georgiana Darcy and Kitty Bennet have arrived to join the festivities.

Georgiana, the youngest Darcy, is an accomplished pianist, but wary of romance. Kitty, the youngest Bennet, is a bright-eyed optimist who is ready for love and will do anything for her best friend. The two women are ready for their own adventures, starting with the arrival of Georgiana’s admirer and secret correspondent. Mix-ups of manners and overprotective siblings keep romance from unfolding easily, but meddlesome families and outmoded expectations won’t stop these determined friends. GEORGIANA AND KITTY: CHRISTMAS AT PEMBERLEY is the delightful final chapter of this new holiday tradition filled with music, ambition, sisterhood, and forgiveness.

“I’m so thrilled to be returning to direct the final installment in the Christmas at Pemberley series,” shares Director Marci Lucht. “This particular play has such tremendous heart, and so beautifully illuminates the bonds of enduring friendship and love. My hope is that audiences will come to adore these characters as much as I have.”

The cast of GEORGIANA & KITTY: CHRISTMAS AT PEMBERLEY features the talents of Gillian Constable (Lyric Arts: Miss Bennet Christmas at Pemberley), William Edson (Lyric Arts debut), Lindsey Esch (Lyric Arts debut), Nadia Franzen (Lyric Arts: The Wickhams: Christmas at Pemberley), Noah Hynick (Lyric Arts: Peter and the Starcatcher), Morgan Kempton (Lyric Arts: A Chorus Line), Grace Klapak (Lyric Arts: The Wickhams: Christmas at Pemberley), Clara Marsh (Lyric Arts debut), Waverly Ann McCollum (Lyric Arts: Kinky Boots), Michael Quadrozzi (Lyric Arts: The Servant of Two Masters), Ben Qualley (Lyric Arts: The Wickhams: Christmas at Pemberley), and Faith Winship (Lyric Arts debut).

The artistic team for GEORGIANA & KITTY: CHRISTMAS AT PEMBERLEY includes Marci Lucht (director), Greg Vanselow (Scenic Designer), Jessica Moore (Costume Designer), Shannon Elliott (Lighting Designer), Katie Korpi (Sound Designer), Kat Walker (Properties Designer), Madeline Achen (Intimacy & Fight Director), Gillian Constable (Dialect Coach), and Dallas Williams (Stage Manager).

GEORGIANA & KITTY: CHRISTMAS AT PEMBERLEY runs November 22–December 22 at Lyric Arts. Single tickets are currently available! More information can be found by clicking the link below! Click the link below to buy tickets today!

We’re back with our newest segment of Thank You, 10! with Amirah Mahmood from LOG KYA KAHENGE. Read through this fantastic interview with Amirah to hear more about her acting journey, her advice to her younger self (which we should all remember), and what excites her the most about bringing the complicated and captivating character of Sofia Khan to life.

LYRIC ARTS (LA): Tell us a little more about your character. What is some of your favorite parts about tackling this role?

AMIRAH MAHMOOD (AM): Sofia is the oldest daughter of an Indian-American family; she is academically and professionally successful. On the outside she's the perfect desi daughter, but internally she's struggling.

One of my favorite parts about tackling this role is exploring the challenges that so many people in the diaspora experience. Especially those of us who grew up in the west with families that immigrated here. There's an expectation to be the best and prove that being here was worth the struggles and sacrifices. It's a lot of pressure, especially if you're the oldest child.

LA: Tell us a little bit about your acting journey that brought you here!

AM: I recently moved here from Florida and the last show I acted in was MEASURE FOR MEASURE in 2020 before the Covid-19 pandemic started. I was in my senior semester of my B.A. in Theatre at the University of South Florida when everything shut down and I really struggled with returning to acting after that. When I came to Minneapolis, I knew I wanted to start acting again especially because of variety here. Before 2020, I performed in productions THE WOLVES, WATER BY THE SPOONFUL, MISS JULIE, ARSENIC AND OLD LACE and more. I was also really into stage managing at one point and the coolest (and hardest) show I stage managed was AMERICAN IDIOT.

LA: What's one thing that has brought you joy in doing this show?

AM: It's been really fun getting to know everyone in the cast and crew. Everyone has been so welcoming!

LA: Do you have any character inspiration that you're drawing from the help you create your role?

AM: For Sofia I've been channeling my older sister as inspiration. I've reflected a lot on the kinds of conversations my family has had with my sister and the different expectations they have for her since she's older.

LA: What’s one of your favorite things about the performing arts?

AM: I love telling stories and the raw energy of performing arts.

LA: Tell us about your first-ever time being on stage!

AM: My first role was Wonder Woman in a play my high school theater teacher wrote.

LA: What's a piece of art that you’re really digging at the moment? Why?

AM: I'm really into Magdalena Bay's latest album Imaginal Disk right now. I love the synth-pop music and Magdalena Bay is great as creating cool concepts and visuals.

LA: Tell us a bit about LOG KYA KAHENGE!

AM: LOG KYA KAHENGE is about an Indian-American family and follows the oldest daughter, Sofia, as she navigates through the expectations her family and elders have. Sofia struggles to find the balance between of pleasing her family and allowing herself to feel emotions that are often shunned.

LA: What's the process been like working on a world premiere production? 

AM: The process has been so exciting! I love being part of a story that hasn't been told before and it's really cool because I feel like I'm part of this play's history now.

LA: If you could go back in time and give your younger self some advice, what would it be?

AM: Don't compare yourself to others! You are unique and so is everyone else. We all have our strengths - lean into yours.

Amirah, thank you so much for taking the time to talk with us and for taking the time to share so much about you and your journey with this show!

Make sure to get your tickets to see Amirah as Sofia Khan in LOG KYA KAHENGE in collaboration with Exposed Brick Theater and South Asian Arts & Theater House (SAATH) playing at Lyric Arts from October 18–November 3!

Suzy Messerole directs the world premiere play by Aamera Siddiqui opening at Lyric Arts Main Street Stage on Friday, October 18. Presented in collaboration with Exposed Brick Theatre and South Asian Arts & Theater House. Tickets are on sale now at Lyricarts.org or by calling the Box Office at 763-422-1838.

LOG KYA KAHENGE features Sayali Amarapurkar, Lauren Rae Anderson, Ankita Ashrit, Madhu Bangalore, Chaitanya Bhandare, Jonathan Feld, Sarada Ganesh, Anjali Gopal, Kayla Hambek, Leif Jurgensen, Amirah Mahmood, Divya Maiya, Aishu Nagasunder, Manju Nayar, and Sandesh Sukhram.

Performances begin Oct 18, 2024 and run thru Nov 3, 2024 at the Main Street Stage.

(Anoka, MN) Lyric Arts Company of Anoka today announced the cast of LOG KYA KAHENGE, the World Premiere play by Aamera Siddiqui with music composed by Adarsh Rajaraman, exploring the stigma around mental health and what happens when “Log Kya Kahenge” or “What will people say” becomes the gauge by which we live our lives. The play, in collaboration with Exposed Brick Theatre and South Asian Arts & Theater House (SAATH) is directed by Suzy Messerole. Messerole directs a stellar cast including Sayali Amarapurkar, Lauren Rae Anderson, Ankita Ashrit, Madhu Bangalore, Chaitanya Bhandare, Jonathan Feld, Sarada Ganesh, Anjali Gopal, Kayla Hambek, Leif Jurgensen, Amirah Mahmood, Divya Maiya, Aishu Nagasunder, Manju Nayar, and Sandesh Sukhram.

LOG KYA KAHENGE will run Oct 18 – Nov 3, 2024 at the Lyric Arts Main Street Stage. Single tickets start at $39. Group, senior, student, and other discounts are available. Tickets are on sale now through the box office at 763.422.1838 or online at www.lyricarts.org. Post-show discussions and access services (ASL/AD performances) are available on select dates and by request.

Sofia Khan has been given the recipe for a perfect life: take one perfect job at a prestigious hospital, add in a perfect fiancé, stir in one high-end condo, and top it all off with an upcoming epic Indian wedding of mega proportions. This list of ingredients should surely guarantee happiness. But beneath the layers lies a painful truth that no one wants to talk about—a truth that keeps rising to the top, threatening to ruin the perfect mix for Sofia.

If you've grown up in a Desi home, you've most likely heard the phrase LOG KYA KAHENGE—a famous Hindi and Urdu saying that translates as "What will people say?" In this world premiere, local Twin Cities’ playwright Aamera Siddiqui explores the stigma around mental health and what happens when “What will people say?” becomes the gauge by which we live our lives.

“This is such a relevant play,” shares Suzy Messerole, Co-Artistic Director at Exposed Brick Theatre and Production Director for LOG KYA KAHENGE. “There are so many important discussions happening about eliminating stigmas around mental health and increasing access to culturally competent mental health resources. Playwright Aamera Siddiqui is adding her voice to this deeply important topic and doing so with humor and heart.”

The cast of LOG KYA KAHENGE features a cast nearly all making their debut at Lyric Arts including Sayali Amarapurkar, Lauren Rae Anderson, Ankita Ashrit, Madhu Bangalore, Chaitanya Bhandare, Jonathan Feld, Sarada Ganesh, Anjali Gopal, Kayla Hambek (Lyric Arts: SILENT SKY, SHE LOVES ME), Leif Jurgensen, Amirah Mahmood, Divya Maiya, Aishu Nagasunder, Manju Nayar, and Sandesh Sukhram.

The artistic team for LOG KYA KAHENGE includes Suzy Messerole (director), Aishu Nagasunder (Assistant Director), Michaela Lochen (Scenic Designer), Samantha Fromm Haddow (Costume Designer), Mitchell Frazier (Lighting Designer), Bailey Fenn (Sound Designer/Projections Programmer), Visal Anandakumar (Asst. Sound Designer) Isabella Freeland (Properties Designer), and Amanda Oporto (Stage Manager), Callie Aho (Intimacy Consultant), Layla Curley (Illustrator), Sandesh Sukhram (Run Crew).

LOG KYA KAHENGE runs from Oct 18–Nov 3, 2024 at Lyric Arts. Single tickets are currently available! More information can be found at www.lyricarts.org/log-kya-kahenge. Click the link below to buy tickets today!

For our latest edition of “Thank you, 10!”, we recently caught up with Brendan Veerman (THE SERVANT OF TWO MASTERS, THE 39 STEPS) who plays Smee in our Season 24–25 opener, PETER AND THE STARCATCHER. Keep on reading to learn more about Brendan, his favorite roles at Lyric Arts over the years, what he wanted to be when he was younger, and his favorite parts of being in this hilarious retelling!

LYRIC ARTS (LA): Tell us a little more about your character. What is some of your favorite parts about tackling this role?

BRENDAN VEERMAN (BV): I am playing the role of Smee! Just like in most adaptations of the Peter Pan mythos, he is intensely loyal and always in diligent service to whoever is in charge. You might be tempted to feel bad for him sometimes because he’s always being bossed around by somebody, but what I’m finding fun is how much he actually thrives in that setup. I’m not sure he’d be able to function without someone telling him what to do. He’s also not the brightest bulb on the tree, so even if his actions take on a more sinister bent, he remains inherently likable, which is a fun contrast to play.

LA: Have you been in a production with Lyric Arts before? If not, tell us a little bit about your acting journey that brought you here!

BV: Yes! I just counted them up, and PETER AND THE STARCATCHER is actually my 14th production with Lyric Arts. (Crazy!) It’s always an honor to be invited back to play at Lyric Arts. Many of my experiences have been wonderful, but the ones that come to mind when thinking about my favorites are BAREFOOT IN THE PARK (2013), THE EXPLORER’S CLUB (2015), and THE 39 STEPS (2021). I think those rose to the top for me because they had such phenomenal casts, fun and challenging roles that I continue to be proud of, and great scripts that I truly loved.

LA: What's one thing that has brought you joy in doing this show?

BV: Honestly, the material itself brings me so much joy. I had the good fortune of seeing the first night of the Broadway tour of PETER AND THE STARCATCHER when it came into town in 2014, and I loved it so much I went back and saw it again a few days later. It’s smart, incredibly imaginative, hilarious, and genuinely moving. I’ve dreamt of being in this play ever since, so it’s a real treat to finally get that opportunity. And when you add this incredible cast and production team to this mix? Heaven. Everyone brings so much creativity, laughter, and collaborative spirit to the rehearsal room and I look forward to sharing that joy with audiences.

LA: Do you have any character inspiration that you're drawing from the help you create your role?

BV: Anyone who knows me knows that I primarily communicate in quotes (and gifs), so I’m pretty much always referencing movies, shows, songs, etc. That doesn’t stop for me when crafting a character. Oftentimes the characters I play are subtly (or not so subtly) drawing on a hodgepodge of influences. For Smee, a couple that come to mind are Patsy from Monty Python and the Holy Grail, Marv from Home Alone, and Tony Hale’s character from Veep.

LA: What’s one of your favorite things about the performing arts?

BV: I love the feeling of “ensemble” and the collaborative nature of live theater. There’s something magical about working as a team to tell a story. This show in particular is a true ensemble piece (in many senses of the word), and I’m always noticing new choices and new moments that my castmates are bringing to enrich the material. It’s also probably not a secret that I tend to lean towards comedies (understatement of the century). I love being silly onstage, making people smile, and making people laugh. Sharing a funny moment that you have rehearsed for weeks with an audience and having them react with audible laughter is one of the best feelings in the world.

LA: Tell us about your first-ever time being on stage!

BV: The first one that I can remember doing was playing a mouse in A CHURCHMOUSE CHRISTMAS at my grandparents’ church. I had a little solo in one song and everything! I did a number of church shows growing up, but it wasn’t until my high school theater experiences that I really caught the “acting bug.”

LA: What's a piece of art that you’re really digging at the moment? Why?

BV: Oh, I have so many answers for this! For music, I primarily listen to film scores, and my favorites over the last year or so have been the scores for Spider-Man: Across the Spider-verse by Daniel Pemberton, Oppenheimer by Ludwig Goransson, and Origin by Kris Bowers. They’re all super different but also fun/exciting/creative/beautiful in their own ways. Shifting to another medium, I just started Season 4 of The Chosen, which I absolutely love. My faith means everything to me, so to see a show that tells the story of Jesus and the disciples with such grace and genuine humanity is very moving. I’m also anxiously awaiting Season 2 of The Rings of Power and Severance, which are both coming up soon.

LA: As a kid, what did you want to be when "you grew up?" 

BV: I had many phases over the years! I was a big dinosaur kid (my love for the original Jurassic Park knows no bounds), so there was definitely a period where I wanted to be a paleontologist. However, my longest running phase was probably a marine biologist. I loved dolphins and marine life in general (still do), so the appeal of working with sea life in any capacity really captured my imagination. One of my lifelong dreams was to swim with dolphins, which I finally got to do several years ago, and it was magical.

LA: Do you have a favorite story from your childhood?

BV: When we were kids, my dad used to make up little bedtime stories starring “Jim the Ghost.” Jim was a friendly ghost who lived at our house, and the stories typically featured him teaming up with our dog to take down bad guys with slapstick / Home Alone style hijinks. My dad used a very specific voice for Jim that I will never forget, and my siblings and I ate it up.

LA: If you could go back in time and give your younger self some advice, what would it be?

BV: I have the great one-two punch of being both an introvert and a deeply self-conscious person, particularly in social situations. As such, I’d probably try to coach myself into letting go of caring so much about what other people think of me (or even what I THINK they think of me). Easier said than done, and I still struggle with this sometimes, but I think my middle school through college years would have been far less fraught with insecurities if I had stopped attaching my value to how I was perceived by my peers. I’d probably also advise myself not to jump on my sister’s bed that one time, because I would almost immediately regret that choice.

A BIG thank you to Brendan for taking the time out of his busy rehearsal schedule to chat with us! PETER AND THE STARCATCHER opens at Lyric Arts on September 6 through September 29.

Throughout the run, KINKY BOOTS brought out a lot of our favorite bloggers and reviewers to see the show. Check out what they had to say about this stellar summer spectacle now up on the blog!

THE STAGES OF MN

It’s always a pleasure having Rob Dunkelberger from The Stages of MN at Lyric Arts! He says KINKY BOOTS is “the best thing playing in the Twin Cities area right now” he continues on to say, “It’s not often with my schedule that I even entertain the idea of seeing a show more than once. But KINKY BOOTS is one I’m seriously considering a second trip to see.”

Read his full sparkling review here: KINKY BOOTS Makes a Splash at Lyric Arts in Anoka

CHERRY AND SPOON

Opening weekend also brought in Jill Schafer from Cherry and Spoon. She says that KINKY BOOTS is “a fantastic regional premiere!” and goes on to say, “Lyric Arts has assembled a fantastic case to ensure the most fun and heart-warming time!”

You can read her full review here: KINKY BOOTS at Lyric Arts

MINNPOST

Sheila Regan from MinnPost also joined us during opening weekend. She says KINKY BOOTS is “a heart-warming, if simple, rags to riches tale with a storybook, show-stopping ending.” and “Oozing with charisma, [Mitchell] Douglas’s dancing skills are terrific, and they blend sass and weighty moments with ease.”

But that’s not all! Lyric Arts is honored to have our production of KINKY BOOTS featured in MINNPOST Weekend Picks!

You can read the full review here: KINKY BOOTS brings the sass to Lyric Arts Main Street Stage

TALKIN’ BROADWAY

It’s always a pleasure to have Arthur Dorman in the house. He says, “If you want to have a really terrific time at a musical, you would be hard pressed to do better right now than Lyric Arts production of KINKY BOOTS!” He then goes on to say, “Over the years, I have been impressed by Lyric Arts' continual reach for more challenging plays and bigger shows. Casting, staging, and production values have consistently been worthy of praise. In the case of KINKY BOOTS, the choice of material dovetails well with the fact that last month the city of Anoka held its first ever Pride Month event. KINKY BOOTS punctuates this step forward, for the show is, at its heart, a celebration of acceptance of the wide range of humanity, in all of our colors, genders, and footwear preferences. This is definitely a winner.”

Read his entire review here: KINKY BOOTS

LETTERED IN THEATRE

Erica from Lettered in Theatre also joined us during this production. She says, “If you are looking for a fun musical to attend this summer look no further than KINKY BOOTS at Lyric Arts. This dazzling cast brings to life this uplifting story of acceptance, being true to yourself, and the importance of a good pair of shoes!” She then goes on to say, “Complete with a fun photo op in the lobby to take photos rocking the fabulous boots, KINKY BOOTS runs at Lyric Arts in Anoka through August 11 and it’s a 100% DO NOT MISS!”

Read her entire review here: KINKY BOOTS - Lyric Arts

Performances to KINKY BOOTS are SOLD OUT!

Scott Ford directs the adventurous Tony Award-winning play. The production opens at Lyric Arts Main Street Stage on Friday, September 6.  Tickets are on sale now at Lyricarts.org or by calling the Box Office at 763-422-1838. 

PETER AND THE STARCATCHER features features Sarah Christenson, Brendan Nelson Finn, May Heinecke, Noah Hynick, Theo Janke-Furman, Eric Knutson, Charlie Morgan, Brandon Osero, Parker David Payne, Tony Peterson, France A. Roberts, James J. Ruth, Alex Stokes, Tic Treitler, Nate Turcotte, and Brendan Veerman.

Performances begin Sept 6, 2024 and run thru Sept 29, 2024 at the Main Street Stage in Anoka.

(Anoka, MN) Lyric Arts Company of Anoka today announced the cast of PETER AND THE STARCATCHER, the Tony Award-winning play and whimsical, grown-up prequel to the beloved tale of Peter Pan. The play by Rick Elice is based on the novel by Dave Barry and Ridley Pearson with music by Wayne Barker. The production is directed by Lyric Arts’ Resident Director Scott Ford with Music Direction by Wesley Frye and choreography by Lyric Arts Resident Choreographer Lauri Kraft. Scott Ford directs a cast starring features Sarah Christenson, Brendan Nelson Finn, May Heinecke, Noah Hynick, Theo Janke-Furman, Eric Knutson, Charlie Morgan, Brandon Osero, Parker David Payne, Tony Peterson, France A. Roberts, James J. Ruth, Alex Stokes, Tic Treitler, Nate Turcotte, and Brendan Veerman.

PETER AND THE STARCATCHER will run Sept 6 - 29, 2024 at the Lyric Arts Main Street Stage. Single tickets start at $42. Group, student, and other discounts are available. Tickets are on sale now through the box office at 763.422.1838 or online at www.lyricarts.org. Post-show discussions and access services (ASL/AD performances) are available on select dates and by request. 

Embark on a magical journey with PETER AND THE STARCATCHER, a Tony Award-winning play and whimsical, grown-up prequel to the beloved tale of Peter Pan. Molly, a spirited and bright young girl, and The Boy, an adventurous orphan without a name, set sail on a thrilling adventure that will change their lives forever. Aboard The Neverland, Molly and The Boy discover mermaids, mollusks, and more—including the fact that the ship is carrying a most special and peculiar cargo. When the ship is taken over by pirates, they must do what they can to keep the mysterious treasure out of the hands of the fearsome Black Stache, no matter the cost.

As the story unfolds, so do the origins of iconic characters like Captain Hook, Tinker Bell, and the Lost Boys. The power of friendship, bravery, and the imagination take center stage in this dazzling production that includes imaginative storytelling, a multitude of colorful characters, and plenty of humor. PETER AND THE STARCATCHER is sure to enchant audiences while reminding us that magic can be found in the most unexpected of places.

“Peter and the Starcatcher is a fast-moving Vaudevillian origin story of Peter Pan, aimed even more at adults than it is at children,” shares Resident Director Scott Ford. “In addition to answering all sorts of questions you didn’t even know you had about these characters, it will entertain you from start to finish. It is about growing up, finding your purpose, finding friends, and searching for home.”

The cast of PETER AND THE STARCATCHER features Brendan Nelson Finn (New Voices Cabaret, [title of show]) as Bill Slank and Hawking Clam; May Heinecke makes her Lyric Arts debut as Molly; Noah Hynick (Radiant Vermin, The Wickhams) as Black Stache; Theo Janke-Furman (Kinky Boots, 9 to 5) as Prentiss; Eric Knutson (Our Town, Wait Until Dark) as Lord Aster; Charlie Morgan (The Servant of Two Masters) as Alf; Brandon Osero (The Servant of Two Masters, A Chorus Line) as Grempkin, Mack, Sanchez, Fighting Prawn; Parker David Payne making his Lyric Arts debut as Ted, France A. Roberts (Kinky Boots, The Wedding Singer) as Captain Robert Falcon Scott, Alex Stokes (The Servant of Two Masters, The Spongebob Musical) as Mrs. Bumbrake/Teacher, Nate Turcotte making his Lyric Arts debut as Peter, and Brendan Veerman (The Servant of Two Masters, The Explorer’s Club) as Smee, as well as Sarah Christenson, Tony Peterson, James J. Ruth, and Tic Treitler.

The creative team for PETER AND THE STARCATCHER includes Scott Ford (director), Wesley Frye (Music Director), Lauri Kraft (Choreographer), Peter Lerohl (Scenic Designer), Samantha Fromm Haddow (Costume Designer), Shannon Elliott (Lighting Designer), Kat Walker (Properties Designer), and Jenna Hyde (Stage Manager).

PETER AND THE STARCATCHER runs from Sept 6 - 29, 2024 at Lyric Arts. Single tickets are currently available! More information can be found at www.lyricarts.org/peter-starcatcher. Click the link below to buy tickets today!

Funds generated from this charity golf tournament on Aug 20 and corresponding TPC Rose Gala on Nov 23rd will directly benefit Lyric Arts Company of Anoka’s education programming throughout the year.

(Minneapolis/St. Paul): Lyric Arts Company of Anoka has been named the 2024 beneficiary of the TPC Rose Women’s Charity Golf Tournament and Rose Gala. Funds raised through these long-standing events will directly benefit Lyric Arts education programming in the 2024-2025 season. 

Since its establishment in 2008, TPC ROSE (Reach Out, Serve, Empower) has raised over $1.6 million dollars for area causes. TPC ROSE is a group of highly motivated, caring TPC Twin Cities women members who share a commitment to make a difference in the community. The group, whose donations are administered through ROSE Giving, Inc, organize and host public fundraisers to benefit local charities. They also serve as volunteers for other charitable events hosted by TPC Twin Cities.

Proceeds from both events will directly benefit Lyric Arts education programming in the 2024-2025 season. This important source of funding for the Anoka-based 501(c)3 non-profit theater ensures their continued growth offering access to fun and exciting creative experiences in a professional theater space. Programs include after-school, weekend and evening workshops, summer camps, community education programs, and artist residences in local schools. 

"Lyric Arts is incredibly grateful to be the beneficiary of this year's TPC Rose Tournament and Gala. We're honored to receive the support and recognition of this generous organization and its visionary members," shares Laura Tahja Johnson, Artistic and Executive Director at Lyric Arts. "Their investment in Lyric Arts' educational programming is a direct investment back into our communities and that will pay dividends for generations to come." 

The TPC ROSE Women’s Charity Golf Tournament takes place on Tuesday, August 20th at TPC Twin Cities in Blaine, MN. Registration begins at 6:45AM and the tournament begins at 8:00AM. The event will take  place regardless of weather conditions. Tickets for the tournament, and more information are available at https://twincities.tpc.com/tpc-rose/charity-golf-event. Space is limited to 120 players and fills quickly. 

On Saturday, November 23, TPC ROSE will hold their annual Gala. More information about this event can be found at a later date at https://tpc.com/twincities/tpc-rose

About Lyric Arts Company of Anoka

Located in the heart of historic downtown Anoka and now celebrating its 26th season, Lyric Arts is the only full-time, year-round theater in the northern suburbs of Minneapolis, providing access to the performing arts for hundreds of artists and tens of thousands of audience members each year. Lyric Arts presents a unique mix of comedies, dramas, classics, and musicals. The company also presents a concert series, theater arts workshops, and educational outreach programs.

Lyric Arts is a professional theater, deeply rooted in the communities it serves, and is committed to producing inclusive and accessible work that entertains, educates, stimulates, and is reflective of the diverse perspective of its audiences and artists. www.lyricarts.org

About TPC ROSE

TPC ROSE is a group of highly motivated, caring TPC Twin Cities women members who share a commitment to make a difference in our community. They organize and host public fundraisers to benefit local charities. Members also serve as volunteers for other charitable events hosted by TPC Twin Cities. To date, the organization has raised over $1.6 million for area causes since their founding in April 2008. All charitable donations are administered through ROSE Giving, Inc. www.tpc.com/twincities/tpc-rose

FACTSHEET

TPC ROSE Golf Tournament
Tuesday, August 20, 2024
TPC Golf Course, Blaine, MN
Registration: 6:45AM
Shotgun: 8:00AM
Awards luncheon: 12:30PM
Tickets: $150 per individual golfer. $40 lunch only.
Register at https://one.bidpal.net/rosegolf2024/ticketing

TPC ROSE Annual Gala
Saturday, November 23, 2024

Details forthcoming at https://tpc.com/twincities/tpc-rose

###

By Alex Church

DRAMATURG’S NOTE: The history outlined below is incomplete, flawed, and compiled by someone who is not an expert in neither history nor queer history. While I hope it is exciting and engaging, I also hope you read it as a starting place. There’s plenty I omitted from this article, either intentionally or unintentionally. Any one of these moments in time could have dozens of books or films written about them (and some do), so please follow your curiosity and feel free to prove me wrong.

Queerness and Gender

Gay, transgender, and gender-nonconforming people have existed throughout time. Every culture in the world has mythologies of gender transitions and homosexual relationships rich in love, drama, and even religious power. Throughout time, these traditions thrived despite repeated campaigns of persecution and subjugation. Despite the best efforts of bad actors, queer people are evergreen, existing across history above and below the view of society.

Part of why we know queer people of all persuasions have existed throughout time is the unfortunate side effect of hatred. Because fear of discovery often kept queer life underground or deeply coded, much of the records of queer history exist in the form of police reports,  executions, and sensationalized media stories that took nations by storm. The phrase sometimes used to explain this idea is something along the lines of, “If gay people didn’t exist in biblical times, the Bible wouldn’t have needed to ban them.”

The resulting hatred created a reactionary cycle, where hatred created violence and persecution which generated condemnation and outrage by the public. In turn, that reaction led to more awareness of queer existence, giving more people the language to understand and name their innate feelings. As more people come out and/or are outed/discovered, more prejudice ensues, more outrage, more discovery, and on and on and on.

This reactionary cycle has led to both a bleaching of queer life from much of history, but also a separation in some senses of groups that have often walked in lockstep. For years the gay liberation movement existed separate from the trans rights movement. Even as trans, nonbinary, and gender non-conforming people fought on the front lines of some of the biggest battles in queer history, many have been removed or overlooked in favor of the stories of cisgender queers.

Pre-Modernity

The Island of Britain was conquered by the Romans in the first century, bringing with them a society full of open sexual activity amongst men. Homosexuality was commonplace until 312, when Emperor Constantine began a conversion to Christianity that began shifting attitudes towards only explicitly heterosexual relationships. Archeological evidence from the fourth century has discovered skeletons that suggest gender transgender/gender non-conforming people existed during this time. There is evidence of homosexual behavior among rulers of several cultures, including kings. 

In 597, Christianity formally arrives on the island thanks to missionaries who convert a majority of the populace, and with that conversion comes an express disdain for homosexuality. However for 500 years there are evidences of love poems amongst monks, queer subcultures, and queer harems amongst royalty. In the early 1300s, King Edward II and his male favorites caused such a fervor amongst the nobility of the time that wars broke out throughout his kingdom (Partially due to homophobia, partially for other reasons). Additionally, in the late 1300s the first documented case of gender non-conformity is documented when a male prostitute is arrested in women’s clothing. 

In 1533, Parliament enacts the first version of the Buggery Law- the first law against sodomy in the Kingdom, placing severe penalties on the victim if charged including death. It is repealed, revised, and reinstated several times throughout the 1500s, but not used against King James VI/I who had a male favorite 24 years older than him. When he died, his heart was shipped back to James. 

In the 1600s the first same-sex marriage is annulled after a musician discovered her husband was in fact a woman. Additionally, King William III had three male lovers all of whom he elevated to nobility. 

1700s to 1800s

In 1702 Queen Anne rises to power along with her female favorite, giving the basis for the movie The Favourite. Unrelated: lesbians begin to appear in psychological writings. 

It’s here that historians start to get a clearer picture of queer culture and its thriving place in the London underground. This is partially due to court cases, but also growing literacy, methods of documentation, and a closer placement to a modern perspective. “It is believed that there were more gay pubs and clubs in London in the 1720s than in the 1950s and certainly more than today,” (SOURCE). 

Molly Houses were a slang term for places of congregation for particularly queer men to gather, have sex, and even stage early drag shows. Despite the presence of laws against sodomy, convictions were rare but not unheard of. Many queer men were executed and tortured throughout British history, and “even if allegations never made it to the courts, it’s clear that threats of “outing” were used to blackmail and extort victims.” (SOURCE).

A trial in 1732 showcases one of England’s earliest known genderqueer people, Princess Seraphina. Read more of her story here. 

As the 1800s arrived in England, attitudes towards censorship and decency transitioned away from overt descriptions of sodomy cases, preferring coded language and an intentional omission of details in order to align more with public opinion. This makes it harder to ascertain as clearly queer life in the 1800s, but extortion cases provide a bedrock understanding that homosexual sex was common in many all-male institutions.

Female homosexual life in England during this period is also more difficult to understand largely because it was not criminalized in the same way of sodomy. There are a few cases of women dressing as men mentioned in court cases. 

Early 1900s

As society evolved into the 20th century and the horrors of the first two World Wars helped create a larger consciousness of human rights, groups of persecuted queers began organizing publicly and in secret. 

Clusters of queer life that existed in the underbellies of major cities around the world began to solidify and emerge from the shadows as forward facing institutions. The “molly houses” in London and queer speakeasies in New York crystalized into gay bars and public queer hangout spaces. In 1921, Parliament considered criminalizing lesbian sex but it was defeated solely on the idea that it would inadvertently encourage more lesbians. 

As the prohibition counterculture flourished and Vaudeville performances found a niche with glamor drag and female impersonators, queer acceptance began to inch out of the shadows into the larger public consciousness. 

Surgical care for transgender and intersex people has existed throughout history, but in the early 20th century surgeons began developing and experimenting with modern surgical care for trans people (then known as sex reassignment surgeries). A particularly prolific pioneer in the field was a gay jewish man named Magnus Hirschfield whose clinic in Germany was a safe space for trans people during pre-Nazi Germany. 

Early surgeries were dangerous, highly experimental, and performed so rarely that they often became sensationalized in the press. One of the earliest surgeries attempted was on a painter named Lili Elbe (left), who unfortunately died in 1931 from the complications. A fictionalized version of her story is told in the film The Danish Girl, where she was portrayed by Eddie Redmayne, a cisgender man.

World Wars throughout the first half of the century required huge numbers of people to join military service, particularly in Europe. Homosexual considerations that would’ve previously disqualified someone from service were ignored. Homosexual acts in the military and abroad were very commmon, and after each war ended veterans were thanked for their service via court marshalls for their “crimes” and crackdowns by police when they returned home. 

Attacks against homosexuals ramped up in the 1950s partially thanks to the McCarthy trials in the US and a crackdown from the UK Interior Minister, both of which targeted real and suspected communists in government and pop culture, but also homosexuals (the latter in particular was known as the Lavender Scare). Dozens of celebrities and prominent officials were outed, forcing the public to reconcile what it means for previously trusted community members and public figures to be “exposed” as homosexuals. In England, hundreds of men were imprisoned.

Simultaneously, a number of published medical studies challenged the accepted idea of homosexuality as a mental illness needing to be cured. This understanding within the legal/medical communities meant an individual’s sexual orientation could be used against them as a cudgel in court proceedings to revoke parental rights, force sterilization, send someone to an institution, and dozens of other consequences sanctioned under the law. 

Advocacy groups blossomed around the world helping to shift public opinion towards equality and acceptance. As a result of their efforts, homosexuality was partially decriminalized in 1967 for men over 21 years of age. Sex had to be private, between two people only, and could only happen in the home. 

Stonewall

The Stonewall rebellion on June 28, 1969 formed the turning point for queer liberation around the world. Bars and clubs tailored toward queer clientele were frequently raided throughout the 50s-70s under the guise of illegal liquor sales, prostitution claim, underage drinking, etc. The Stonewall Inn in Greenwich Village was no exception, and frequently experienced assaults by police throughout its operation. Police would arrive and separate patrons by gender, with those suspected of gender queerness taken to a separate room to verify sex via genitalia and arrested if found cross-dressing. 

During the raid on June 28th, all patrons refused to comply with officers and were told all would be arrested. Some reports say officers assaulted the women via inappropriate touches and beatings with nightsticks. As they were forced out the building, patrons began fighting back and were cheered by onlookers and those who had escaped custody. They were spurred to action by a lesbian woman being forced into a squad car who shouted to the crowd “Why don’t you guys do something!”

Suddenly the crowd began pelting the police with trash, bricks, bottles, anything within reach, and police responded with more violence, escalating the situation. The protests grew and riot police were dispatched until it was a massive demonstration that lasted through the night. The following evening, an even larger crowd formed along with a strong police presence, resulting in more violence. The crowd was filled with an open expression of both queerness and queer power. 

While many within the gay community applauded the uprising, others were less than enthused. The Mattachine Society, a moderate gay men's liberation organization, graffitied the burned front of Stonewall with a call for peace. Leaflets were distributed on a number of perspectives about how to seize the moment. For the first time, the gay community had the attention of the mass media, and public displays of affection and resistance were captured and digested by the populace. This meant a litany of homophobic press coverage, as well as widespread exposure to the size and strength of a queer community that had otherwise been operating underground. 

Post Stonewall

Following Stonewall and its fallout with the public at large, a number of more radical activist queer organizations formed, each rejecting the more incremental approach of their predecessors. As these organizations formed, floundered, and gained strength, so too did their membership. Stronger activist communities formed, leading to more exposure to queer existence and ideas. The movement began to build upon itself, eventually forming what would become the first gay pride parade on June 28, 1970 to commemorate the first anniversary of the Stonewall Uprising in eight US cities. 

The resulting exposure and building political power led to endorsements of the gay liberation movement by some civil rights leaders, including the head of the Black Panther at the time, Huey Newton. The first openly gay priest was ordained by the United Church of Christ in 1972, and throughout the 1970s, openly gay candidates began appearing and winning political offices. 

Year by year, as the movement grew and more pride marches appeared in cities around the world, the face of gay life transformed from the seedy underbelly of society to people that lived increasingly out in the open. It became more and more likely to know someone who was gay, and while legal and political rights did not increase, public empathy did. Ever so slowly, opinions began to shift away from prejudice and towards tolerance.

In England, queer activists were inspired by the Stonewall Riots and formed the British Gay Liberation Front in 1970. They protested police brutality against queers, demanded a seat at the table at civil rights conferences, even storming the stages of some anti-queer activist events. In 1971, Parliament expressly banned for the first time same-sex marriage, partially a response to a number of marriages being annulled throughout the last 100 years after discovering one partner was transgender. The first Pride parade was held in June of 1972. Throughout the 70s and 80s the number of queer advocacy organizations increased dramatically, as did the number of high profile politicians, celebrities, and journalists coming out as queer and transgender to dramatic consequences for their personal and professional lives. In 1980 Scotland decriminalized homosexual sex, following the limitations of the Brits. 

Arrival of HIV/AIDS

Then, in June of 1981, the first cases of what would become known as HIV/AIDS were reported in the US. The first case was reported in England later that year. Initial reports noted that sufferers seemed to be exclusively gay men, beginning a mythos that the burgeoning epidemic was a “gay disease.” Throughout 1981, it became clear that there was an epidemic in progress in America as more and more cases appeared throughout the country. In 1982, major American press organizations took notice and published articles naming the disease Gay Related Immune Deficiency (GRID), furthering stigma against gay men. Support networks and organizations begin forming to provide resources and lobby for medical research as a resolution for funding is killed in congress. 

In England, cases rose steadily throughout the 80s along with incredible stigma that included laws passed to forcibly confine patients to hospitals. Margaret Thatcher in 1987 says “Children who need to be taught to respect traditional moral values are being taught that they have an inalienable right to be gay,” beginning a trend in government towards suppression of queer life in the media and education system. Parts of the bill responsible for this shift were introduced by the MP from Birmingham, a neighboring county of Northamptonshire. Also in 1987, Princess Diana was first photographed touching, hugging, and holding hands with AIDS patients, challenging public perception that AIDS could be transmitted skin to skin. She was an influential patron of AIDS research and helped to greatly reduce stigma of the disease around the world. 

In the 1990s, more pop culture icons around the world announced they were testing positive for HIV/AIDS and queer media began popping up on both sides of the Atlantic. In 1996, the European Court of Justice rules that trans discrimination in the workplace is illegal, the first case of its kind in the world. For the first time, homosexual politicians are elected to Parliament in 1999 as a string of bombings occurred against black, muslim, and queer spaces in London. 

2000s to 2014

With the dawn of the new millennium came a surge in legal protections for and recognition by governments of queer people in English society. Legal disputes around the age of consent for homosexual sex (which had been different from heterosexual sex for decades) rattled through Parliament, until finally in 2001 homosexual sex was viewed legally equal to heterosexual. In 2003 queer people were granted protection from discrimination in the workplace and the law banning schools from “promoting” homosexuality as equal to heterosexuality was repealed. 

In 2004, homosexual couples are legally allowed to form civil partnerships with all the legal rights of marriage under English law (not Ireland). That same year, law was changed so transgender people were allowed to legally change their gender identity and receive all legal rights of their chosen gender, including marriage. Throughout the 2000s, queer visibility escalated dramatically as thousands of civil partnerships took place, more queer people came out to significantly less consequences, and openly queer MPs were elected and formed civil partnerships while in office with increasing frequency. At the same time, a number of homophobic attacks and murders occurred, sparking outrage and increased sympathy for queer people. 

The 2010s arrived with Pope Benedict XVI decrying England’s growing acceptance of queer people, saying it ran contrary to “natural law”. Simultaneously, anti-discrimination protections for homosexuals and transgender people increased, and in 2013 same-sex marriage is legalized in England, Wales, and Scotland. That same year MP Nikki Sinclair comes out as transgender. By the mid-2010s, Queen Elizabeth II also began transitioning towards acceptance of queer people, at least publicly. In 2013, she granted Alan Turning a pardon for his conviction of “gross indecency” in 1952. Turing chose “chemical castration” over imprisonment and underwent forced hormone treatments. 

Drag and Ballroom Specifically

Performing Gender

For a large chunk of society, women were not allowed a place in the theater. While plays from the ancient Greeks to Shakespeare all had female roles (and some pretty darn good ones too), they were always played by men. This was for several reasons, mostly connecting back to religious ideas about women’s roles in society, the temptations of performance, and the danger of feminine sexuality. 

When the new genre of opera took off in the 17th century women began officially joining the ranks of performers, leading Pope Clement XI to say, “A beautiful woman who sings on stage and keeps her chastity is like a man who leaps into the Tiber and keeps his feet dry.” (SOURCE)

After the Restoration in England, performance of gender by either sex was common, as was women onstage. This led to a convergence of previous cultural attitudes and the new reality. Men paying women drifted towards comedic performances as a way to disarm the potent power of womanhood via the irony of it being claimed by a man. Women playing men, but particularly boys, meant the role came with a degree of charm, vulnerability, and depth beyond their years. 

Origins of Ballroom

In 1869, the first drag balls appeared in Harlem, New York. From there they spread throughout the queer community in a similar function as the Molly Houses of London- a safe space to gather, have sex, and express identities not tolerated by the larger public. William Dorsey Swann (Right) is credited as the first “queen of drag”. A formerly enslaved black man, Swann created communities of largely formally enslaved men who would gather together and dance in elaborate dresses and costumes. 

The style of dance was known as the cakewalk, a parody of the movements of plantation slavers, and is thought of as a precursor to vogueing. To see a video of the cakewalk, click here. Swann also was among the first to create Houses of his frequent guests, as well as fight back against police crackdowns both physically in the moment and legally after the fact. 

For 50 years, Masquerade and Civic Balls gained popularity, including with straight cis audiences. Harlem became a “homosexual mecca” and one of the first established queer strongholds in the US. 

In and Out of the Closet

When the 1920s arrived and sound was added to motion pictures, a “Pansy Craze” erupted within the jazz age. Drag queens appeared in nightclub acts, films, and speakeasies in most major cities in the US. Their performances were beloved by straight audiences and some performers were famous the world over, including Jean Malin and Julian Eltinge (Left), who at one point was the highest paid actor in the world. 

The Depression era found an upsurge in more puritanical, sex-negative attitudes among the American people, leading to the establishment of the Hays Code in 1934: an ethics agreement amongst motion picture studios banning scandalous subjects from the silver screen including homosexuals, swearing, nudity, interracial marriage, and toilets. Around the same time, a political crackdown on “downtown crime” pushed many queer art forms underground once more. 

With the Lavender Scare in England and America keeping many queers silent and underground, still a few were able to burst in the public eye at large. One of Britain’s highest paid entertainers of the mid-1900s was Danny La Rue, a comedian and drag performer who was awarded the Order of the British Empire by Queen Elizabeth in 2002. 

In America, the drag subculture of the mid-century led to black and latine drag performers to create their own spaces known as balls. Anti-black bias from largely white judges meant brown queens were not taken seriously at competitions. See this documentary clip from the 1967 film The Queen. 

In 1990, the documentary Paris is Burning was released and introduced the world at large to the ballroom scene. To watch the full documentary, click here.

Dear friends,

First of all, I want to thank you for everything you do to support Lyric Arts. Whether it is as an audience member, donor, artist, sponsor, or volunteer, you are a part of our story and we’re grateful for you.

As we look ahead to our 2024–25 season, there’s so much good news to report:

• We’ve had amazing artistic and box office successes this season, leaving us excited for the season to come.

• We’re wrapping up the 2023–2024 Season with our final show—KINKY BOOTS. Each production in our season fulfilling our promise of being “big, bold, and brave.”

• Our education department is in full swing for summer filled with day camps for students from the North Metro eager to explore the arts.

• We’re thrilled to be the 2024 TPC Rose honoree,acknowledging the positive impact that Lyric Arts makes on our community.

At the same time, we’re facing the same challenges as every other arts organization:

• Due to inflation and many other real-world factors, expenses are up across the board—including utilities, the lumber in our sets, the fabric for our costumes, and the amazing team of actors, live musicians, designers, and technicians that bring our shows to life.

• It’s harder to predict show attendance numbers, and competition for corporate and foundation funding is fierce.

• Providing the high-quality theatrical productions, educational offerings, and customer service you’ve come to expect requires retaining a skilled staff in a tight labor market.

As with any healthy and thriving theater company, we have big goals to grow in our service to you and our community. We want to:

• Provide free and reduced workshop tuition to ensure that cost is not a barrier to education in the performing arts.

• Make much-needed updates to the Main Street Stage—including updated, easy-clean flooring in classroom spaces, additional lobby seating, bathroom renovations, and more.

• Boost artist and technician stipends to levels that are more competitive with other local theaters.

Our need for growth—combined with inflation and a desire to keep ticket prices affordable—has created a $200,000 budget deficit as we near the end of our current fiscal year.

Here’s where you come in. While more than 75% of our budget is covered by earned income, including ticket sales, education offerings, and concessions, we rely on donors like you to cover the remaining 25%. We know we can weather this storm, but your help is essential to our success.

In order to stay on track, we aim to raise $30,000 in one-time donations—and add 100 members to our list of Sustaining Donors—by August 31. Will you help us reach our goals in one of these ways?

• Make a one-time donation by check or credit card—this is the quickest way to make a difference.

• Join us as a Sustaining Donor—your monthly gift of $10 or more is easy to set up and provides ongoing support as we launch our 2024–25 season. If you’re already a Sustaining Donor, consider increasing your monthly gift by $5–$10 a month.

• Know a local business who’d like to reach our audiences? Contact development director Jessica Thienes at jessica@lyricarts.org to learn about sponsorship opportunities for individual shows or the entire season.

We’re doing everything we can to be fiscally responsible, while maintaining the high standards that you expect and deserve. We’re proud to be the only full-time, year-round theater in the northern suburbs of Minneapolis, providing access to the performing arts for hundreds of artists, hundreds of students, and tens of thousands of audience members each year.

Your gift of any size truly makes a difference. On behalf of all of us here and this community, I’m grateful for your ongoing support.

LAURA TAHJA JOHNSON
Artistic & Executive Director, Lyric Arts

For our latest edition of “Thank you, 10!”, we recently caught up with Grace Hillmyer (THE GIRL ON THE TRAIN) who plays Lauren in our upcoming production of KINKY BOOTS. Keep on reading to learn more about Grace and her favorite parts of being in this powerful musical, her favorite footwear, and who’s style she would love to emulate!

LYRIC ARTS (LA): Tell us a little more about your character. What is some of your favorite parts about tackling this role?

GRACE HILLMYER (GH): Lauren is a factory worker at the Price and Son shoe company who loves fiercely and is unabashed in her goofiness. I've found that comedic female roles in Musical Theater continually enamor me, as they are often underwritten in comparison to their male counterparts. And while this is frustrating in many regards, it also provides a delightful challenge for the actor to add dimension that is unique to their own individual vision. Lauren holds such a special place in my heart and I cannot wait to share my interpretation with audiences.

LA: Have you been in a production with Lyric Arts before? If not, tell us a little bit about your acting journey that brought you here!

GH: In the spring of 2023, I was in Lyric Art's production of THE GIRL ON THE TRAIN, a dramatic thriller, directed by the incomparable Anna Crace. The two roles I will have played on the Main Street stage are so entirely different, that I truly cannot pick a favorite. Beyond these two shows, I've been lucky enough to inhabit a variety of roles educationally (UMTC) and professionally!

LA: What's one thing that has brought you joy in doing this show?

GH: The comradery between cast mates and their unwavering support of every individual in the room. It's abundantly joyful to watch and experience.

LA: Do you have any character inspiration that you're drawing from the help you create your role?

GH: Ayo Edebiri's character, Josie, in the 2023 film Bottoms, plus Mabel from Gravity Falls. I will not elaborate on my choices!

LA: Tell us a little bit about why KINKY BOOTS is such a special show. 

GH: KINKY BOOTS is not without flaws, as any piece of art is, but ultimately its dedication to authenticity and joy is boundless. This group of artists encapsulates these qualities beautifully.

LA: Tell us about your first-ever time being on stage!

GH: In 8th grade, I tried out for my school's production of THE WIZARD OF OZ gunning for Dorothy, but ending up as a "Citizen of Oz". It was a beast of a role to tackle but ultimately skyrocketed me into stardom.

LA: What's a piece of art that you’re really digging at the moment? Why?

GH: DANCE NATION by Clare Barron is a play I've consistently come back to. It's absurd, yet raw depiction of girlhood is simultaneously unsettling and delicious!

LA: If you could emulate anyone's style, who would it be and why? 

GH: Daphne Blake, played by Sarah Michelle Gellar, in the 2002 live-action Scooby-Doo. It's campy and iconic all at once.

LA: What type of shoes are an absolute MUST HAVE for you? Is there a favorite shoe that you have in your closet? 

GH: My Mom has instilled an appreciation for a sturdy, well-made shoe, and due to this, I've had a pair of Doc Martens in my closet since I was eleven. They get worn until they cannot be worn anymore!

LA: If you could go back in time and give your younger self some advice, what would it be?

GH: I'm of the firm belief that cliches are based on truth, so with that in mind, my advice for my younger self would be to fail often and fail big! It's the most surefire way to grow personally and artistically, as well as foster humility and curiosity.

Thank you to Grace for taking time out of her busy rehearsal schedule and allow us to get to know her better! KINKY BOOTS opens at Lyric Arts on July 12 and runs through August 11.

THE SERVANT OF TWO MASTERS brought out a lot of our favorite bloggers and reviewers to see the show. Check out what they had to say about this delightful physical comedy now up on the blog!

CHERRY AND SPOON

Jill Schafer from Cherry and Spoon joined the audience during opening weekend. She said that SERVANT is “a wonderul escape to enjoy some age-old silliness” and continued on to say “[Scott] Ford and his absurdly talented 15-person cast (plus one musician) are having a great time playing around with this classic piece and milking every comic moment, which translates to the audience having a great time too.”

Read her full review here: THE SERVANT OF TWO MASTERS at Lyric Arts

THE STAGES OF MN

Opening weekend also brought in Rob Dunkelberger from the Stages of MN. He says that THE SERVANT OF TWO MASTERS is “joyfully funny” and that "[Scott Ford’s] playful approach to the staging… perfectly match the style of the script.” He goes on to say, “the entire cast is terrific, with special shout outs to those performing through masks.”

You can read his full review here: THE SERVANT OF TWO MASTERS Dishes Out the Absurdity to a Dizzying Degree at Lyric Arts

TALKIN’ BROADWAY

It’s always a pleasure to have Arthur Dorman in the house. He joined us during the second weekend of performances and said THE SERVANT OF TWO MASTERS “had me roaring with laughter!” He then goes on to say, “I cannot think of a single deep thought imbedded within The Servant of Two Masters, other than the recognition that there is a time for doing without "deep thoughts" and allow ourselves to be elevated by the generous spirit of a band of talented theatre artists working in harmony to put on a show, and by the healthy sound of our own laughter.”

Read his entire review here: THE SERVANT OF TWO MASTERS

LETTERED IN THEATRE

It’s always a pleasure to have Erica from Lettered in Theatre join us during a production. She says, “THE SERVANT OF TWO MASTERS is a fast-moving romp with clever writing, wonderfully over-the-top characters, and LOTS of fun to be had,” and continues on to say, “we chuckled along this ridiculous and wonderful romp of a story, another wonderful reason to take a chance on a show you don’t know, you never know what hilarious gem of a production you will find.”

Read her entire review here: THE SERVANT OF TWO MASTERS at Lyric Arts through June 23rd!

THE SERVANT OF TWO MASTERS closes on June 23! Don’t let this hilarious romp pass you by!

As summer approaches and we prepare to open our Season 2024–2025 single ticket sales on June 3, we'd like to give some updates from the Lyric Arts Box Office. 

Continue reading to learn more about our new Operations Manager, our updated ticket prices, and our new box office hours.

Meet our new Operations Manager!

You’ve probably already met him, actually–we’re delighted to announce that Brandon Osero is being promoted to Operations Manager! 

Brandon has been a part of Lyric Arts since first appearing on the Main Street Stage in FOOTLOOSE in 2011! Since then, he has graced our stage in MULTIPLE productions—most recently, A CHORUS LINE, THE SPONGEBOB MUSICAL, THE WEDDING SINGER— and will be back on stage in THE SERVANT OF TWO MASTERS which opens THIS Friday!

Brandon started working for Lyric Arts in 2021 as a House Manager then joined our box office team in 2023. We are thrilled to have Brandon continue to be part of our team and cannot wait to see him in this role!

Single Ticket Price Increase

Like everything else, making theater is getting more expensive. Between increased materials costs, the fantastic talent on our stage, and the live orchestras that you love, it takes more and more to produce the quality of theater you expect from Lyric Arts.

To continue bringing you the best shows we possibly can, on June 3 we’re raising single ticket prices for KINKY BOOTS and the 24–25 Season by $3, which will bring us closer to a balanced budget.

Don’t miss your chance to get your KINKY BOOTS tickets at the old price this week—or better yet, purchase your KINKY BOOTS tickets and a 24–25 Season Subscription and save all year long!

New Box Office Hours

Since so many people have shifted to the convenience of online ticket ordering, our lobby/phone hours will change, effective June 10. Staff will be available by phone or in person Tuesday through Friday, 10am to 3pm. 

Subscriptions and single tickets are always available 24/7 at www.lyricarts.org, or you can leave a message at 763.422.1838 and we’ll get back to you as soon as we are able.

As always, we thank you so much for your support of Lyric Arts as we roll out these updates and we hope to see you at the Main Street Stage soon!

Your friends at Lyric Arts

Lyric Arts is thrilled to announce the cast of the Twin Cities premiere of the musical, KINKY BOOTS. Directed by Vanessa Brooke Agnes (SMOKEY JOE’S CAFE), Lyric Arts is honored to be bringing this rocking, glamorous, and heartfelt show to the Main Street Stage this summer.

“Kinky Boots is a dazzling story about inclusivity, love and acceptance of someone for who they are. I’ve always been inspired and fascinated by the art of drag and the joy, creativity and expression of our queer community,” says Agnes. “I’m extremely passionate about centering the voices of BIPOC & LGBTQIA2+ folx and this diverse, dynamic, dynamite cast will blow the roof off the Main Street Stage this summer!”

Leading the cast of KINKY BOOTS will be Mitchell Douglas (NEW VOICES CABARET) as Lola and Lyric Arts newcomer Erik Speegle as Charlie. They will be joined by Grace Hillmyer (GIRL ON THE TRAIN) as Lauren, Waverly Ann McCollum (9 TO 5: THE MUSICAL, THE SPONGEBOB MUSICAL) as Nicola, Quinn Forrest Masterson as Don, Collin Krieger as Harry, and Theo Janke-Furman (9 TO 5: THE MUSICAL) as Richard. As named characters in addition to ensemble roles will be Danielle Birmingham as Trish, Daze Bishop as George, Eric Lee as Mr. Price, Alexis Neumann as Pat, and France A. Roberts (THE WEDDING SINGER) as Simon Sr.

They will be joined by ensemble members Lane Breimhorst, Javari Mytaé Horne, and Alexhannah Joson (SMOKEY JOE’S CAFE). Serving as external swings for this production will be Bridget Benson and Zakary Thomas Morton. Lola’s fabulous Angels and back-up dancers will be played by Cody Dahlson (9 TO 5: THE MUSICAL, THE WEDDING SINGER), James Grace (9 TO 5: THE MUSICAL, A CHORUS LINE), Jonathan P. Haller (9 TO 5: THE MUSICAL, A CHORUS LINE), Jaden Jackson, Cris Sanchez (9 TO 5: THE MUSICAL, A CHORUS LINE), and Riley Webster.

In addition to Agnes as director, the artistic team will be led by Anna Murphy as music director and Jaclyn McDonald as choreographer. Assisting Agnes in the direction of this show will be Alex Church. Bringing the world of KINKY BOOTS to life will also be lighting designer Shannon Elliott, props designer Vicky Erickson, sound designer Paul Estby, scenic designer Chad Van Kekerix, and costume designer Eleanor Schanilec. Serving as drag consultant will be Minneapolis-based drag performer Cam Pederson, known as Luna Muse, and Gillian Constable will be dialect coach.

Heading the stage management team is Grace Czywczynski with assistance from Laura Felde. The technical team consists of sound board operator Lea Brucker, run crew members Robin Lentine and Maddie Ronning, stitcher Becca Michelle, and spotlight operator Van Ott.

With an incredible team of actors, artists, and technicians, Agnes is excited to get started in on the rehearsal process set to start the beginning of June. When asked why folks should come out to see KINKY BOOTS, the answer comes from Agnes easily: “It’s timely and relevant, an area premiere, laugh-out-loud funny, and full of heart.”

A Tony Award-winning musical by none other than Cyndi Lauper and Harvey Fierstein, KINKY BOOTS tells the uplifting story of Charlie Price, a struggling shoemaker who inherits his family's failing business. Desperate to save the factory, Charlie teams up with Lola, a fabulous and fierce drag queen, to create a line of high-heeled boots for men. As they work together, Charlie and Lola discover the power of acceptance, self-expression, and the transformative power of a good pair of shoes. 

KINKY BOOTS is a joyful celebration of diversity, courage, and the universal human desire to be true to oneself. From its catchy tunes like The Sex Is in the Heel to its heartwarming finale, KINKY BOOTS is a show that will inspire you to walk tall and be proud of who you are.

KINKY BOOTS makes its Twin Cities premiere at Lyric Arts from July 12 through August 11, 2024. Single tickets are currently available! More information can be found at www.lyricarts.org/kinky-boots

For our latest edition of “Thank you, 10!”, we recently caught up with Alex Stokes (THE SPONGEBOB MUSICAL, THE WEDDING SINGER) who plays Silvio in our upcoming production of THE SERVANT OF TWO MASTERS. Keep on reading to learn more about Alex and his favorite parts of being in this hilarious show, some of his character inspiration, and one of his favorite puns!

LYRIC ARTS (LA): Tell us a little more about your character. What is some of your favorite parts about tackling this role?

ALEX STOKES (AS): I find that Silvio is a bit of a hard pill to swallow. He's pompous and naive and vain and hot headed and childish and selfish and honestly just plain stupid sometimes, but he also is deeply in love with Clarice. It's been a delight to be able to play someone who is a real honest scumbag, and to pull out the humor and glimmers of humanity locked behind his ridiculous exterior. He's caught up in these waves of chaos and convoluted schemes on a single mission: to get his fiance Clarice back from the dastardly Federigo. He doesn't really know the intricacies of the plot happening around him (nor does he really seem to care.)

LA: Have you been in a production with Lyric Arts before? If not, tell us a little bit about your acting journey that brought you here!

AS: This is my fourth show on the Main Street Stage! My first show here at LA was SOMETHING ROTTEN! and it will forever have a special place in my heart. Not only was the show itself a hilarious spectacle, I got to meet and work with some of the best people I know, and I have made lifelong friends from that show. It was a real "lightning in a bottle, once in a lifetime" type experience.

LA: What's one thing that has brought you joy in doing this show?

AS: Oh, it's definitely the team I get to work with.  I think this show is going to be really special because Scott Ford has assembled this mind-blowing group of actors. I watch what's being developed on stage in astonishment most days. It is such an honor and joy to collaborate with these talented artists and play off each other's craziness. There is this beautiful sense of ensemble developing, with everyone working at 200% to keep this freight train running.

LA: Do you have any character inspiration that you're drawing from the help you create your role?

AS: A couple characters came up during the process. When I first read the script, all I could picture was Prince Charming (specifically from Shrek 2.) While he is rather pompous and foolish, and easy to laugh at, there is an element of danger and unpredictability to him that makes him memorable to me. As the process has continued, a huge inspiration has been Matt Berry's character Laszlo from the incredible show What We Do In The Shadows. Berry's unique and iconic line reads and physicality have definitely informed elements of Silvio, especially when he has to interact with his love, Clarice.

LA: What makes a commedia dell'arte show different than just a regular comedy? What has been some unique experiences or challenges with this type of show?  

AS: Commedia dell'arte is routed in a group of stock characters that have been developed over centuries and how they interact with each other and the situations they are thrust into. There is definitely an emphasis on improvisation and crowd interaction that I'm downright giddy for the audience to experience. The other glaring difference is of course the use of masks. Performing in a mask strips away any inhibitions and really helps transform the actors into these almost grotesque caricatures. There is a robust physicality to THE SERVANT OF TWO MASTERS that is different from any other show I've ever worked on. Everything is heightened and stylized to jumbo proportions.

LA: Tell us about your first-ever time being on stage!

AS: Growing up, my grandma was the theater director at Blaine High School, so I have very early memories of running around the stage while they spent late nights building the sets. Eventually I scored a small role through my nepotism in THE MUSIC MAN, where I had my first line. "Good morning, Mayor Shinn!"

LA: What's a piece of art that you’re really digging at the moment? Why?

AS: I've been watching the show Hacks on HBO and just loving it. It's so funny and sharp, and all these characters feel so authentic and real. Jean Smart is mind-blowingly good as this aging stand-up comic who is desperately trying to stay relevant. Really stellar stuff. I've also been obsessed with Pixies lately, their album Doolittle has been on repeat in my car

LA: Who is the funniest person you know? Why?

AS: This is going to seem so mushy and corny, but I honestly have the funniest friends in the world. If you've ever spent a long night with me at Boston's or Pizza Luce laughing until our heads hurt, you are a real one, and I would die for you. I encourage everyone to find at least one person that makes them smile or laugh a little too loud and cling to them like your life depends on it.

LA: What do you think is the secret to successful comedy? Or, to rephrase this question, what do you think makes something funny? 

AS: Without getting too grossly technical or pretentious, comedy is all about finding the music in the play. There is a set melody provided by the playwright, and it's my job to find interesting ways to change the rhythm or tone of the song in ways that surprise the audience. It's been really fun finding new ways to make these lines pop and feel fresh.

LA: Tell us a joke!

AS: I'm a sucker for a terrible pun, so how about this one:

What do you call a French guy wearing sandals?

Phillippe Flop!

Thank you to Alex for taking time out of his busy rehearsal schedule to chat with us about himself and this hilarious over-the-top physical comedy! THE SERVANT OF TWO MASTERS opens at Lyric Arts on May 31 and runs through June 23.

Masks, Mayhem, and Meatballs:

THE SERVANT OF TWO MASTERS Cast Announced

Human beings have been laughing at each other since the beginning of time. It’s no surprise we are still performing—and laughing—at shows written long ago and THE SERVANT OF TWO MASTERS is certainly no exception. Originally written in 1746 by Italian playwright (and 18th century comedic celebrity) Carlo Goldini, the text got an update in 2004 by Minnesota playwright Jeffrey Hatcher and Italian theater maker Paolo Emilio Land. Now in 2024, 20 years after the premier of the adaptation, this 278-year old piece of comedic genius will be presented on the Main Street Stage just as Goldini intended: with masks, mayhem, and lots and lots of meatballs.

Returning to Lyric Arts to direct this hysterical show is resident director Scott Ford. Ford most recently directed A CHORUS LINE (September 2023) and OUR TOWN (June 2023). As a lover of commedia dell’arte (and one of the funniest people we know), Scott is excited to get started on this project. “If you’ve never seen a commedia dell’arte play before, brace yourself for a treat,” says Ford! “You can expect a play that is physical, fast-paced, and hilarious.  This classic plot is built on true love, clever servants, deception, desire, passion, witty wordplay, silly swordplay, and one legendary lunch.”

Set against the bustling city of Venice, the witty and clever Truffaldino is fighting a battle of wills against his insatiable appetite…and losing. When the wealthy master Florindo arrives in Venice to marry his beloved, Beatrice, Truffaldino eagerly enters into his service. However, Beatrice is too busy masquerading around Venice disguised as her dead brother Federigo and cooking up a plot to steal the dowry of his betrothed. Complications worsen when Federigo (in reality Beatrice in disguise) and Florindo unknowingly end up in the same inn where Truffaldino works, both looking for one another. Truffaldino, always up for making a quick buck—er, euro?—for an extra snack, decides to serve both masters at the same time. Juggling their outlandish demands and inventing elaborate lies to prevent them from discovering each other soon leads to a series of hilarious misunderstandings, mistaken identities, and a whole lot of mayhem.

Leading the cast as the clever Truffaldino is Brendan Veerman, who was last seen on the Main Street Stage in THE 39 STEPS in 2021. As the cunning Beatrice is Nykeigh Larson. Playing her lover, and Truffaldino’s original master, is Kyler Chase (A CHORUS LINE). Truffaldino’s love interest, Smeraldina, is played by Madison Fairbanks. Smeraldina’s master and father to Clarice, Pantalone, is played by Kyle Marks. The role of Clarice is played by Katrina Stelk (MISS BENNET: CHRISTMAS AT PEMBERLEY). As Clarice’s new love interest, Silvio, is Alex Stokes (THE SPONGEBOB MUSICAL). Brighella, a fellow servant who is set on exposing Truffaldino, will be played by Corey Boe. Dr. Lombardi is played by Brandon Osero (A CHORUS LINE, THE SPONGEBOB MUSICAL) and Charlie Morgan has been cast as Patron and Porter.

In addition to these stock commedia dell’arte characters, THE SERVANT OF TWO MASTERS as features an ensemble cast playing townspeople, fellow servants, hotel guests, and patrons. The ensemble members are comprised of Cate Jackson, Ray L. Kloth-Rodriguez, Andrew Newman (OUR TOWN), Michael Quadrozzi (THE WICKHAMS: CHRISTMAS AT PEMBERLEY, OUR TOWN), and Nate Otto. Actors who are serving as understudies are as follows: Cate Jackson will be understudying for Clarice and Beatrice, Ray L. Kloth-Rodriguez will be understudying for Smeraldina and Patron, Andrew Newman will be understudying for Truffaldino and Silvio, Michael Quadrozzi will be understudying for Pantalone and Florindo, and Nate Otto will be understudying for Dr. Lombardi and Brighella.

Helping Scott Ford bring his vision to life is a phenomenal group of artists and technicians. Scenic designer Michaela Lochen is bringing bustling Venice to the Main Street Stage. She is also serving as props designer with Lauren Lochen assisting her. Returning to the Main Street Stage once again with her stunning costume design is Samantha Fromm Haddow who is designing both the costumes and traditional commedia dell’arte masks. Alyssa Kraft is designing the lights and Paul Estby will be designing sound. The stage management team is made up of Jenna Hyde, lead stage manager, with assistance from Christian Erben. Serving as run crew for this production is Emerson Stenbeck with Leita R. Strei as sub.

In addition to these talented artists, Ford is bringing in a composer to create original music for this play. Melissa Bergstrom will be working to bring the musical sounds of the 18th Century to color in this beautiful world created by the artists previously mentioned. The musicians are Ford Campbell on accordion and Charlie Morgan on Trumpet. A tuba player will also be joining this group of musicians as well!

With a group as talented, and funny, as this, Ford can hardly wait to get started. With rehearsals slated to begin in the middle of April, this group is ready for a raucous good time. “Everywhere you look there will be yet another talented goofball,” remarks Ford. “ We have assembled a cast of clowns, a barrel of buffoons, and a ship of fools whose sole purpose is to delight you!”

THE SERVANT OF TWO MASTERS opens at Lyric Arts on May 31 and runs through June 23. Make sure to get your tickets to this hilarious farce soon and come spend the beginning of your summer laughing so hard you might cry.

Special thanks to Buca di Beppo’s in Maple Grove for letting us use their location for our publicity photos!

For our latest edition of “Thank you, 10!”, we recently caught up with Audrey Johnson (THE PAVILION, THE WEDDING SINGER) who plays Doralee in our upcoming production of 9 TO 5: THE MUSICAL. Continue reading to learn more about Audrey’s favorite part of working on this show, the powerful women in her personal life, and her favorite Dolly Parton song!

LYRIC ARTS (LA): Tell us a little more about your character. What is some of your favorite parts about tackling this role?

AUDREY JOHNSON (AJ): Well - she's a Texan - and I'm a Texan - so that's really fun. I do feel like I have a deeper understanding of who she is and how she walks through the world. I think one of my favorite parts about her is that she knows who she is, both on the surface and deep down, and even though she gets negative attention from all around she is staying true to that instead of letting the outside world change her. And then of course we get to see what happens when everyone sees the true heart of who she is and she's UNSTOPPABLE. We all just want to belong and to contribute from the core of who we are!

LA: Have you been in a production with Lyric Arts before? If not, tell us a little bit about your acting journey that brought you here!

AJ: Oh geez - I think this is my 7th show at Lyric!? It is literally impossible to pick a favorite - but I would say that SILENT SKY will always hold a special place in my heart since it was my first show in the Twin Cities. I have grown so much as an artist here at Lyric Arts and I have been given such a wide range of opportunities to really stretch and grow as an artist and I am forever grateful for that. I've also made some of my closest friends here and you can't beat that.

LA: What's one thing that has brought you joy in doing this show?

AJ: Oh the music! It's just so joyous. The lyrics are so positive and driven and the sound is so robust (just wait until you hear this phenomenal cast sing it). It is deceptively challenging musically, which I love, and Bradley is expertly leading us through it. Add in Lauri's choreography and Shanan's direction and impeccable comedic prowess and it's just a really fun rehearsal room with an incredibly talented group of people.

LA: Do you have any character inspiration that you're drawing from the help you create your role?

AJ: I MEAN OBVIOUSLY DOLLY. I have to say it is intimidating to be taking on such an iconic role, especially one that is so beloved by so many people. Currently still in the process of figuring out my take on her, but I'm hoping to land somewhere that is a nod to what Dolly created while still adding a little flair of my own.

LA: March is International Women's Month! Who are some of the women who inspire you? 

AJ: I have so many strong amazing women in my life who all inspire me! I think the most inspiring thing to see is a woman (like Doralee) who unapologetically stands up for who she is what what she believes in - it's hard to do and watching the women in my life achieve that feat helps me have the courage to do it myself. I also want to give a special shout out to the woman who created me - I've learned a lot from my mom, but one of my favorite things she taught me is to slow down and revel in the beauty all around us. Every night she watches the sunset and I will never appreciate one without thinking of her.

LA: Tell us about your first-ever time being on stage!

AJ: In second grade I was an orphan in the high school's production of ANNIE! I remember being lifted off of a top bunk and swung around - it felt like I was flying and I loved it.

LA: What's a piece of art that you’re really digging at the moment? Why?

AJ: Currently watching Master's of the Air which took me a second to get in to but now I'm really appreciating it. My grandfather was in the Air Force and my husband is in the military, so those stories hit me a little deeper. Also - not necessarily an artsy book but I'm also currently reading The Perfectionists Guide to Losing Control which I highly recommend.

LA: If you could give your younger self one piece of advice, what would it be?

AJ: The most important relationship to work on is the one with yourself.

LA: Do you have a favorite Dolly Parton song? 

AJ: Cliche...but I would have to say Jolene...also everyone should stop what they are doing right now and go listen to Dolly's new single with Pitbull - Powerful Women. Trust me. Do it.

LA: As a kid, what did you want to be when "you grew up?"

AJ: Literally everything under the sun haha - a teacher, a lawyer, a forensic scientist, a gymnast, an epidemiologist, Gloria Estefan...the list goes on and on. Perhaps that is why I ended up as an actor...

Thank you to Audrey for taking time out of her busy rehearsal schedule to chat with us about herself and this hilarious powerful musical! 9 TO 5: THE MUSICAL opens at Lyric Arts on April 12 and runs through May 12.

RADIANT VERMIN brought out a lot of our favorite bloggers and reviewers to see the show. Check out what they had to say about this twisted dark comedy now up on the blog!

THE STAGES OF MN

Rob Dunkelberger from The Stages of MN joined us opening weekend and says RADIANT VERMIN is “enormously entertaining!” He continues on to say that “[Noah] Hynick and [Callie] Baack give fantastic performances and hats off to the dialect coach Gillian Constable, because they sound authentically British with Hynick having a distinctly early Hugh Grant quality minus the poshness.”

Read his full review here: RADIANT VERMIN a Darkly Comic Play at Lyric Arts

TALKIN’ BROADWAY

It’s always a pleasure having Arthur Dorman in the house. Arty says that RADIANT VERMIN is “a solid production with Callie Aho’s direction embracing its lunacy and total assault on conspicuous consumption, along with a trio of top-notch performances,” and that “Lyric Arts is to be commended for this bold choice and for framing it in an all-around excellent production.”

You can read his full review here: RADIANT VERMIN

LIFE IN REVUE

Life in Revue also joined us during opening weekend and as a Phillip Ridley fan, he had a great time! He says, RADIANT VERMIN is “so well directed and performed” and goes on to say that its “such a surreal and fantastic show!”

Read his entire review here: RADIANT VERMIN - Lyric Arts

CHERRY AND SPOON

Jill Schafer from Cherry and Spoon joined the audience during our second weekend of performances. She said “the direction, acting, and design are spot-on” and “this three-person cast really is fantastic!” Later in her review she mentioned that the house was a bit small during the performance she went to and said, “this show deserves as big of an audience as [Lyric Arts’] well-done and popular musicals.”

Read Jill’s entire review here: RADIANT VERMIN at Lyric Arts

LETTERED IN THEATRE

It’s always a pleasure to have Erica from Lettered in Theatre join us during a production. She says, “don’t miss this incredible production” and continues on to say, “the cast assembled is incredible and brings their all to these roles.”

Read her entire review here: RADIANT VERMIN - Lyric Arts

RADIANT VERMIN closes on March 24! Get your tickets now before this opportunity slips right through your fingers!

Pour Yourself a Cup of Ambition, 9 TO 5 THE MUSICAL is coming to Lyric Arts!

In 1980, Dolly Parton, Jane Fonda, and Lily Tomlin made a splash on the silver screen with 9 to 5, a movie about three women who take matters into their own hands when it comes to their sexist, egotistical boss. 29 years later, a musical penned by the same 9 to 5 songwriter, Miss Dolly Parton, came to Broadway. Now a little over 15 years since it’s debut on Broadway, 9 TO 5: THE MUSICAL is coming to the Main Street Stage with a powerhouse cast, reaching a whole new generation of fans.

Shanan Custer is making her Lyric Arts directing debut and is thrilled at the opportunity to bring this beloved movie-turned-musical to the stage. “I jumped at the chance to work with the dedicated and talented team of artists at Lyric Arts,” says Custer. “When you say 9 TO 5 there’s typically an immediate emotional reaction. The song, of course, and the iconic lacquered nails tap-tapping on the desk, the 1980 movie that is still a touchstone for Feminist discussion and gender workforce inequities. And, of course, how can we not talk about Dolly Parton? Nothing brightens a day like talking about Dolly Parton!” Originally starring Dolly Parton in the role of Doralee, the mega-celebrity went on to write all of the music and lyrics to the musical,  which made its pre-Broadway premiere in Los Angeles in 2008.

9 TO 5: THE MUSICAL centers around three women—Violet: an overworked office manager, Judy: a jilted wife, and Doralee: an objectified secretary. All three women work for sexist, egotistical, and hypocritical boss Franklin Hart, Jr. After a night of fantasizing over their bosses demise, the three women find themselves in hot water when their plan for revenge goes a bit too far. However, in a wild turn of events, Judy, Doralee, and Violet flip the script on Hart, kidnapping him and keeping him hostage. While Hart is “otherwise engaged”, the women work together to give the office a dream makeover implementing new policies and equal pay. Through plenty of mayhem, hijinks, and unorganized scheming, Judy, Doralee, and Violet  take over the company that tried to bring them down!

Leading the cast as the main trio is Audrey Johnson as Doralee, Emily Grodzik as Violet, and Nora Sonneborn as Judy. Johnson is returning to the Main Street Stage having last been seen as Kari in THE PAVILION and as Holly in THE WEDDING SINGER. Grodzik and Sonneborn are both making their Lyric Arts debut in this production.

As the "sexist, egotistical, lying, hypocritical bigot" boss, Franklin Hart, Jr., is Ben Thietje, who directed LEGALLY BLONDE at Lyric Arts in the summer of 2019. As Hart’s pandering and nosy secretary Roz is Jack Strub (RADIANT VERMIN, THE SPONGEBOB MUSICAL). Doralee’s supportive husband Dwayne is played by Cody Dahlson (THE WEDDING SINGER). Judy’s ex-husband is played by Sam Vinitsky and her awkward teenage son is played Cris Sanchez (A CHORUS LINE, THE WEDDING SINGER).

In the office with Doralee, Judy, and Violet are also secretaries Maria, played by Emily Hensley (THE SPONGEBOB MUSICAL), Margaret, played by Emily Jabas, and Kathy, played by Waverly Ann McCollum (THE LAST FIVE YEARS, THE SPONGEBOB MUSICAL). The sweet and smitten office accountant, Joe, is played by James Grace (A CHORUS LINE). Second to Mr. Hart is Bob Enright played by Theo Janke-Furman and Chairman of the Board is played by Warren Sampson. As Hart’s clueless wife, Missy, is Caitlin Featherstone (A CHORUS LINE, THE WEDDING SINGER).

The large ensemble cast also includes Abby Holstrom, Gabriella Trentacoste (A CHORUS LINE), Jaclyn McDonald (A CHORUS LINE, THE WEDDING SINGER), and Jonathan P. Haller (A CHORUS LINE). Serving as external swing for this performance is Jack Bonko (THE GIRL ON THE TRAIN).

Joining Custer on the artistic staff is a stellar team of artists and crew members. Working with Custer to put this colorful musical on its feet is Bradley Beahen who is serving as music director and Lauri Kraft as choreographer. Kraft most recently choreographed A CHORUS LINE, Lyric Arts’ sold-out season opener. Taking on the role of assistant director is Kayla Hambek who was last seen on stage at Lyric Arts as the kind but stern housekeeper, Mrs. Reynolds, in THE WICKHAMS: CHRISTMAS AT PEMBERLEY.

Returning as scenic designer is Greg Vanselow who has designed THE LAST FIVE YEARS and THE WICKHAMS: CHRISTMAS AT PEMBERLEY this season. Kat Walker is once again stepping into the role of props designer and Julie Zumsteg returns at sound designer. Making her Lyric Arts costume designer debut is Jacourtney Moutain-Bluhm. Also making his Lyric Arts debut is Andrew Norfolk serving as lighting designer for this production. Callie Aho returns as intimacy director.

Leading the stage management and run crew team is Lyric Arts veteran Dallas Williams as lead stage manager. Assisting him is Grace Czywzynski as assistant stage manager. Run crew is made up of Maddie Ronning and Emma Swain. On spotlight is Jaden Jackson with Alex Stokes serving as a substitute. Sound board operator for this production is Mari Bogucki.

The music for this show is iconic, with all the music and lyrics being written by Dolly Parton herself. To perform this rocking sound track, Lyric Arts has gathered a 10-piece orchestra comprised of local musicians. Under the conduction of Bradley Beahen, who will also play first keyboard, is Andy DeLuca on bass, Jack Pirner on drums, Warren Sampson on guitar, Anna Murphy on second keyboard, Jarod Bendele on percussion, Jenny Slivinski on reeds, Ross Fugl on trombone, Pete Berg on first trumpet, and Alan Jermaison on second trumpet. Patrick Hull and Cameron Becker will serve as substitute musicians on trumpet and trombone, respectively.

With a score by an American icon based an a cult-classic film that is considered one of the 100 Funniest Movies by the American Film Institute, its no wonder that everyone involved in this production is excited to get started. “Holding all this nostalgia and recognition and love is a true honor, but we are also so excited to bring new perspectives and voices to this story,” says Custer. “Whether you know the words by heart or not, there’s enough joy to go around!” 

9 TO 5: THE MUSICAL plays at Lyric Arts from April 12  through May 12, 2024. Single tickets are currently available and selling quickly! Don’t wait to grab your seats to this sure sell out today!

Welcome to the first “Thank you, 10!” of 2024! For this edition, we recently caught up with Noah Hynick (THE SPONGEBOB MUSICAL, OUR TOWN) who plays Ollie in RADIANT VERMIN. Continue reading to learn more about Noah such as his first role and his bizarre dance battle in a Kansas City Waffle House!

LYRIC ARTS (LA): Tell us a little more about your character. What is some of your favorite parts about tackling this role?

NOAH HYNICK (NH): I think an important part of the play is that Jill and Ollie are ordinary people. I think Ollie has his talents that set him apart, but everyone has something that they’re better at than others. But I’ve loved getting to dig around and research why someone like him would give in to the circumstances that he finds himself in. There’s also a scene towards the end of the play that is an absolute BEAST and it’s been great to tackle something like that.

LA: Have you been in a production with Lyric Arts before? If not, tell us a little bit about your acting journey that brought you here!

NH: This will be the fifth show I’ve been involved in at Lyric Arts! I was in both CHRISTMAS AT PEMBERLEY shows as Charles Bingley and then as understudy for Brian and George Wickham. I played George Gibbs in OUR TOWN. Then I was in THE SPONGEBOB MUSICAL as Squidward. But I really have a soft spot for MISS BENNET: CHRISTMAS AT PEMBERLEY. The accents, the etiquette, the posture, I just loved it all—if only the rest of the cast wasn’t the absolute pits. (I’m kidding that was a joke, I loved those guys).

LA: What's one thing that has brought you joy in doing this show?

NH: Getting to work with Callie Baack again. We went to the same college and we did a couple of shows together while we were there. It’s nice to play opposite someone that you’ve known for a while. Especially in a show like this where, for the most part, it’s just the two of you on stage. There’s already that sense of trust and willingness to play that is usually something you have to build up to.

LA: Do you have any character inspiration that you're drawing from the help you create your role?

NH: I’m a real Dr. Frankenstein when it comes to character inspiration. I might use a character or two. I might find a painting or a poem that I think makes a connection. I’m most affected by taste and smell, so that comes into play a lot. But the three main things that keep popping up are David Tennant’s character is the show Inside Man, the taste you have after going to the dentist, and a painting called Skyscraper by Roger Brown.

LA: What's one thing in your home that holds a lot of meaning to you? Why? 

NH: I have a leather jacket that belonged to my grandfather.

LA: Tell us about your first-ever time being on stage!

NH: In Kindergarten we had a spring pageant and we did Polar Bear, Polar Bear, What Do You See? I was, of course, the deeply touching and heartbreaking character of the Grey Mouse. I crawled on all fours (I’ve always been deeply committed to my craft), once I was center stage, I declared “I see a purple cat chasing after me!” After which, I hurried off stage left. Presumably, to my sad demise, after being caught by the violet feline. And it was all downhill from there.

LA: What's a piece of art that you’re really digging at the moment? Why?

NH: I’ve been listen to a lot of The Avett Brothers. They just made a musical based on their album, Mignonette. But I love “I and Love and You”. I’ve also been rewatching the show Gotham. Very campy, very ridiculous, and very entertaining.

LA: If you could give your younger self one piece of advice, what would it be?

NH: Keep your eyes on your own paper. Other people’s success or failure doesn’t concern you. Just focus on what you are doing.

LA: What's a bizarre life experience you've had?

NH: When I was in high school, I traveled to Kansas City with some friends to go to Worlds of Fun. We left the park and we were hungry. We found a Waffle House near our hotel. Our servers name was Stefan. He believed he invented chicken and waffles. Then he challenged us to a dance battle to the song “Cupid Shuffle”. A song, in which, the lyrics are the dance moves. It was a tie..

LA: Describe your dream home!

NH: Stephen Sondheim’s townhouse in New York. But with one of those modular sectional couches.

Thank you to Noah for taking time out of his busy rehearsal schedule to chat with us about himself and this wickedly dark comedy! RADIANT VERMIN opens at Lyric Arts on March 1 and runs through March 24.

Recently we sat down with the cast of THE LAST FIVE YEARS and asked them some questions to get to know them better! We also took a peek into their process of tackling this stunning two person show dealing with love, loss, and all the moments in between. Keep scrolling to learn more about the cast of THE LAST FIVE YEARS!

LYRIC ARTS (LA):What do you love about the musical THE LAST FIVE YEARS?

TOMMY McCARTHY (TM): A few things! Number one, the MUSIC. It is beautiful, challenging, full of storytelling, and the main vehicle of exposition in the show; what more could a musical theater actor ask for? The other thing I love is how the storylines are told. The audience learns what happens in the show in the first line of the first song, yet the musical still finds ways to surprise the audience and invites them to really experience an entire range of emotions.

LYDIA ROSE PRIOR (LRP): I think the timeline for this show is so cool because it acts as a symbol for Cathy looking back at the relationship wondering where it all went wrong while Jamie is only able to see what's directly in front of him.

DYLAN SAUDER (DS): The music is a blast to sing and an amazing challenge to tackle—Jason Robert Brown is a genius. The structure of the show, with reverse storylines happening simultaneously, is fascinating. The whole musical weaves together hope and heartache, joy and sadness, deep frustration and great love. There's something so human and real about THE LAST FIVE YEARS, anyone who watches it can relate in some way.

WAVERLY ANN McCOLLUM (WAM): I love the questions It brings up for audiences! There is SO much discourse on who Jamie and Cathy are and who they represent. I love hearing all the opinions on these characters, they’re both written in a way that reads morally grey. It’s easy to “pick a side” but the more you dig in, you are able to see them as real humans. Both carrying faults and questionable decisions. Playing Cathy gives me the chance to create a character people see themselves in.

LA: What made you want to audition for this show?

TM: I really wanted to be in this production because I know it will stretch me as an actor and singer. I have never been part of such a small cast for any production, let alone a musical, so I am very excited to see what that is like.

LRP: Cathy has been on my dream role bucket list for a while. I love the honesty and sincerity that this show has. Being able to tell their stories is a dream.

DS: I'm a more recent fan, having become obsessed with the music from the show over the last couple of years. Every new Jamie song I heard, I wanted to sing... and when I realized I wanted to sing ALL of his songs, I figured this was a role I should try to play!

WAM: This is a show with music that has been in my book since I was 14!! From 14 on I have been able to use these songs as a source of comfort and I find new meaning at each age. It’s a dream show of mine, so I knew I had to audition.

LA: Have you worked with Lyric Arts before?

TM: Yes! I was in the ensemble/Robbie understudy for THE WEDDING SINGER, and just finished as Don Kerr (the one wearing the jeans) in A CHORUS LINE.

LRP: Nope!

DS: Nope! First show! It's been an incredible experience, what an amazing team to work with.

WAM: Yes! I was Karen the Computer in THE SPONGEBOB MUSICAL this summer!

LA: What's something your really looking forward to in tackling this two-person show?

TM: With musicals, there is usually something to fall back on (the spectacle, an ensemble, a giant dance number, etc.), but with this two-person show, it’s me, another actor, the story and that’s it. Obviously, we will have an amazing pit orchestra and production team to support us, but I’m very excited to see how I push myself and grow as a performer and storyteller when I am alone onstage, singing some of the most challenging material i have ever had to perform.

LRP: I'm really excited to explore the relationship between Jamie and Cathy with Tommy. I can't wait to see how our individual takes on our characters mesh together.

DS: I've loved digging into the characters, their relationship, and all the complexities that go with that with other people who enjoy geeking out about subtleties in the music, libretto, and storyline just as much as me. It's been so great to bounce ideas off of each other and discover, in the process, both the likable qualities in Jamie and Cathy and their flaws; to figure out the motivations behind their actions and recognize all the little ways their marriage crumbled. It's been both a fun and heartbreaking process... which really sums up the show.

WAM: Working with someone to create a realistic representation of love and heart break. Bringing life to their relationship in a way audiences can relate to and feel with.

LA: Give us your best relationship advice!

TM: Wow, I wish I had some, haha. If anybody has any advice for me, I’m all ears haha.

LRP: Communication! No one can fix and issue if they don't know there is a problem in the first place.

DS: I think this show demonstrates the importance of communication in a relationship. I'll also offer some of my parents' tried-and-true advice: never go to bed angry.

WAM: I’m only 24, so don’t quote me on this. But I have found someone who gives me the space to be fully myself, I have never felt more ME than when I am with her. Which is pretty awesome, so probably find someone who makes you feel that way.

A HUGE thank you to the cast of THE LAST FIVE YEARS who took the time out of their busy schedules to catch up with us. Make sure you catch them on the Main Street Stage before THE LAST FIVE YEARS closes February 11 by clicking the button below! And don't forget, use the code LAST5LUCKY to try for a $15 ticket to any upcoming performance!

It’s hard to believe but this is the last “Thank you, 10!” of 2023! For this edition, we recently caught up with Tommy McCarthy (A CHORUS LINE, THE WEDDING SINGER) who plays the up and coming novelist Jamie Wellerstein in THE LAST FIVE YEARS. We were so excited to learn more about him and his inspiration for this role. Plus, we even learned a thing or two about his interests which include The Hunger Games and Ice Skating… Continue reading to learn more about Tommy in this edition of “Thank You, 10!”

LYRIC ARTS (LA): Tell us a little more about your character. What is some of your favorite parts about tackling this role?

TOMMY MCCARTHY (TM): Jamie is a young, driven, and naturally-talented writer from New York. He wants success in absolutely everything and wants the people he cares about to find success, too.

LA: Have you been in a production with Lyric Arts before?If not, tell us a little bit about your acting journey that brought you here!

TM: This is my third production at Lyric Arts! In 2023, I performed as an ensemble member and Robbie Hart understudy in THE WEDDING SINGER as well as Don Kerr (the one in the jeans) in A CHORUS LINE. Both productions hold such a special place in my heart. A CHORUS LINE is already a memorable production to participate in, but the people involved—whether it be the cast, crew, production team, orchestra, etc.— really made that show special. We all pushed each other to be our best selves, and it showed during the performances. I will never forget THE WEDDING SINGER because I had the opportunity to perform in my understudy track at somewhat of a last-minute notice. It was somewhat of “an understudy’s nightmare” situation, but because there were really fantastic people in the cast and crew, it became one of my fondest memories of performing in live theater to date.

LA: What's one thing that has brought you joy in doing this show?

TM: One thing that has brought me joy during this show’s rehearsal process is getting to really dive into the backgrounds and thoughts of the characters and the story. Typically with musicals, there is always so much to do (choreography, music rehearsals, blocking rehearsals, choreography review, etc.) and so little time to do it. However, with this being a two-actor show and not a lot of choreography, we can really dive into asking questions and playing in rehearsals to find the best way we can tell this story. I also really love singing this music!

LA: Do you have any character inspiration that you're drawing from the help you create your role?

TM: Okay, hear me out. Maybe it’s because I read the book and saw the movie three times in theaters, but I am finding a lot of similarities between Coriolanus Snow (from The Hunger Games: The Ballad of Songbirds & Snakes) and Jamie (my character from THE LAST FIVE YEARS). There is this underlying drive in both of them that empowers them to be the best at what they aspire to do, but it comes at the cost of being toxically afraid of failure. Yes, Coriolanus Snow is quite a bit more extreme, but he and Jamie seem to both have those people pleasing qualities that are used to gain respect or power or notoriety.

LA: Do you have a favorite Rom-Com? If so, what makes it so special?

TM: The original My Big Fat Greek Wedding is one of my family’s favorite movies. We are constantly quoting it, especially when we have a bundt cake.

LA: Tell us about your first-ever time being on stage!

TM: The first role I remember performing is “Tiny Tim” in Alan Menken’s A CHRISTMAS CAROL musical in the summer between third and fourth grade. Yes…THE SUMMER. We were wearing 18th century winter clothes in an unairconditioned gym in the middle of a Minnesota summer. Because of that musical, my hometown’s celebration that year was “Christmas in July” and it has remained that way every year since. I did also got a lot of performing experience from being a figure skater starting when I was 5. If you want to see a performance from my last competition, search Hamilton’s “You’ll Be Back” On Ice on YouTube.

LA: What's a piece of art that you’re really digging at the moment? Why?

TM: Between viewings of any of The Hunger Games movies, I’ve been rewatching The Crown on Netflix and I’ve finally watching through The Marvelous Mrs. Maisel for the first time! Taylor Swift has taken over my music library this past year as well as Reneé Rapp.

LA: If you could give your younger self one piece of advice, what would it be?

TM: Enjoy the process because everything you are doing will pay off.

LA: Given the choice, would you rather change the past or see the future?

TM: Change the past.

LA: What's your favorite song from THE LAST FIVE YEARS?

TM: My favorite song to sing changes almost every day, but it would have to be “Moving Too Fast.”

Thank you to Tommy for taking time out of his busy rehearsal schedule to chat with us about the first show of the New Year! THE LAST FIVE YEARS makes its way to Lyric Arts starting on January 19 and runs through February 11.

Just how far would you go to achieve your dreams? Sounds like the beginning of an uplifting, feel-good story. But in this whip smart and biting black comedy, the answer will shock you. In this modern play by British playwright Philip Ridley, two home owners find an easy “fix” to their renovation troubles, but forces them to ask themselves just how far they’ll go to create their dream home.

Callie Aho is making her Lyric Arts directing debut with RADIANT VERMIN. Aho served as intimacy director for many shows at Lyric Arts in is eagerly looking forward to the opportunity to direct. “I was drawn to RADIANT VERMIN because of its complexity. It isn’t a simple story, but one that draws out conversations regarding the housing crisis, the class system, gentrification, homelessness…and so much more. It’s a weird little play and I love that it takes you on this wild ride. You really don’t know what is going to happen next.”

RADIANT VERMIN follows Jill and Ollie, a young couple with a baby on the way. One afternoon, they’re approached by a mysterious woman who goes simply by the name “Miss Dee.” Miss Dee claims she is from the Government, and Jill and Ollie have qualified for a brand new program to help struggling people like them afford a home. The deal: They are given a house in a run down neighborhood for free. The catch: they must fix it up and in turn, help revitalize the neighborhood. Although the opportunity seems too good to be true, they jump at the opportunity seeing no other path to home ownership. But after a lethal accident, Jill and Ollie finds out their new home harbors a twisted secret…

Lyric Arts is thrilled to have all alums as cast members and understudies. Returning to the Main Street Stage as Jill is Callie Baack. Callie most recently served as the understudy for Kari in THE PAVILION. Black is really looking forward to taking on this challenging show saying, “I love it when art reflects the complexity of humans. This play does that super well! It layers a couple’s complicated wants and needs with social commentary to make for a really compelling story. “

As Ollie is Lyric Arts favorite Noah Hynick who was most recently seen as Squidward in THE SPONGEBOB MUSICAL this past summer. Noah was also in MISS BENNET: CHRISTMAS AT PEMBERLEY, OUR TOWN, and served as an understudy for THE WICKHAMS: CHRISTMAS AT PEMBERLEY. Danielle Krivinchuk plays the mysterious and cunning Miss Dee. Krivinchuk was last seen on the Main Street Stage in 2017 in the production of SILENT SKY. Serving as understudies for this show are Felipe Escudero (THE WICKHAMS: CHRISTMAS AT PEMBERLEY), Marci Lucht (LITTLE WOMEN), and Jack Strub (THE SPONGEBOB MUSICAL).

A phenomenal group of artists have signed on to work on this show and bring Aho’s vision to life. Serving as set designer is Cory Skold, as lighting designer is Shannon Elliott, as costume designer is Jeannie Hurley, and as props designer is Vicky Erickson. The stage management crew is being led by Joe Black with assistance from Andrew Pritchard as Assistant Stage Manager and Claire Karges on run crew. Gillian Constable is once again returning as dialect coach.

“The talent that I have brought in the room is amazing and I’m so excited to get started.” says director Aho. “Everyone has taken my original vision and made it even better than I had ever dreamed.”

A deep, black comedy, RADIANT VERMIN is “nasty and energetic fun” according to The New York Times while The Guardian says “Ridley’s is a darkly funny morality play that implicates the audience without hitting it over the head.” Lyric Arts is excited to take on this complicated, bitingly sharp, and wickedly satirical show. Ridley faces head on societal problems that continue to plague our communities: consumerism, housing shortages, lack of empathy, and the constant struggle of always comparing ourselves to those around us. Told in flashbacks, Ollie and Jill take the audience on a will ride that will leaving you laughing in one moment and gasping at another, often finding the fine line between comedy and horror. This wicked satire is definitely a show “that will keep you on your toes” according to Aho.

Meet Jill and Ollie, a young couple with a baby on the way who dream of being homeowners. When the mysterious Ms. Dee offers them an almost-too-good-to-be-true chance to climb the property ladder, they jump at it. The only catch? The two must participate in a government project to renovate a house in a run-down neighborhood. Room by room, renovations progress, and Jill and Ollie become more obsessed with creating their dream home. But just how far they are willing to go to find perfection may shock you… Written by Philip Ridley, RADIANT VERMIN is a biting commentary on consumerism, gentrification, and the moral cost of the pursuit of perfection. With wickedly funny dialogue, surreal imagery, and provocative themes, RADIANT VERMIN is a play that will challenge, entertain, and stick with you long after the stage lights go down.

There’s one superstar that steals the show during THE WICKHAMS: CHRISTMAS AT PEMBERLEY. We’re of course talking about Mrs. Reynolds’ Orange Biscuits. These cookies are so good that it’s a perfect excuse for Mr. and Mrs. Darcy to sneak away from their guests and enjoy this delectable treat. Try your hand at making this delicious treat and you’ll be the talk of the party!

yield: about 3 dozen cookies | prep time: 20 minutes | chill time: 1 hour | cook time: 12 minutes | total time: 1 hour and 32 minutes

INGREDIENTS

• 3/4 cup sugar

• Zest from 2 large oranges

• 2 sticks of unsalted butter, softened

• 1 1/2 teaspoons pure vanilla extract

• 1 egg

• Juice from 1/2 of 1 orange

• 2 1/2 cups of all purpose flour

• 3/4 teaspoon of salt

• Course sugar for topping

INSTRUCTIONS

1. In a medium bowl, combine the sugar and orange zest. Use a fork to work the zest into the sugar until the sugar becomes moist and fragrant.

2. In the bowl of a stand mixer fitted with the paddle attachment, or in a large bowl with a hand mixer, cream together the butter and sugar until light and fluffy. Add vanilla, egg and orange juice and beat until incorporated.

3. In a medium bowl, whisk together the flour and salt.

4. In the bowl of a stand mixer fitted with the paddle attachment, or in a large bowl with a hand mixer, cream together the butter and sugar until light and fluffy. Add vanilla, egg and orange juice and beat until incorporated.

5. With the mixer on low, gently add dry ingredients into the butter mixture. Mix until ingredients are well combined and a stiff dough is formed.

6. Cut two large pieces of plastic wrap. Divide dough in half placing one half of the dough on each piece of plastic wrap. Use your hands to form two 1 ½-inch diameter logs. Wrap logs tightly in the plastic wrap, place on baking sheet and freeze logs for 1 hour or until firm.

7. Preheat oven to 375°F. Line two baking sheets with parchment paper.

8. Remove dough logs from the freezer and remove the plastic wrap. Slice dough into ¼ inch thick slices and place on prepared baking sheets 1 inch apart.

9. Bake until cookies are just golden at the edges, about 10 minutes. Sprinkle course sugar on the top of them and put them back in the oven for an additional 2 minutes.

10. Take the cookies out and put them on a wire rack to allow them to cool.

11. Store cookies in an airtight container for up to 4 days.

THE WICKHAMS: CHRISTMAS AT PEMBERLEY closes on December 22! Get your tickets before we say goodbye to the Pemberley estate this holiday season.

THE WICKHAMS: CHRISTMAS AT PEMBERLEY brought out a lot of our favorite bloggers and reviewers to see the show. Check out what they had to say about this holiday comedy now up on the blog!

CHERRY AND SPOON

Jill Schafer from Cherry and Spoon joined us opening weekend and says THE WICKHAMS: CHRISTMAS AT PEMBERLEY is “the best Jane Austen Fan Fic!” She continues on to say that this show is “another delightful play filled with smart and witty dialogue, charming accents, beautiful gowns, sweet love stories, and strong female characters who support each other!” Read her full review here: THE WICKHAMS: CHRISTMAS AT PEMBERLEY at Lyric Arts

TALKIN’ BROADWAY

It’s always a pleasure having Arthur Dorman in the house. Arty says that THE WICKHAMS: CHRISTMAS AT PEMBERELEY is “a lovely theatrical gift for the holidays” and that “Marci Lucht skillfully maintains a balance between the comedic and serious elements of the play.” You can read his full review here: THE WICKHAMS: CHRISTMAS AT PEMBERLEY

PLAY OFF THE PAGE

Mary Aalgaard from Play Off The Page joined us later in the run and as a Jane Austen fan, she fell in love with the show. She says “the cast is absolutely charming and hilarious!” Mary also brought her housemate, Kyara, to her first Pemberley show. Kyara says, “As someone who is uneducated in the Jane Austen field, I still really enjoyed the show! The actors all did an amazing job. It was humorous and wholesome.” Read Mary’s entire review here: Review of THE WICKHAMS: CHRISTMAS AT PEMBERLEY at Lyric Arts in Anoka, MN

THE WICKHAMS: CHRISTMAS AT PEMBERLEY closes on December 22! Get your tickets before we say goodbye to the Pemberley estate this holiday season.

The Main Street Stage has been abuzz with audiences full of familiar friends and some faces who are new to the theater. It is always so rewarding to see theater lovers and concert goers come through our doors night after night to enjoy the unique and uplifting experience that only live performance can provide.

Upstairs, our studio spaces have been filled to the brim with the next generation of artists who are excited to learn more about their craft and grow as individuals and leaders. When a student discovers their self-confidence through theater it is truly an inspiring thing.

Lyric Arts is devoted to serving our community—you are the reason we do what we do! The passion you express for our mission has had a profound impact on our continued success. While the last few years have been a period of great challenge for the theater industry as a whole, we’re starting to see Lyric Arts thrive once again.

As a result of your support in 2023, Lyric Arts has:

• Increased stipends for artists of all kinds—actors, musicians, artistic staff, crew, and teaching artists.

• Added paid understudies for every show in our season, to make sure our actors can take a break if they are ill without worrying about having to cancel a show.

• Added the capacity to offer audio described performances on request, in addition to providing American Sign Language interpretation.

• Expanded the size of our part-time staff—including additional house managers, associate-level staffers, and teaching assistants—so that we can better serve you and our mission.

• Multiplied our numbers of audience members, season subscribers, volunteers, and workshop students, thanks to greater outreach to our community.

Beyond that, the production value of our shows continues to increase and the talent of our artists—both on stage and behind the scenes—is consistently top-notch, according to your reviews.

Like I said, it has been a big year.

Although we’ve served the Anoka area and beyond for the last 28 years, we feel as though Lyric Arts is just getting started. Thanks to support from people like you, we have been inspired to create some big, bold, and brave goals for the near future of Lyric Arts.

In order for us to get there, we are reaching out in the hope that you will consider being big, bold, and brave by making a contribution. Your tax-deductible donation by December 31 will:

• Help cover our 2023 funding gap. Did you know that ticket sales and other earned revenue only cover about 77% of our annual expense? For the rest, we need to turn to the community to make up the difference. Your donation will help us raise the $150,000 we need to maintain our budget without raising ticket prices or cutting programming.

• Further increase stipends for the artists and technicians who are the heart and soul of the work we do.

• Enhance the high-quality production values you have come to expect, allowing us to continue creating surprising and unforgettable moments on stage.

• Create new opportunities for young people to benefit from a performing arts education. Your donation expands our outreach to local schools, increases the number of scholarships we can offer, and creates the next generation of leaders and creators.

This work sounds pretty important, right?

If this inspires you, we hope you’ll consider making your gift of $50 or more today to ensure we have the resources necessary to achieve our goals, to continue serving our mission, and to build a big, bold, and brave future for this theater we all love so much.

Or, join our community of Sustaining Donors by signing up to give as little as $10 per month. It’s an easy way to deepen your commitment to Lyric Arts while making an ongoing investment in our stability and our mission to enrich, engage, and inspire.

Thank you for your contributions. Thank you for keeping the arts alive. And, thank you for choosing to be a vital part of the Lyric Arts community.

Laura Tahja Johnson
Artistic & Executive Director of Lyric Arts

Making her Lyric Arts debut in THE WICKHAMS: CHRISTMAS AT PEMBERLEY Grace Klapak plays the charismatic youngest Bennet, now Wickham, sister Lydia. We were able to catch up with Grace and learn a bit more about her and her inspiration for Lydia Wickham. Read on to learn more about Grace’s favorite holiday traditions and how she got her first theater role!

LYRIC ARTS (LA): Tell us a little more about your character. What is some of your favorite parts about tackling this role?

GRACE KLAPAK (GK): Lydia is the life of the party! She’s often seen as the obnoxious or self-centered one of the Bennet sisters, and in this production we really see her softer, more sympathetic attributes. I love how carefree Lydia is. She jumps without looking and yet at the same time is way more intelligent than the others give her credit for. It’s been a joy to balance the goofy, high energy Lydia that everyone knows with the truly heartbreaking ways her character shifts throughout the play.

LA: Have you been in a production with Lyric Arts before?If not, tell us a little bit about your acting journey that brought you here!

GK: It is my very first Lyric Arts show and I couldn’t be happier! I am a recent Theater grad of the University of Northwestern St Paul as of last December. I’ve done shows throughout college and a few in the area and I am thrilled to be joining the Lyric Arts ensemble!

LA: What's one thing that has brought you joy in doing this show?

GK: The camaraderie of this cast has been amazing! They are all so extremely talented and the energy of one another and the insight and genius of our director, Marci Lucht, is wonderful!!

LA: Do you have any character inspiration that you're drawing from the help you create your role?

GK: This might seem a little bizarre…but Keeley Jones from Ted Lasso! I love the subtlety and authenticity Juno Temple uses to keep her character endearing and comical at the same time: she’s high energy, and yet still intelligent!

LA: What's your favorite thing about the Holidays? Do you have a favorite Holiday tradition in your household?

GK: I think my favorite tradition is that every year since I was a kid my family would get Christmas pajamas and my mom would make cinnamon rolls on Christmas morning. I look forward to them ALL YEAR.

LA: Tell us about your first-ever time being on stage!

GK: I was Luella the pig in a third grade production of HARVEY THE PIG. I earned this part via rock paper scissors victory!

LA: What's a piece of art that you’re really digging at the moment? Why?

GK: Oooo- I just finished watching the TV show Defending Jacob. It was phenomenal! I love mysteries and the added depth of Chris Evans’ having to cope with his son’s accusation was so fascinating to me. I highly recommend!

LA: If you could give your younger self one piece of advice, what would it be?

GK: Don’t stifle the joy of who you are for the sake of appearing “normal.” When you are yourself, others will be too.

LA: Are you a Jane Austen fan? Do you have a favorite book or movie adaptation of one of her works? 

GK: Yes, I love Jane Austen! Pride and Prejudice is my favorite: the 2005 film of course.

LA: What's one of the best gifts you've ever received? 

GK: My friend Morgan gifted me a beautiful copy of Little Women with personalized notes inside of specific lines that we both love.

We are truly so lucky to have someone like Grace as part of the Lyric Arts community and thank him for taking the time to chat with us more. Make sure you don’t miss Grace making her Lyric Arts debut and the rest of this phenomenal cast in THE WICKHAMS: CHRISTMAS AT PEMBERLEY opening on November 17. This utterly delightful holiday treat effortlessly captures all the wit, charm, and romance of Austen's timeless classic. THE WICKHAMS: CHRISTMAS AT PEMBERLEY plays November 17 through December 22—get your tickets today!

Lyric Arts (Laura Tahja Johnson—Artistic Director) is starting off the new year with a quiet, heartbreaking, and contemplative musical by the multi-award winning composer Jason Robert Brown. With a cast of only two, this modern musical features a soaring score interwoven with authentic and moving storytelling. However this show is not as simple as it may appear. The show follows a turbulent and passionate relationship, but as one side of the relationship unfolds in chronological order, the other reveals itself in reverse.

Stepping into the role of director is Lyric Arts’ Artistic and Executive Director, Laura Tahja Johnson. Johnson is eager to return to the directing table after last directing PRANCER in 2019. When the show was decided on for the 23–24 Season, Johnson felt called to this show. “While putting this season together, I gave THE LAST FIVE YEARS another listen, after not listening to it closely for about 15 years. I wasn’t intending to direct this season, but the music just grabbed a hold of me in a way it hadn’t before,” Johnson reminisces. “It is so beautiful and multi-layered; it’s really no wonder Jason Robert Brown’s work is beloved by the musical theater community. While re-listening to the cast recording, I started seeing the show in my head and couldn’t let go of it. I became obsessed with untangling the knot Brown created by telling the story through two parallel, but opposing, timelines.”

Set in New York City, THE LAST FIVE YEARS is a bold choice for the arts organization as the story revolves around only two characters—Jamie and Cathy—and their tumultuous five year relationship. However, what makes the musical stand out against its fellow counterparts is the timeline. At the beginning of the show we see Jamie at the start of the relationship, while Cathy is reeling from the relationship’s conclusion. As the musical progresses, Jamie follows the relationship in chronological order, while Cathy experiences the relationship moving backwards in time. When the show finally concludes, the audience finds Jamie distraught at the end of the relationship while Cathy is giddy with excitement after their first date. The two timelines only cross once: on their wedding day.

Taking on the role of Jamie, an up and coming novelist, is Tommy McCarthy. Tommy was last seen as Don Kerr in A CHORUS LINE in September and as ensemble/understudy for Robby Hart in THE WEDDING SINGER last February. “I really wanted to be in this production because I know it will stretch me as an actor and singer,” says McCarthy. “I have never been part of such a small cast for any production, let alone a musical, so I am very excited to see what that is like.”

Making her Lyric Arts debut as Cathy, an aspiring actress, is Lydia Rose Prior. Prior is brand new to the Main Street Stage but is looking forward to taking on this “dream role.” “Cathy has been on my dream role bucket list for a while,” says Prior. “I love the honesty and sincerity that this show has…I'm really excited to explore the relationship between Jamie and Cathy with Tommy. I can't wait to see how our individual takes on our characters mesh together.”

Serving as understudies for this small but mighty cast is Waverly Ann McCollum who played Karen the Computer in this summer’s production of THE SPONGEBOB MUSICAL and Dylan Sauder who is making his debut with Lyric Arts!

“Having the opportunity to work with a cast of two was intriguing for me and I am thrilled by the artistic team assembled for this show,” says director Johnson. “I feel very fortunate to be working with an absolute ‘A-Team’ and am excited about what they are going to bring to the table. I am especially thankful for my partner in crime, Ben Emory Larson, and his enormous skill as a music director.” 

Ben Emory Larson, music director for THE LAST FIVE YEARS, most recently composed the music for OUR TOWN, in addition to serving as assistant music director for A CHORUS LINE. With a sweeping score, the music for this production is nothing short of brilliant, and Lyric Arts is thrilled to have Larson at the helm. Working with Johnson as Assistant Director is Marley Ritchie, who was last seen on the Main Street Stage as Diana Morales in A CHORUS LINE.

In addition to Johnson, Larson and Ritchie, Lyric Arts has a phenomenal artistic staff ready to take on this beautiful show. All designers are returning to the Main Street Stage including scenic designer Greg Vanselow, lighting and projection designer Jim Eischen, costume designer Samantha Fromm Haddow, props designer Lee Christiansen, sound designer Katie Korpi with sound mentor Paul Estby. Ajah Williams is serving as lead stage manager with Emily Ludewig assisting. Callie Aho is set to serve as the intimacy director. Run Crew for THE LAST FIVE YEARS includes Emma Swain, Jaden Jackson, and Emerson Stenbeck. Spotlight operators are Van Ott and Neil Johnson, with Alex Stokes stepping in to sub as needed.

Tackling the beautiful and complicated score is a pit orchestra comprised of all string instrumentalists. On bass is Andy DeLuca, on cello is Elise Butler-Pickham and Melanie Yang, on guitar is Matt Siddons, and violin is Abbey Roemer. Serving as violin substitutes are Marissa Frye and Anna Murphy.

From its heart-wrenching ballads to its witty and insightful lyrics, Jason Robert Brown has masterfully blended music and drama through unforgettable songs and engrossing story telling. The show's innovative structure, combined with its honest and insightful portrayal of love and loss, has made it a favorite of theater-goers and critics alike. With an emotionally resonant score and deeply human characters, THE LAST FIVE YEARS is a must-see musical that will leave you moved and inspired.

THE LAST FIVE YEARS plays at Lyric Arts from January 19 through February 11, 2024. Single tickets are currently available along with 4 and 6 show ticket packages. Enjoy a quiet mid-winter musical that is rarely produced in the Twin Cities. More information can be found at www.lyricarts.org/last-five-years

You’re most likely familiar with Michael Terrell Brown’s work, even though you may not realize it. Serving as both choreographer for THE WEDDING SINGER and THE SPONGEBOB MUSICAL, Michael is taking break from working on the production side of things to tackle the virtuosic role of the Narrator in THE PAVILION. We we’re able to catch up with Michael and learn a little bit more about him and his Lyric Arts performance debut! 

LYRIC ARTS (LA): Tell us a little more about your character. What is some of your favorite parts about tackling this role?

MICHAEL TERRELL BROWN (MTB): The Narrator not only takes the audience on the journey of this play but he also plays every other character at this 20th class reunion. I play 14 different characters so it has been fun bringing so many characters to life, building their stories, and weaving their relationships. It's one of the biggest challenges in my acting career thus far but so happy to take it on.

LA: Have you been in a production with Lyric Arts before?If not, tell us a little bit about your acting journey that brought you here!

MTB: In January I first started working with Lyric Arts as chorographer for THE WEDDING SINGER, then came back to close the season as chorographer for THE SPONGEBOB MUSICAL. Jake Sung-Guk Sullivan, our director, asked me to come play during the audition process. I was already going to be in the building for rehearsal so it was perfect. It all worked out and I am so happy to be in this show, with this cast, at this theatre.

LA: What's one thing that has brought you joy in doing this show?

MTB: The thing that has brought me so much joy is this cast and creative team. We have a good time. There is so much laughter. We get our work done and there is an openness we have that I will cherish forever.

LA: Do you have any character inspiration that you're drawing from the help you create your role?

MTB: With playing so many characters I am pulling inspiration in all directions. I have some friends that I am borrowing traits from, some social media trends, but overall gathering inspiration from various sources.

LA: What’s one of your favorite things about dance?

MTB: I love dance because it is a freeing way to express yourself. Dance isn't all about technique but also about letting go. I love working as a choreographer because I like meeting actors where they are at, push them to be better, while helping them feel comfortable in their skin while looking fabulous.

LA: Tell us about your first-ever time being on stage!

MTB: It was my freshman year and it was my first play. I was in KISS ME, KATE. I had so much fun! I caught the acting bug and I got it strong! I could act, dance, and sing all the time… what!

LA: What's a piece of art that you’re really digging at the moment? Why?

MTB: Here’s the deal, when I'm in a show I need more background noise while I focus on the show. So lots of YouTube and random cartoons. But I have some line ups. Murders in the Building Season 3 is waiting for me.

LA: If you could give your younger self one piece of advice, what would it be?

MTB: If I could give my younger self some advice it would be always let your light shine. Not only is it for you but helps others too. Don't let anyone turn off that light even if it's yourself. Also make your parents put you in tap.

LA: What were you like in high school?

MTB: In high school I was in a lot of clubs. I was in all the plays and musicals and I was the student council president my senior year. I wanted to be seen and really contribute to the betterment and beautification of the school.

LA: THE PAVILION centers a lot around the nostalgia. What is something that you're super nostalgic about?

MTB: In the spring I will be celebrating my high school's 20th reunion! Being the student council, I am sought out to plan things. It's weird… but it's fun. I have been connecting with old friends and it's been fun laughing and catching up.

We are truly so lucky to have someone like Michael as part of the Lyric Arts community and thank him for taking the time to chat with us more. Make sure you don’t miss Michael making his “on-stage” Lyric Arts debut and the rest of this phenomenal cast in THE PAVILION opening on October 13. This powerful and reminiscent story about love and loss is out to shatter your expectations. THE PAVILION plays October 13 through 29—get your tickets today!

Lyric Arts (Laura Tahja Johnson—Artistic Director) is excited to bring holiday delight back to the Main Street Stage with the second installment of the ‘Christmas at Pemberley’ series. Following the success of MISS BENNET: CHRISTMAS AT PEMBERLEY which took the stage last holiday season, Lyric Arts is thrilled to bring THE WICKHAMS: CHRISTMAS AT PEMBERLEY to its audiences this Christmas.

Making their director debut with Lyric Arts is Marci Lucht. Although this is her first time directing with the organization, they are not a newcomer to Lyric Arts. Lucht was last seen as Meg March in LITTLE WOMEN in May of 2022 and is now looking forward to directing her first production with the theater organization. “THE WICKHAMS harkens back to beloved classic romantic comedies, while remaining bold, fresh and lively. There is a deep sense of earnestness and love that underscores this piece,” says Lucht. “The script is great fun and blends the best parts of both slapstick and melodrama.”

While MISS BENNET followed the youngest Bennet sister Mary in her quest for love, THE WICKHAMS: CHRISTMAS AT PEMBERLEY follows the ambitious antics of Lydia Wickham née Bennet, the most flirtatious and ostentatious of the Bennet sisters. The household of Pemberley is getting ready for the annual Christmas Day ball and while the servants are hurriedly preparing downstairs, they’re also keeping a close eye on the upstairs drama.

The cast is comprised of a mix of return Lyric Arts alumni and new actors to the Main Street Stage. Comprising the “downstairs” staff is Mrs. Reynolds, the stern but warmhearted head housekeeper, played by Kayla Hambek. Michael Quadrozzi (OUR TOWN) returns to play Brian the lovesick footman and new housemaid Cassie will be played by Nadia Franzen (THE SPONGEBOB MUSICAL). The three servants all find themselves drawn into the tangle that is Lydia Wickham’s marriage to notorious scoundrel George.

Upstairs, the drama and scandals continue as the Pemberley home is thrown into chaos at the arrival of an unexpected guest. At the center of the whirlwind is Lydia Wickham, played by Grace Klapak who is making her Lyric Arts debut. As nefarious husband George is Felipe Escudero, also making his Lyric Arts debut. Returning to reprise his role of Fitzwilliam Darcy is Ben Qualley (MISS BENNET: CHRISTMAS AT PEMBERLEY). As Elizabeth Darcy—his wife and everyone’s favorite literary heroine—is Eva Gemlo (IT’S A WONDERFUL LIFE).

Serving as understudies for this production is Noah Brand (u/s Darcy), Lillian Walker (u/s Lydia), Patti Gage (u/s Mrs. Reynolds), Noah Hynick (THE SPONGEBOB MUSICAL, OUR TOWN, MISS BENNET: CHRISTMAS AT PEMBERELEY, u/s  George & Brian), and Boo Segersin (u/s Elizabeth & Cassie).  When asked most about what they’re looking forward to in this show, director Marci Lucht can’t say enough about the talent. “I cannot say enough about these talented people. You just have to come see for yourself.”

Lucht has an incredible production team joining her for this upcoming show! Serving as stage manager to the production is Dallas Williams, assisted by Kathryn Humnick. Greg Vanselow will be creating the gorgeous interiors of Pemberley as Scenic Designer. Lighting Designer is Shannon Elliott and Costume Designer is Christy Branham. As props designer is Kat Walker and Katie Korpi will serve as Sound Designer. Helping with the production process is Callie Aho as Intimacy Director and Gillian Constable as Dialect Coach. Emerson Stenbeck will be the run crew for this production.

The beloved Bennet sisters are back at Lyric Arts this Holiday season with a new story, romances, and gossip galore. Once again set in the grand estate of Pemberley, THE WICKHAMS: CHRISTMAS AT PEMBERLEY,  follows the downstairs staff as they prepare for the annual Christmas ball…while also keeping an eye on the upstairs drama.

When a familiar face from the past unexpectedly arrives, secrets are revealed and the festivities take a chaotic turn. Playwrights Lauren Gunderson and Margot Melcon revisit the beloved characters of Jane Austen's Pride and Prejudice while delving into class, privilege, family, forgiveness—and what it means to truly give in this season of generosity. THE WICKHAMS: CHRISTMAS AT PEMBERLEY is a utterly delightful holiday treat that effortlessly captures all the wit, charm, and romance of Austen's timeless classic.

THE WICKHAMS: CHRISTMAS AT PEMBERLEY plays at Lyric Arts from November 17 through December 22, 2023. Single tickets are currently available along with 4, 6, and 8 show ticket packages. Celebrate the Holidays with the sweet and delightful romantic comedy sure to roust your Christmas cheer.

For this show’s Thank You, 10! interview we talked to Jaclyn McDonald who will be playing Cassie in our upcoming production of A CHORUS LINE! This role has been an absolute dream for Jaclyn! Read on to learn more about her passion for dance and how this show has been hitting her differently since 2020.

LYRIC ARTS (LA): Tell us a little more about your character. What is some of your favorite parts about tackling this role?

JACLYN MCDONALD (JM): Cassie is trying to dance in the chorus again after years of attempting to be a "star" in Hollywood. Like many aspiring artists, we start out pursuing our true passions whether its dancing, acting etc. but then get bogged down with the pressures of the business. Because the industry will always want more out of you. Most times, it feels like you can't just be one thing, like a dancer. You have to spectacular at everything. Cassie realizes that she doesn't want to spend any more of her time trying to be a television or movie star in Hollywood so she returns to New York. She decides to audition for her ex's new Broadway show but not as a leading lady, but as a chorus member.

My favorite part of this role would have to be how Cassie stretches me as an overall performer. As a dancer first, this has been a dream role since I started theatre back in 2011. From dancing the iconic number of "Music and the Mirror" to her vulnerability of putting herself back on the line and her tense scenes with her ex, Zach. I am pushing myself in ways I never have before in my career and am soaking up every second of this process. It feels so good to put my dance shoes on again and do this iconic piece of theatre. I feel so lucky to be performing with this group of people and with Lyric Arts.

LA: Have you been in a production with Lyric Arts before? If so, tell us about some of your favorite shows!

JM: My favorite role to date would be Reno Sweeney in ANYTHING GOES. It was my first show at Lyric Arts and the whole experience made me feel right at home. Everyone was so encouraging and it was the first time I had been cast in a leading role. It grew me as a performer in so many ways and I feel grateful to have had that experience.

LA: What's one thing that has brought you joy in doing this show?

JM: The cast and creative team. Every rehearsal, I am so impressed by everyone's dedication and talent. You will walk in and see most of the cast warming up, rehearsing choreography and practicing their lines. This show hits differently after 2020. You never know when your last time on stage will be and I believe that this cast doesn't take a moment for granted. I know I don't.

LA: Do you have any character inspiration that you're drawing from the help you create your role?

JM: I think the way Cassie is written is so real and relatable that I don't draw character inspiration necessarily. But when I think of previous actors who have played Cassie before–I am always inspired when watching Robyn Hurder. I really appreciate her movement quality and how she interprets the style of Michael Bennett's choreography while still making it her own. She really knows how to tap into the musicality and juxtaposition of soft vs. sharp moments in "Music and The Mirror". You can tell she pours it all out on the stage every time she steps on stage and that to me is the most important part of being a performer. Also, there is such joy when she dances that is absolutely captivating. She is the definition of a true Triple Threat.

LA: What’s one of your favorite things about dance?

JM: As someone who is more of an introvert and isn't always comfortable speaking out, dance is my way where I can communicate every emotion. It's like therapy because no matter what kind of a day you are having, the minute you step into a studio you can lay it all out on the dance floor. Dance is a universal language that everyone understands and I think that is so powerful.

LA: Tell us about your first-ever time being on stage!

JM: I actually didn't start theatre until late but I have danced my entire life. Dancing was what led me to try theatre because it provided me another way to keep dancing. My first show was THE PRODUCERS at Minnesota State University-Mankato where I was cast as a chorus member! How fitting!

LA: What's a piece of art that you’re really digging at the moment? Why?

JM: I just attended the P!nk concert and she is such a powerhouse. Not only are her music and lyrics are so captivating and fun (She needs to write a musical asap!) but she is such an engaging and impressive performer. For her to jump on trampolines and flip in the air while singing effortlessly? WILD. She is incredible and someone that I look up to a lot.

LA: If you could give your younger self one piece of advice, what would it be?

JM: As a dancer, it can be difficult to feel confident in yourself and your abilities. The older I get, the more I have noticed that my imperfections are what draws others in. It is my greatest superpower, especially as a storyteller and performer. It has been said time and time again that comparison is the thief of joy. Embrace all the things that make you, you.

LA: This show centers a lot around the idea of "success." How do you define this word?

JM: "Doing what you love as much as you can, for as long as you can." -A Chorus Line

LA: What's one of your favorite song to dance to at the moment?

JM: Still by Seinabo Sey–it is so dreamy and has a ton of heart. Give it a listen!

Thank you so much to Jaclyn for taking the time to interview with us! We’re so happy to have her talent back on the Main Street Stage for our first show of the ‘23–24 Season. Make sure you get your tickets to A CHORUS LINE swinging its way to the Main Street Stage starting September 8!

It's hard to believe it, but in a little less than a month, we will be starting Season 2023–24! In this time of "in-between," we thought we would put together a little bit more information about the eight fantastic shows making their debut on the Main Street Stage. Continue reading to find out who might enjoy these performances, which previous Lyric Arts shows are similar to these new productions, and even a thought from Artistic and Executive Director, Laura Tahja Johnson!

Just a reminder that we also have 8-, 6-, and 4-show season subscription packages available. These are an excellent way to see multiple Lyric Arts performances at the lowest rates!

Happy reading!

A CHORUS LINE | Sep 8–Oct 1, 2023

You might like this show if you...

• Love dance, theater, or the art of performance in general.

• Have ever "put it all on the line” for something your passionate about.

• Know the entire dance routine after the director yells “A FIVE-SIX-SEVEN-EIGHT!”

You might like this show if you enjoyed these previous Lyric Arts performances:

• ANYTHING GOES

• RENT

• CABARET

Laura says...  
"A CHORUS LINE was a pioneering musical and when it premiered in 1975 it was unlike anything else on Broadway at the time.  It showcased diversity, featured a minimal set, a true ensemble cast, and touched on very real issues pulling back the curtain on the lives of the people you see on stage. This show is unlike anything else that Lyric Arts has ever produced and almost 50 years later it's still relevant–in someways even more relevant–when its being performed by actors who stuck it out through the pandemic because of their love of what they do."

Tony and Pulitzer Prize-winning musical A CHORUS LINE follows the lives of 17 aspiring dancers who put it all “on the line” for a coveted spot in the chorus line of a Broadway show. Set in a bare audition room, the dancers share their personal stories, struggles, and dreams in a series of captivating monologues and iconic, high-energy dance routines.

Book by James Kirkwood & Nicholas Dante
Music by Marvin Hamlisch | Lyrics by Edward Kleban

THE PAVILION | Oct 13–29, 2023

You might like this show if you...

• Enjoy powerful stories.

• Like to reminisce about the good ol' days.

• Still think about your crush from high school.

You might like this show if you enjoyed these previous Lyric Arts performances:

• OUR TOWN

• PICNIC

• BLOOMSDAY

Laura says...
"THE PAVILION is written by playwright Craig Wright who spent a considerable time in Minnesota, so the characters in this show are people you'll recognize. It's a show about nostalgia--what might have been and what never was--and set in motion through gorgeous prose and stunning imagery. There's something about it that's both contemporary and timeless."

THE PAVILION is a poignant and thought-provoking play that explores the complexities of love, loss, and regret. Set in a small town in Minnesota, the story follows Peter and Kari, former high school sweethearts who are reunited at their 20-year class reunion. As they reminisce about their past, Peter desperately tries to win back Kari's love, while Kari grapples with the painful memories and circumstances that led to their eventual breakup.

By Craig Wright

THE WICKHAMS: CHRISTMAS AT PEMBERLEY

Nov 17–Dec 22, 2023

You might like this show if you...

• Are a Jane Austen fan!

• Eagerly look forward to Hallmark Christmas Movie season.

• Enjoy a good gossip sesh in the kitchen.

You might like this show if you enjoyed these previous Lyric Arts performances:

• SENSE & SENSIBILITY

• LITTLE WOMEN

• MISS BENNET: CHRISTMAS AT PEMBERLEY

Laura says...
"We are so excited to continue the story of the Bennet sisters with THE WICKHAMS: CHRISTMAS AT PEMBERLEY. Where as MISS BENNET was all about the formal world of what happens upstairs at Pemberley, THE WICKHAMS is all about what happens downstairs in the heart of the manor."

The beloved Bennet sisters are back with a new story, romances, and gossip galore. Once again set in the grand estate of Pemberley, THE WICKHAMS: CHRISTMAS AT PEMBERLEY,  follows the downstairs staff as they prepare for the annual Christmas ball…while also keeping an eye on the upstairs drama. When a familiar face from the past unexpectedly arrives, secrets are revealed and the festivities take a chaotic turn.

By Lauren Gunderson & Margot Melcon

THE LAST FIVE YEARS | Jan 19–Feb 11, 2024

You might like this show if you...

• Have ever had to pick up the pieces of a broken heart.

• Are a fan of authentic, stirring story-telling.

• Love an romantic, evocative, and moving score!

You might like this show if you enjoyed these previous Lyric Arts performances:

• IF/THEN

• [title of show]

• PROOF

Laura says...
"I'm thrilled to be directing my first show at Lyric Arts since PRANCER in 2018. This show is such a moving, fascinating, and intimate show--the entire cast is only two people--that features a hauntingly stirring score by Jason Robert Brown. This show is told in individual vignettes as we see through snapshots the the creation–and ultimate demise–of Jamie and Cathy's relationship, making this show both uplifting and heart-breaking. THE LAST FIVE YEARS is beautiful and bittersweet juxtaposition of a show that will stay with you long after you've left the theater."

A unique and poignant musical, THE LAST FIVE YEARS dives into the turbulent and passionate relationship between Cathy, an aspiring actress, and Jamie, a successful novelist, as they fall in–and ultimately out–of love. While Cathy's story unfolds in reverse, Jamie's moves forward chronologically, resulting in a stirring and powerful exploration of love, loss, and the human heart.

Book, Music, and Lyrics by Jason Robert Brown

RADIANT VERMIN | Mar 1–24, 2024

You might like this show if you...

• Enjoy working on renovation or construction projects.

• Have a real estate horror story.

• Enjoy satirical comedies with a twist to the macabre.

You might like this show if you enjoyed these previous Lyric Arts performances:

• GOD OF CARNAGE

• GIRL ON THE TRAIN

• DEAD MAN'S CELL PHONE

Laura says...
"RADIANT VERMIN is a brilliant piece of storytelling. It is light-hearted and funny in the face of dark scenarios. It's a pitch black comedy that dives into heady topics with quick wit and a sharp tongue."

Jill and Ollie are a young couple who dream of being homeowners. When the mysterious Ms. Dee offers them an almost-too-good-to-be-true chance to climb the property ladder, they jump at it. The only catch? The two must participate in a government project to renovate a house in a run-down neighborhood. Room by room, renovations progress, but just how far they are willing to go to find perfection may shock you…

By Philip Ridley

9 TO 5: THE MUSICAL |  Apr 12–May 12, 2024

You might like this show if you...

• Enjoy Dolly Parton's music!

• Ever day dreamt about taking revenge out on a horrible boss.

• Tumble out of bed and stumble to the kitchen and pour yourself a cup of ambition.

You might like this show if you enjoyed these previous Lyric Arts performances:

• THE SAVANNAH SIPPING SOCIETY

• LEGALLY BLONDE THE MUSICAL

• THE WEDDING SINGER

Laura says...
"Dolly Parton. That's all you need to know."

9 TO 5: THE MUSICAL is a high-energy musical comedy that tells the story of three female co-workers who team up to take down their sexist and egotistical boss. Set in the 1970s, this show follows Violet, Doralee, and Judy as they navigate workplace politics, personal struggles, and their own unlikely friendship.

Book by Patricia Resnick
Music and Lyrics by Dolly Parton
Based on the 20th Century Fox Picture

THE SERVANT OF TWO MASTERS | May 31–Jun 23, 2024

You might like this show if you...

• Are a fan of witty wordplay and physical humor.

• Like old stories with a contemporary feel.

• Enjoy a nice plate of meatballs... or 27 plates of meatballs…

You might like this show if you enjoyed these previous Lyric Arts performances:

• FLAVIO BETRAYED - A COMMEDIA

• NOISES OFF

• THE 39 STEPS

Laura says...
"Physical comedy, mistaken identities, and plates of meatballs! Oh my! Minnesota playwright, Jeffrey Hatcher's new adaptation takes a 300-year old tale and makes it feel like it was written yesterday. This high-energy, slapstick comedy is going to be a great evening of theater that will leave you laughing 'til your sides hurt."

In this new version of Goldoni’s classic adapted by esteemed Minnesota playwright Jeffery Hatcher, madcap servant Truffaldino finds himself up against masters, mistresses, lovers, lawyers, and twenty-seven plates of meatballs. With its fast-paced physical comedy, witty wordplay, and colorful characters, THE SERVANT OF TWO MASTERS is a rollicking and entertaining romp that will have audiences laughing from start to finish.

By Carlo Goldoni,
Translated and adapted by Jeffrey Hatcher and Paolo Emilio Landi

KINKY BOOTS | Jul 12–Aug 11, 2024

You might like this show if you...

• Enjoy wearing a fashionable shoe.

• Are a fan of Cyndi Lauper's music!

• Love an uplifting true story!

You might like this show if you enjoyed these previous Lyric Arts performances:

• THE SPONGEBOB MUSICAL

• FOOTLOOSE

• HAIRSPRAY

Laura says...
"I'm so excited for the final show in our season. If we're taking about our season being "big, bold, and brave" this show is the biggest, boldest, and bravest. This show throws aside prejudice and opens the door to celebrating acceptance, community, and loving yourself and one another. 
This uplifting and joy-fille show is the ideal way to end our big, brave, and bold Season 23–24."

KINKY BOOTS is a Tony-winning musical that tells the uplifting story of Charlie Price, a struggling shoemaker who inherits his family's failing business. Desperate to save the factory, Charlie teams up with Lola, a fabulous and fierce drag queen, to create a line of high-heeled boots for men. As they work together, Charlie and Lola discover the power of acceptance, self-expression, and the transformative power of a good pair of shoes.

Book by Harvey Fierstein
Music and Lyrics by Cyndi Lauper
Based on the Miramax motion picture of the same name, written by Geoff Deane and Tim Firth

Don’t forget—if you’re interested in seeing four or more shows, consider becoming a season ticket holder! You get access to not only the best rates, but special perks, discounts, and insider information throughout the year! Just click one of the buttons below to get started.

ANNOUNCING THE CAST OF THE PAVILION AT LYRIC ARTS

This October, take a trip down memory lane with Craig Wright’s timeless play, THE PAVILION. Set in a small town in Minnesota in the early 2000’s, this poignant and thought-provoking play weaves an intricate and impactful story about love, loss, and redemption throughout one fated summer evening.

Jake Sung-Guk Sullivan returns to the directing table after last being seen on stage as the Narrator in OUR TOWN. Sullivan directed THE WEDDING SINGER in the ’22–23 Season, and [TITLE OF SHOW] in the ’21–22 Season. With only a cast of three and a guitarist, Sullivan is looking forward to returning to an intimate sized cast. THE PAVILION centers a lot around memories as our two former high-school sweethearts meet at their 20th class reunion. “[Memories] are instantly recognizable and evocative, but we so often only remember the key elements, and then seeing those pieces years later affect us greatly,” says Sullivan. “We are attempting to visualize how a memory looks when affected by time and emotional bias.”

THE PAVILION features three performers who are no strangers to the Main Street Stage. Playing the virtuosic narrator is Michael Terrell Brown who is making his debut on stage at Lyric Arts, but previously choreographed THE SPONGEBOB MUSICAL and THE WEDDING SINGER. Playing the reunited lovers Peter and Kari are Chris Paulson and Audrey Johnson, respectively. Both Paulson and Johnson were last seen on the Main Street Stage in THE WEDDING SINGER. Joining this cast to provide background scoring to the moving performances is Steven Ramirez (OUR TOWN) on the guitar.

In addition to this three-person cast, a group of talented understudies are ready to step-in if the need arises. Danielle Birmingham will understudy as the Narrator, Michael Quadrozzi (OUR TOWN) will understudy as Peter, and Callie Baack will understudy as Kari.

Director Jake Sung-Guk Sullivan is joined by a strong production team who are helping to create his vision for this thought-provoking show. Returning as stage manager for this production is Joe Black, assisted by the assistant stage manager Maddie Ronning. Jamie Nguyen will be the Costume Designer and Vicky Erickson will be the Props Designer for this show. Justin Hooper will serve as Scenic Designer for this production with sound design by Emily Ludewig and lighting design by Kyia Britts.

THE PAVILION is a poignant and thought-provoking play that explores the complexities of love, loss, and regret. Set in a small town in Minnesota, the story follows Peter and Kari, former high school sweethearts who are reunited at their 20-year class reunion. As they reminisce about their past, Peter desperately tries to win back Kari's love, while Kari grapples with the painful memories and circumstances that led to their eventual breakup. 

As the night progresses, both Peter and Kari are led, through their interactions with a host of characters all played by a virtuosic Narrator, to confront the consequences of choices made long ago and to face life with newfound strength and bittersweet resolve. Written by Craig Wright, THE PAVILION is a timeless exploration of the human heart and the power of memory.

THE PAVILION runs at Lyric Arts from October 13–29, 2023. Single tickets are currently available along with 4, 6, and 8 show ticket packages. Enjoy an intimate night at the theater revisiting old memories and making new ones along the way. More information can be found at www.lyricarts.org

THE SPONGEBOB MUSICAL brought out a lot of our favorite bloggers and reviewers to see the show. Check out what they had to say about this dynamic stage musical now up on the blog!

THE STAGES OF MN

Rob Dunkelberger attended Lyric Arts during the opening weekend and says THE SPONGEBOB MUSICAL is “one kelp of a good time!” He goes on to say, “the terrific cast brings these characters to life in a theater transformed from floor to ceiling into Bikini Bottom. It’s everything you expect from Spongebob and several things you don’t, and all of it is designed with one thing in mind, to make you smile.” Read his full review here: THE SPONGEBOB MUSICAL at Lyric Arts

TALKIN’ BROADWAY

It’s always a pleasure having Arthur Dorman in the house. Arty opens his review with, “there is a blissful, rambunctious, tuneful party going on at the Lyric Arts Main Street Stage in Anoka.” He continues to say, “the production on view at Lyric Arts Main Street Stage is the best thing I have ever seen at that theater, which consistently does fine work. THE SPONGEBOB MUSICAL is much more than fine, it is wonderful.” Read his full review here: THE SPONGEBOB MUSICAL

ONE FAN SHOW

Alex Lauer was in the house opening night and said THE SPONGEBOB MUSICAL is “the must-see Twin Cities musical of the summer” and that “it’s one of those musicals where you can’t tell who’s having a better time: the performers or the audience!” Read his full review here: You’re not ready for THE SPONGEBOB MUSICAL at Lyric Arts

LETTERED IN THEATER

Lettered in Theater joined us later in the run of this performance and as a SpongeBob fan, she fell in love with the show. But also said that “even if you aren’t a fan of this little square dude, you will find something to love about the performance at Lyric Arts. From the choreography and costumes, to the audience interaction and show stopping numbers, it’s an incredible fun night out at the theatre…” You can read her full review here: THE SPONGEBOB MUSICAL at Lyric Arts!

THE SPONGEBOB MUSICAL closes on August 13! Get your tickets before the Bikini Bottom leaves the Main Street Stage!

Lyric Arts is thrilled to announce the extraordinary cast for its highly anticipated production of A CHORUS LINE, the opening show of their 2023–24 season. This iconic and groundbreaking musical will grace the Main Street Stage this fall, captivating audiences with its timeless story and awe-inspiring dance numbers.

A CHORUS LINE, conceived and originally choreographed by Michael Bennett, with music by Marvin Hamlisch and lyrics by Edward Kleban, has been a cherished theatrical gem since its Broadway debut in 1975. The production captures the poignant and often exhilarating journey of a group of dancers auditioning for a coveted spot in a Broadway chorus line. With its emotional depth, dazzling dance sequences, and unforgettable songs, A CHORUS LINE continues to resonate with theatergoers worldwide.

Under the expert direction of Scott Ford (OUR TOWN, SOMETHING ROTTEN!) the talented ensemble cast promises to deliver a breathtaking performance, infusing their unique artistry into the characters that make this musical a cherished classic. “A Chorus Line is the best show about theatre ever written,” says Ford.  “It follows a group of professional dancers through the grind of a demanding two-hour audition.  That “interview” process uncovers the powerful personal stories, dreams, and fears of the performers.  It touches on issues that are still poignantly relevant today.  It is funny and moving, but mostly it is full of the human spectacle of outstanding dancing and singing!”

The cast welcomes back familiar faces to Lyric Arts along with new talent, all who are excited to be bringing such a cherished show to life. Leading the cast are returning alumni Kyler Chase (SOMETHING ROTTEN!) as the auditions' demanding director, Zach, and Jaclyn McDonald (THE WEDDING SINGER) as Cassie, a seasoned performer longing for another chance at stardom. McDonalds's exceptional dance skills and emotive prowess promise to deliver a truly unforgettable performance bringing authenticity and grace to Cassie’s captivating journey.

Joining Cassie “on the line” is Marley Ritchie (THE SPONGEBOB MUSICAL, SOMETHING ROTTEN!) as Diana Morales, a streetwise, eternal optimist from the Bronx, Nicholas Ohren as Mike Costa, a determined, likable, and cocky tap dancer. Dorian Brooke makes her Lyric Arts debut as the brassy, sexy, sassy and sophisticated

Shelia Bryant. Max Kile (THE WEDDING SINGER) will channel raw emotion and vulnerability as Bobby Mills, endearing audiences with their character's personal struggles and heartfelt revelations. Caitlin Featherstone (THE WEDDING SINGER) returns to Lyric Arts as Judy Turner, a funny, somewhat awkward when-not-dancing dancer with a big heart. Cris Sanchez (THE WEDDING SINGER) returns as Paul San Marco, the shy and introspective dancer whose story tugs at heartstrings. Gabriella Trentacoste is debuting on the Main Street as Val Clark, a sassy, brazen dancer who performs the unforgettable number “Dance: Ten; Looks: Three.” Mark Anthony, the youngest of the dancers “on the line” will be played by newcomer Paul Cushman. James Ehlenz has been cast as Al Deluca, a tough and macho dancer from the Bronx who recently married wide-eyed Kristine Ulrich, played by Sarah Christenson who delivers the show-stopping “Sing!”

Morgan Kempton (THE SPONGEBOB MUSICAL, THE WEDDING SINGER, SOMETHING ROTTEN!) returns as Connie Wong, an experienced—albeit short—dancer with a great sense of humor. Also returning to Lyric Arts is Tommy McCarthy (THE WEDDING SINGER) as Don Kerr, a ladies’ man and overly-cocky dancer.  Insecure but hilarious Bebe Benzenheimer is played by Leighann Bibb Colin while Maggie Winslow—a fairly experience dancer from California is played by Annika Isbell. Rounding out rest of the dancers is John Brownell as the down-to-earth, enthusiastic, and cool Richie Walters and James Grace as Greg Gardner, a over-sexed, over-drugged, “done it all before” smart aleck. Caleb Reich plays Larry, Zach’s assistant throughout the audition process.

In addition to these seventeen dancers, the cast also includes Kaitlin Klemencic, Tyler Eliason, Jonathan Haller, Maddie Schafer, Carter Hoffer (THE WEDDING SINGER), Sarah Potvin, and Brandon Osero (THE SPONGEBOB MUSICAL, THE WEDDING SINGER, SOMETHING ROTTEN!). All of these actors will also understudy multiple of the “named dancers” in addition to taking on the roles of the cut dancers.

This enormous production is being led by and incredible team. Along with director Scott Ford, the artistic vision for this show is being shaped by choreographer Lauri Kraft and music director Wesley Frye, with assistance from Benjamin Emory Larson. Creating the New York audition room on the Main Street Stage is Todd Edwards, scenic designer, Shannon Elliott, lighting designer, and Cory Skold, props designer. The iconic 1970’s dance outfits are being created by costume designer Christy Branham. Paul Estby is returning as sound designer with Emily Ludwig as the sound board operator. The stage management team is being led by returning stage manager Jenna Hyde, with assistance from Leita R. Strei as assistant stage manager and Alex Stokes as running crew.

The live ten-piece orchestra is being led by music director Wesley Frye and includes Jenna Slivinski on Flute, Wes Huisinger on Clarinet and Oboe, Jennifer Laundrie on Alto Sax, Pete Berg on Trumpet 1, Isaac Mayhem on Trumpet 2, Ross Fugl on Trombone, Jarod Bendele on Percussion, André Hardy on Cello, Marissa Frye on Keyboard 3. Substitute musicians include Patrick Hull, Matthew Dosland, and Karen Neinstadt.

Single and season tickets are now on sale for A CHORUS LINE. More information about the show and the upcoming season can be found online at www.lyricarts.org.

A CHORUS LINE is the first show in the 2023–24 season at Lyric Arts that features a collection of contemporary and classic shows including hilarious comedies, groundbreaking dramas, and gutsy musicals. With a season line up that has been dubbed “Big, Bold, and Brave,” Lyric Arts invites the audiences to Season 23–24 to experience the quiet extraordinary and the quite extra ordinary.

For this show’s Thank You, 10! interview we talked to Justin Michael who will be playing Patrick Star in our upcoming production of THE SPONGEBOB MUSICAL! Growing up watching the cartoon, this role is a dream come true for Justin. Read on to see how Justin is bringing his own take to this iconic character as he returns to the Main Street Stage once again!

LYRIC ARTS (LA): Tell us a little more about your character. What is some of your favorite parts about tackling this role?

JUSTIN MICHAEL (JM): Patrick is an everyday Sea Star who lives under a rock in the world renowned Bikini Bottom. He's Spongebob's best friend and sidekick (The Barnacle Boy to Spongebob's Mermaid Man). He can be kind of clueless and dim at times but he has a good heart and he's always there for his friends. I've been a lifelong fan of Spongebob so getting to play a character from the iconic show on stage has been a dream come true. Plus it gives me an excuse to watch old school episodes of Spongebob and call it character research.

LA: Have you been in a production with Lyric Arts before? If so, tell us about some of your favorite shows!

JM: I've been in two Lyric Shows before this one. THE WEDDING SINGER as Sammy and SOMETHING ROTTEN! as Nostradamus. Both of those roles were extremely different and a blast to play but if I had to choose one, Nostradamus would be my favorite. He's a very hammy character which I do very well, and he sings the song "A Musical" which many would say is the most iconic song from the show. SOMETHING ROTTEN! was my first show at Lyric Arts and it was an amazing experience.

LA: What's one thing that has brought you joy in doing this show?

JM: Seeing everyone's interpretation of the characters. Everyone has their own take on these beloved characters and it's been so fun to see them come to life. I get to see a live version of SpongeBob everyday and it makes me so happy!

LA: Do you have any character inspiration that you're drawing from the help you create your role?

JM: The biggest one is obviously Patrck Star from the cartoon. But I also think back to TV characters that are loveable idiots. Like Ralph Wiggum in The Simpsons or Kelso in That 70's Show. You can't help but fall in love with their dopey demeanor and killer one liners.

LA: What’s one of your favorite things about the performing arts?

JM: I love getting to create and collaborate with others and make something unique and entertaining. Theater is a great escape from everything going on in the world and I enjoy getting to be a citizen of Bikini Bottom for a bit and living in that world.

LA: Tell us about your first-ever time being on stage!

JM: Maybe not as illustrious as Sheep #2 but in first grade I played the role of the background “Singing Sled” in a Christmas show we put on for the parents when I was in first grade. I didn't want the responsibility of a speaking role so they put me in the background and gave me a sandwich board with a sled drawn on it. I don't have any pictures unfortunately but I remember standing there awkwardly and thinking "I'm never gonna do this acting thing again!" Spoiler alert. I did.

LA: What's a piece of art that you’re really digging at the moment? Why?

JM: I recently started a full series rewatch of Apple TV's Ted Lasso. The show is so well written and funny and I love how every character feels fully fleshed out. There's no one that exists only to fill the space. They all have a purpose and feel real. It's a feel good show that also deals with a lot of real issues and I just love it.

LA: If you could give your younger self one piece of advice, what would it be?

JM: Don't let the feeling of not being good enough stop you from pursuing opportunities. self doubt is something I struggle with and it's caused me to count myself out of a lot of things and give up on things before I even tried.

LA: What's one thing you never leave home without?

JM: Of course I take the things most people do, phone, wallet and keys. I also always like to have gum in my car. I'm usually chewing gum when I'm driving to wherever I'm going.

LA: Which SpongeBob character do you relate to the most and why?

JM: I feel like I'm kind of obligated to say Patrick, but if I'm being honest as I get older I'm realizing I'm a lot like Squidward. When I watched him as a kid I thought he was a grumpy old man who hates fun, but now I am a grumpy old man so I see him as a rational adult. I also can play a mean clarinet if push comes to shove.

Thank you so much to Justin for taking the time to interview with us! We’re so happy to have his talent back on the Main Street Stage for our final show of the ‘22–23 Season. Make sure you get your tickets to catch THE SPONGEBOB MUSICAL making a splash at Lyric Arts starting July 14. See you in Bikini Bottom!

Dear friends,

Lyric Arts’ 2022–2023 season has been nothing short of spectacular and our 2023–2024 season promises to even bigger, bolder, and braver—thanks in no small part to your financial support. In fact, Lyric Arts has a long history of moving in big, bold, and brave directions.

However, considering the current conditions for performing arts organizations, there have been moments in the last year and a half since reopening our doors where the process of producing live theater have felt bolder and braver than ever before. Watching other theater companies in the Twin Cities cancel seasons and stop producing theater in the face of economic uncertainty has been sobering.

Even in these tumultuous times, Lyric Arts on track for another period of extraordinary growth—both in what you see on stage and in what we are able to offer our community. But, in order to reach our fullpotential, we need you.

When you make a tax-deductible donation by June 30,

• You create great theater by purchasing the furniture, costumes, props, supplies, andequipment necessary to production.

• You guarantee Lyric Arts has a year-round education program led by a full-time education director and ensure that children in the north metro have a welcoming and nurturing professional performing arts training program in their own backyard.

• You increase artist pay, making sure that the talented and creative people who are the backbone of Lyric Arts are properly compensated for their time, talent, and artistry.

We have big, bold, and brave goals to achieve in the next few years. And your donation is what we need to get there.

BECOME A SUSTAINING DONOR!

Right now, the biggest help you can give is by becoming a sustaining donor. Sustaining donors provide a steady, reliable stream of funding by making automatic monthly payments directly from their bank account or credit card.

For as little as $10 per month, you can show your support for Lyric Arts while making an ongoing investment in Lyric Arts’ future.

When you stand up for the arts by becoming a sustaining donor, you will receive special benefits—like special events, ticket discounts, Lyric Arts swag, and behind-the-scenes information —and become a member of an exclusive club, made up of Lyric Arts’ most committed supporters.

To become a sustaining donor today:

• Register online by clicking the button below to become sustaining donor or

• Call Development Director Jessica Thienes at 651.999.9125

YOU MAKE GREAT THEATER!

The ongoing story of Lyric Arts has been one of growth. Your contribution is an investment in the health and vitality of Lyric Arts and ensures we will not only maintain the progress we have made over the last 27 years, but continue to grow in a sustainable manner, providing the people, artists, and infrastructure that will ensure Lyric Arts will continue to be here for decades to come.

I truly believe that the best is yet to come for Lyric Arts and that this little theater has the potential to accomplish amazing things with your help. Your big, bold, and brave support now will lead to a bigger, bolder, and braver future for Lyric Arts, our family of artists, this community, and—most importantly—for you.

Sincerely,

Laura Tahja Johnson
Artistic & Executive Director of Lyric Arts

The Erhu was brought into this production of OUR TOWN through a stroke of luck and a bit of humor. “It was all because of a joke,” says Ben Emory Larson, composer for the show. “We knew we had musicians who could play accordion, guitar, and cello in the cast. We also knew we needed one more instrument. Scott [Ford] decided to make some “helpful” suggestions: ‘Zither? Spoons? Jug? Sackbut?’ And for whatever reason, I immediately thought of the erhu.”

The Erhu, often referred to as the "Chinese violin," is a two-stringed bowed instrument that holds a special place in the heart of Chinese music and culture. With its distinct timbre and expressive capabilities, the Erhu has become an emblematic symbol of traditional Chinese music and a conduit for conveying the deepest emotions and sentiments of its performers.

“It took us a bit after that to actually commit to finding an erhu player, and even then it was just an idea, because we weren't sure if we would be able to find someone. My friend Bobby Ragoonanan suggested I reach out to the Minnesota Chinese Music Ensemble, and that's how we met Jenny's teacher, Wei Ming Chiang. He sent us some clips of Jenny [Liang] performing at a concert, and once we heard her play, we were all sold! The rest is history.”

The origins of the Erhu can be traced back to ancient China, with its earliest predecessor believed to have been played during the Tang Dynasty (618-907 AD). Over centuries, the instrument evolved, taking on its modern form and establishing itself as one of the most beloved and recognizable traditional instruments in China.

The Erhu consists of a long, slender wooden neck and a hollow sound box covered with snake or python skin, typically crafted from rosewood or sandalwood. Two silk strings, tuned a fifth apart, run along the length of the instrument and are attached to pegs at the top of the neck. The player's left hand manipulates the strings, pressing them against the neck, while the right hand uses a bow made of horsehair to vibrate the strings.

Jenny Liang started playing the erhu in 7th grade after stumbling across the instrument thanks to her teacher. “My teacher was promoting an erhu concert in the Twin Cities and my parents decided to sign me up for lessons," says Jenny. “My interest was immediately sparked after hearing the instrument's haunting and emotional sounds.

What sets the Erhu apart is its extraordinary capacity to convey emotions and evoke a wide range of moods. The instrument possesses a hauntingly beautiful sound that is often described as ethereal, melancholic, and deeply expressive. Its ability to imitate the human voice has earned it the nickname "the crying instrument" since it can replicate the nuances and inflections of vocal tones. In the hands of a skilled musician, the Erhu can captivate listeners, touching their hearts and invoking a sense of nostalgia and introspection.

“I believe the erhu brings an  atmosphere of diversity and connection to OUR TOWN. Now, more than any other time period in history, America is filled with diverse cultures and immigrants. I think the erhu shows that an American classic, such as OUR TOWN, can benefit and thrive with new ideas and flavors,” says Jenny. In addition to her talent on stage, Jenny is also a composer and an excerpt of her piece can be heard during the third act. “An excerpt of my piece, Crimson River, is played during the graveyard scene. This piece displays tangible sadness and emptiness, something the mourners would certainly be experiencing,” explains Jenny. “I don't compose often, but I hope to compose more in the future!”

The erhu–and Jenny’s talent–has been a meaningful addition to this production of OUR TOWN. Its enchanting melodies and evocative sound have captivated audiences for centuries, and will now bring its haunting sound to the Main Street Stage . As the soulful sound of the Erhu continues to inspire and move people, reminding us of the universal power of music to convey emotions and connect us on a profound level–much like Thornton Wilder’s invocational masterpiece.

This summer the Main Street Stage is being transformed into Bikini Bottom as Lyric Arts presents THE SPONGEBOB MUSICAL. This high-energy musical extravaganza is based on the beloved cartoon by the same name, but don’t assume this show is “just for kids.” With music written by some of the greats—Steven Tyler and Joe Perry of Aerosmith, Sara Bareilles, Lady A, Cyndi Lauper, John Legend, Panic! At the Disco, and David Bowie just to name a few—this musical about an unexpected hero is slated to be the show of the summer!

Matt McNabb steps into the role of director for the first time since THE MYSTERY OF EDWARD DROOD which closed just before opening night in March of 2020 due to the pandemic. McNabb is looking forward to tackling this modern musical that is becoming more than just a cult classic. “The SpongeBob Musical is likely the most unique, creative, surprising, and joyful musicals written in recent memory. It is expertly crafted silliness and fun. It is also very sincere and heartfelt. I’m absolutely thrilled to bring it to life at Lyric Arts.”

THE SPONGEBOB MUSICAL was brought to Broadway in December of 2017. Nominated for multiple Tony Awards, the show boasts an impressive lineup of musicians who helped contribute to the score of the show. The company song “No Control” was written by the late David Bowie. The hero’s medley “(Just a) Simple Sponge” was written by Panic! At the Disco. Sara Bareilles, John Legend, and Steven Tyler of Aerosmith all contributed songs along with Cyndi Lauper, Lady A, and the Plain White T’s. “The fantastic songs are each composed by a various pop star from different genres yet the score feels cohesive and complete,” says McNabb. “It will be enjoyed by SpongeBob SquarePants experts and novices alike as well as adults and children alike.”

The cast of THE SPONGEBOB MUSICAL is already in rehearsals and bringing these well-known characters to life. Lyric Arts newcomer, Berto Borroto is stepping into the famous square-pants in the title role of Spongebob. Best friend Patrick Star is being played by Justin Michael, last seen as the hilariously sleazy Sammy in THE WEDDING SINGER. Noah Hynick (OUR TOWN, MISS BENNET) is once again returning to the Main Street Stage as everyone’s favorite melancholy squid-next-door, Squidward. Taelyn Gore is making her Lyric Arts debut as the rough-and-tumble, no nonsense squirrel from Texas, Sandy Cheeks and Cam Pederson is serving one-eyed looks as the diabolical mastermind Plankton.

Bill Stevens is playing the iconic Mr. Krabs while Kalyn Schmit has been cast as his daughter, Pearl. Greeting the audience as Patchy the Pirate is Brandon Osero (THE WEDDING SINGER, SOMETHING ROTTEN!). Waverly Ann McCollum is slated to play Karen while Samantha Raun serves as Bikini Bottom’s Mayor, both while also covering ensemble tracks.

To round out the many sea creatures and citizens of Bikini Bottom is the incredibly talented ensemble made up of Aaron Dumalag, Nadia Franzen, Thomas Friebe, Emily Hensley, Morgan Kempton (THE WEDDING SINGER, SOMETHING ROTTEN!), Kate Piering, Marley Ritchie (SOMETHING ROTTEN!), Kelly Solberg, Alex Stokes (THE WEDDING SINGER, SOMETHING ROTTEN!), Jack Strub (SOMETHING ROTTEN!), and Kyle Szarzynski. Carly Joseph is serving as the show’s external swing and Steve Eckes is providing the live sound effects for the show as the aptly named Foley Fish.

Joining McNabb on the artistic team is Sean Barker as Music Director. Michael Terrell Brown is choreographer returning after choreographing the high-energy THE WEDDING SINGER this past February. Sadie Ward returns as scenic designer once again bringing “green” elements into her design. Also returning to the Main Street Stage is Shannon Elliott as lighting designer and Samantha Fromm Haddow as Costume Designer. Cory Skold is serving as props designer and Paul Estby is sound designer. The stage management team is led by Dallas Williams with assistance from Emily Carey, Will Exline, and Ajah Williams.

The stakes are higher than ever in THE SPONGEBOB MUSICAL as SpongeBob and all of Bikini Bottom face the total annihilation of their undersea world. Chaos erupts and lives hang in the balance, and just when all hope seems lost, a most unexpected hero rises up and takes center stage. The power of optimism really can save the world! With original songs by greats such as Yolanda Adams, Steven Tyler and Joe Perry of Aerosmith, Sara Bareilles, Lady A, Cyndi Lauper, John Legend, Panic! At the Disco, Plain White T’s, as well as songs by David Bowie, Tom Kenny and Andy Paley, this one-of-a-kind musical extravaganza will be a hilarious, heart-felt, and high energy night at the theater for all ages

THE SPONGEBOB MUSICAL opens at Lyric Arts on July 14! Get your tickets today!

This month’s Thank You, 10! interview has us chatting with a familiar face about Lyric Arts: Jake Sung-Guk Sullivan. Jake was raised in Anoka and Lyric Arts has been a part of his life for many years. We’re lucky enough to not only to often have on our directing team for the season (his last show was THE WEDDING SINGER back in February), but we also get him to grace our stage with his talents every once in a while. This time, he’s tackling the role of the Stage Manager in Thornton Wilder’s Pulitzer-Prize winning play, OUR TOWN, opening at Lyric Arts on June 2. Get to know Jake a little bit more and hear all about how he’s tackling this iconic role.

LYRIC ARTS (LA): Tell us a little more about your character. What is some of your favorite parts about tackling this role?

JAKE SUNG-GUK SULLIVAN (JSS): The Stage Manager as a character serves many purposes in the play. He's a guide to and a curator for Grover's Corners, but I also think he's the town's biggest supporter and fan. Despite his apparent omniscience, he's surprisingly fallible, and prone to excitement about the town. The challenge of playing the character in my mind is the same challenge that the Stage Manager faces within the play - despite what he may feel, he cannot allow himself to become too invested in the lives he sees. He's both of the town and divorced from it - an onlooker who cannot affect anything. The role is has such a storied performance history - Alan Alda, Helen Hunt, Hal Holbrook, Paul Newman, to name a few - and I think this beautiful dichotomy as well as Wilder's colloquially cosmic diction that fascinates actors so.

LA: Have you been in a production with Lyric Arts before?If not, tell us a little bit about your acting journey that brought you here!

JSS: My first show at Lyric Arts was in 2010 - OLIVER! - and my most recent role prior to OUR TOWN, in THE 39 STEPS, was probably my favorite. The show, with all its madcap creativity, is totally my jam and was bucket list role.

LA: What's one thing that has brought you joy in doing this show?

JSS: Getting to perform OUR TOWN in your hometown is nothing to scoff at. To dwell nightly with this show's themes while being encompassed by the sights, smells, and feels that surrounded you during your formative years really compounds the plays messages and sends me home nightly with a lot to think about.

LA: Do you have any character inspiration that you're drawing from the help you create your role?

JSS: Ted Danson's role as Michael in The Good Place! There's something wonderful in the excitement and wonder he has for the human spirit, along with his views on the cosmic and spiritual aspects of humankind - that's something I'm bringing to the role. The spunk of an over-caffeinated academic who's discovered a new star in the sky, and can't wait to show you.

LA: What’s one of your favorite things about the performing arts?

JSS: I love, as Scott put it the other night, when being on stage allows you to be "the pebble in the pond", especially with a show such as this. A comedy, you get an instant reaction - you know if the audience is laughing or not. With a show like OUR TOWN, you don't know what aspect an audience member is going to latch on to and remember, and you never will! But you get to be part of the catalyst for something that will stay with them. There's a quote from the movie Inception: "What is the most resilient parasite? ... An idea".

LA: Tell us about your first-ever time being on stage!

JSS: My first ever-role was actually at Lyric Arts! It was a summer camp around 2000, and it culminated in a performance of Noah's Ark. My role was Cow #3 on the ark. The cows were the only animals they let more than 2 of on, for... culinary purposes.

LA: What's a piece of art that you’re really digging at the moment? Why?

JSS: I've really been digging the Longmire book series via audiobook, narrated by the one and only George Guidall. It's one of those masterful performances where it's impossible to separate the character from the actor. I think I've gone through about ten of the books in the past two months. I'm a sucker for good westerns, tightly-plotted mysteries, and upending archetypes.The protagonist feels so atypical to both genres - yes, he's the "cowboy-lawman", but he's also old, kind-hearted, good humored, well-read, philosophical, spiritual - a total flip on the scowling Clint Eastwood type. They're full of action, humor, and mediations on the long-lasting ripples our actions have in life.

LA: If you could give your younger self one piece of advice, what would it be?

JSS: You can only grow at your own pace, so don't try to achieve things or be something because you're supposed to do them, or because others want you to, or hold back out of fear of making a mistake. Oh, and you can't do it all for everyone at every moment.

LA: What's one thing you never leave home without?

JSS: I wish I had the presence of mind to never forget something. But the closest would be some form of music. I like to underscore everything, from car rides to grocery trips, and always need that right piece to fit the moment.

LA: OUR TOWN just celebrated the 85th anniversary of its 1938 Broadway premiere. Why do you think this show still resonates so much today?

JSS: I wonder if it isn't even MORE relevant today! In the show, Emily says, "It all goes so fast! We don't have time to look at one another!" - talk about relevance. To so many, our world exists at a breakneck pace, in a state of constant connectivity and stimulating distraction. We crave genuine connection, being able to live our lives intentionally with love. The show begs us to consider how we live our lives, and to be able to see the cosmic beauty in the mundane.

We are truly so lucky to have someone like Jake as part of the Lyric Arts community and thank him for taking the time to chat with us more. Make sure you don’t miss Jake and the rest of this phenomenal cast in OUR TOWN opening on June 2. This show is out to shatter your expectations while still staying true to the original works of Wilder. OUR TOWN plays through June—get your tickets today!

This June, Lyric Arts is bringing the classic, Pulitzer-prize winning play OUR TOWN to the Main Street Stage. Written by Thornton Wilder in 1938, the play earned instant acclaim when it debuted on Broadway. A simple story set in the fictional town of Grover’s Corners in the early 1900s, OUR TOWN is, at its heart, about the joys and tragedies of life. Lyric Arts is delighted to bring this stirring and surprisingly contemporary show to the Main Street Stage this coming June. With intricate staging, stunning musical scores written specifically for this production, and a thought-provoking plot, OUR TOWN boldly asks the question “Do any human beings ever realize life as they live it? Every, every minute?”

Scott Ford is back once again to direct this beautiful piece of American theater after directing LUMBERJACKS IN LOVE for Lyric Arts this past September. But this isn’t going to be your “typical” production of OUR TOWN claims Ford. “The classic American masterpiece is seen by some as a sweet and nostalgic look back to a simpler time.  We plan to shatter such assumptions.”

Including the addition of a choreographer and composer to the directing team, Ford is excited about how this show will look and believes a show like OUR TOWN is needed now more than ever. “This play is as relevant now as it was when our grandparents enjoyed it.  We are stuck in an age where our neighbors are increasingly polarized and distrustful.  And over the last decade, the frequency with which we look each other in the eye, shake hands, hug, and share the same air has been increasingly supplanted by us carrying around our screens, striving to connect via bytes and bits, and curating our sense of self to broadcast to others.  All of these crippling disconnects make OUR TOWN more meaningful than ever.  It tells us that in an age of division and individuality we can still be bound by our common struggles and the frailty of being alive. It tells us to stop and look at those around us with gratitude and awe.”

The cast of OUR TOWN features both new faces and returning actors in this heavily ensemble-based work. Starring as the virtuosic Stage Manager is Jake Sung-Guk Sullivan who was seen last year in THE 39 STEPS, as well as recently directing THE WEDDING SINGER at Lyric Arts. Playing young lovers Emily Webb and George Gibbs are Emma Schuld and Noah Hynick, respectively. Schuld made her debut at Lyric Arts in NEW VOICES CABARET which was part of Lyric Arts’ virtual shows during the Pandemic, while Hynick made his debut this past winter in MISS BENNET: CHRISTMAS AT PEMBERLEY. The parents of the two children will be played by Jennifer Inderlee as Mrs. Julia Gibbs, Eric Knutson (SOMETHING ROTTEN!) as Doc Gibbs, Don Maloney as Mr. Charles Webb, Katie Wodele as Mrs. Myrtle Webb.

The show features a robust ensemble of actors playing the different folks who make up Grover’s Corners. Included in the ensemble is Christy Johnson (IT’S A WONDERFUL LIFE), Jenny Liang, Alexis Neumann, Andrew Newman (THE MOUSETRAP), Michael Quadrozzi, Steven Ramirez (LUMBERJACKS IN LOVE), Rae Wasson, and Rick Wyman (IT’S A WONDERFUL LIFE). To add to this rich story, members of the cast will also serve as instrumentalists performing an original score written by Ben Emory Larson. The musicians include Jake Sung-Guk Sullivan on the accordion, Rae Wasson on the cello, Steven Ramirez on the guitar, and Jenny Liang on the erhu—an ancient Chinese string instrument.

Joining Scott Ford on the production team is choreographer Lauri Kraft and composer Ben Emory Larson. Greg Vanselow is returning to the Main Street Stage as scenic designer after creating the stunning set for MISS BENNET: CHRISTMAS AT PEMBERLEY. Serving as lighting designer is Lucas Granholm; as props designer, Marci Berg, and as Sound Designer, Julie Zumsteg. Alyssa Olsen will be costume designing this production.The stage management team includes Joe Black returning for his second show this season as lead stage manager, and Claire Frederick as assistant stage manager.

In this classic by Thornton Wilder, morning breaks on another ordinary day in Grover's Corners. The townsfolk go about their business: newspapers are delivered, meals are cooked and eaten, people go to work, gardens are tended to, and a boy and girl fall in love. But as life's events unfold and a community comes together, one question remains: "do any human beings ever realize life as they live it? Every, every minute?" Thornton Wilder's Pulitzer Prize-winning OUR TOWN celebrates what it means to be human and the bonds that unite us all.

OUR TOWN is the penultimate show in the 2022–23 season at Lyric Arts that features a collection of contemporary and classic shows that include hilarious comedies, intriguing dramas, sweet storytelling, and rocking musicals. With something for everyone in Season 2022–23, Lyric Arts invites the audience back to the theater to find inspiration, humanity, and heart in the stories and characters on the Main Street Stage.

Our latest Thank You, 10! interview is with newcomer Elizabeth Florence Hale who plays larger-than-life, Texas transplant Marlafaye Mosely in THE SAVANAH SIPPING SOCIETY! Hale is a recent transplant to the Twin Cites after living and working all over the globe! Read on to learn more about her journey to Lyric Arts and the joy she’s finding within this show.

LYRIC ARTS (LA): Tell us a little more about your character. What is some of your favorite parts about tackling this role?

ELIZABETH FLORENCE HALE (EFH): Marlafaye is a boisterous Texan who has chosen to relocate to Savannah, Georgia, after her marriage ends disastrously. She uses humor to deflect pain and loneliness, but it still finds her through a chink in her armor. I rarely play characters this bawdy, so I’ve been having fun with her frankness, coarse jokes, and “I-am-what-I-am” body language.

LA: Have you been in a production with Lyric Arts before?If not, tell us a little bit about your acting journey that brought you here!

EFH: This is my first production at Lyric Arts and in the Twin Cities since relocating here. Since earning my BFA in Theatre Arts from Drake University and attending the National Theatre Institute at the Eugene O’Neill Center, I’ve lived and worked in New York, Sydney, and Houston. The Twin Cities area is now home, and I look forward to many more productions here!

LA: What's one thing that has brought you joy in doing this show?

EFH: The ensemble-building with my fellow actors…witnessing those discoveries big and small with them and with our director, Natalie Foster, as we’ve explored our characters’ relationships.

LA: Do you have any character inspiration that you're drawing from the help you create your role?

HM: Oh yes. Though Houston is a large, cosmopolitan city with a great arts culture and international flavor because of the influx of foreigners working in the oil and gas industry, I definitely met women from smaller Texas towns and have drawn aspects of them - from twangy accent to physical gestures and movement to that “call ‘em as I see ‘em” attitude - into Marlafaye. That can then color what we know about Marlafaye from the script…and away she goes!

LA: What’s one of your favorite things about the performing arts?

EFH: Getting to explore another person’s inner thoughts, how their upbringing and life experience colors their voice, their physicality, their choices.

LA: What was your first-ever role in a production? Yes, playing sheep #2 in your school musical totally counts!

EFH: Gretl von Trapp in THE SOUND OF MUSIC when I was five. Many years later, I got to play Maria, and the actress who had played Maria in the earlier production became my voice teacher…a full circle moment.

LA: What's a piece of art that you’re really digging at the moment? Why?

EFH: The interior design work of Kelly Hoppen, the chocolate work of Amaury Guichon, and the photography of Manon Paarden Kooper, all of which I consider art. I’m looking forward to MERRILY WE ROLL ALONG with Jonathan Groff on Broadway next September, Lin Manuel Miranda’s LITTLE MERMAID and whatever Anais Mitchell (HADESTOW) and Pasek and Paul (DEAR EVAN HANSEN) are cooking up next.

LA: If you could give your younger self one piece of advice, what would it be?

EFH: Don’t be so hard on yourself! Give yourself the grace and margin for error that you give your friends.

LA: What's one thing you never leave home without?

EFH: Optimism - and lip balm.

LA: What is your favorite cocktail or choice of drink when you go out? What do you like to drink when you're enjoying a night at home? 

EFH: I like a slushy margarita when I’m out for Mexican food or a glass of wine at book club. The singer in me, however, relishes a steamy mug of ginger tea with honey.

A big, ol’ Texas-sized thank you to Elizabeth Florence Hale for taking time out of her busy schedule to chat with us more about THE SAVANNAH SIPPING SOCIETY! This delightful, laugh-a-minute comedy opens on the Main Street Stage on April 14. Get your tickets today!

Weddings are full of traditions. From carrying Something Old, Something New, Something Borrowed, Something Blue while walking down the aisle, the wearing the wedding band on the fourth finger because it was said to have a vein that led directly to the heart (since disproven, sorry y’all), to the combining of colored sand in a jar (very early 2000’s), the traditions that are chosen can be unique as the couple who incorporate them into their ceremony. In honor of all things “wedding” we looked into the history of five wedding ceremonies from cultures around the globe. Have you witnessed or been a part of any of these traditions?

Place: IRELAND: Tradition: HANDFASTING

This ancient Irish tradition, also known as "tying the knot," involves the couple's hands being tied together with a ribbon or cord during the ceremony as a symbol of their union. It is said to have originated from the druidic practice of binding couples together for a year and a day, after which they could decide to stay together or part ways. (We’re sure most modern couples are glad that part of the tradition has fallen by the wayside.) The handfasting ceremony was also used as a legal binding contract in Ireland and Scotland before the introduction of Christianity. The couple would exchange vows and promises and the handfasting cord would be tied around their hands as a symbol of their union. Today, many couples choose to include this tradition in their wedding ceremony as a way to honor their Celtic heritage.

Place: SCOTLAND: Tradition: THE BLACKENING 

This tradition, which is still practiced in some parts of Scotland, has recently made a resurgence. The Blackening involves friends and family of the engaged couple “capturing” them and then smearing them with all sorts of unpleasant things such as molasses, spoiled milk, flour, and even feathers. Once they’ve been properly dirtied up, they’re paraded through the streets for maximum embarrassment. The idea behind this is to make the bride and groom as unattractive as possible so that evil spirits will not be interested in them. This tradition is believed to have originated as a way to ward off evil spirits, who were thought to be envious of the happy couple and would try to sabotage their marriage. Nowadays, this tradition is more of a playful and light-hearted way for the couple and their family and friends to bond before the wedding.

Place: GREECE Tradition: STEFANA CROWNS

The tradition of placing a delicate, white crown on top of the bride and groom’s head was said to originate in the 11th century and is still one of the most important Greek Orthodox wedding traditions. These crowns which are placed on the head during the wedding ceremony are supposed to symbolize the glory and honor that is bestowed on the couple by God during the sacrament. The ceremony includes an elaborate ritual with the crowns: First, the priest places a crown on both the bride and groom’s head. Then, the Koumbaros, or wedding sponsor, intertwines the crowns three times to symbolize the couple’s union. Finally, the crowns are tied together with a ribbon. If you’ve ever seen My Big Fat Greek Wedding, you may remember this ceremony taking place during the wedding ceremony scene in the movie! 

Place: THE UNITED STATES Tradition: JUMPING THE BROOM

This tradition can be traced back to the 18th century when it was largely practiced by marginalized populations in Europe. As these people came to America, the tradition came too and was soon adopted by another group of marginalized individuals: enslaved people in the American South. Because enslaved Africans generally had no legal right to marry before the Civil War, they saw jumping the broom as a symbolic way to recognize their unions. Today, this tradition is still very popular in Black communities as couples choose to literally “jump” into their new future together as one. The jumping of the broom not only signifies sweeping away the old and welcoming in the new, but honors their ancestors and history.

Place: INDIA Tradition: SAPTAPADI

In Hindu weddings, the Saptapadi (which literally translates to seven steps in Sanskrit) refers to the seven promises of marriage that a bride and groom take with each step. The last step is taken with the couple's right feet together, symbolizing the couple's commitment to stand together through all challenges in life. In recent times, this ceremony has been amplified with a decorated pathway of steps. The Saptapadi ceremony is considered one of the most important rituals in a Hindu wedding, as it symbolizes the couple's commitment to each other and to their marriage. The vows taken during the Saptapadi ceremony are not only promises to each other, but also to the divine, which is considered as the witness to the wedding.

Join us for THE WEDDING SINGER playing at Lyric Arts through March 26 and start your own tradition! Celebrate love in all forms by joining us for a feel-good, high-energy musical playing on the Main Street Stage through the end of the month.

BLESS YOUR HEART AND RAISE YOUR GLASS!

ANNOUNCING THE CAST OF
THE SAVANNAH SIPPING SOCIETY AT LYRIC ARTS

Bless your heart and raise your glass, Lyric Arts has announced the four-person cast of their next production THE SAVANNAH SIPPING SOCIETY! This hilarious, heart-felt, laugh-a-minute comedy follows four unique Southern women joined together by fate—and happy hour—as they set out to reclaim the enthusiasm for life they’ve lost through the years. Opening on the Main Street Stage in mid-April, this delightful show reminds us all that joy comes through living life in the moment.

Natalie Foster is making her Lyric Arts directorial debut and is bringing both her directorial expertise as well a life experience to the table in directing this show. “In these last three years, I’ve suddenly become a widow, an empty nester, moved to a new city, and started on a secondary career path. I think I hit some of life’s biggest traumatic events in record time.” Within these firsts, Foster can easily draw the parallels between her experiences and the women of THE SAVANNAH SIPPING SOCIETY. “The beauty of THE SAVANNAH SIPPING SOCIETY is that this journey sits inside the framework of a fun, bawdy, and broad comedy that never diminishes the real story at its heart. The fun, laughter and genuine friendship provides just the right balance between the earnest and the irreverent. Laughter and tears can coexist in the same moment. From my experience, they often do.”

The four women who make up THE SAVANNAH SIPPING SOCIETY are as unique as the Spanish moss that grows on the giant oak trees of Savannah.  Workaholic and high-strung perfectionist Randa Convington will be played by Jenny Ramirez. Earthy, boisterous, good ol’ Texas gal and recent divorcée Marlafaye Mosely will be played by Elizabeth Florence Hale. Sweet, endearing, and unexpectedly, recently-widowed Dot Haigler will be played by Lyric Arts alum Deborah Shee. Freewheeling and rambunctious Jinx Jenkins is the firecracker of the bunch, and will be played by Gina Sauer, also returning to the Main Street Stage.

Director Natalie Foster is joined by a strong production team who are bringing this hilarious production to life on the Main Street Stage. Returning as Stage Manager for this production is Dallas Williams, assisted by Assistant Stage Managers Will Exline and Leita R. Strei. Samantha Fromm Haddow and Kat Walker are once again bringing their talents as Costume Designer and Props Designer, respectively, to this show. Cory Skold will serve as Scenic Designer for this production with sound design by Katie Korpi and lighting design by Brenna Hay.

THE SAVANNAH SIPPING SOCIETY is a delightful, laugh-a-minute comedy that finds four unique Southern women in need of an escape from the sameness of their day-to-day routines. Drawn together by fate—and an impromptu happy hour—these new found friends decide it’s high time to reclaim the enthusiasm for life they’ve lost through the years.

Over the course of six months filled with laughter, hilarious misadventures, and the occasional liquid courage, these middle-aged women form a unique bond that gives them the confidence to jumpstart their new lives. Although they’ve discovered that husbands, careers, and firm fannies may slip away, these four women find good friendships can have staying power to last a lifetime. THE SAVANNAH SIPPING SOCIETY raises a glass to strong women and living life in the moment in this joyful, sweet, and surprisingly touching comedy!

THE SAVANNAH SIPPING SOCIETY runs at Lyric Arts from April 14–May 7. Get your tickets and enjoy an evening of laughter, friendship, and maybe even a cocktail or two.

We’re back with our THANK YOU, 10 article for our upcoming production of THE WEDDING SINGER! This time, we sat down in Haley Methner who plays Julia! We were so excited to learn more about Haley—a recent transplant to the Twin Cities—and how much fun she is having taking on this role made famous by the one and only Drew Barrymore. Plus, we even learn a thing or two about her interests at the moment, which just happen to include PB&Js and video games... Continue reading to learn more about Haley in this edition of “Thank You, 10!”

LYRIC ARTS (LA): Tell us a little more about your character. What is some of your favorite parts about tackling this role?

HALEY METHNER (HM): I love Julia. She’s goofy, caring, and charming. Julia is also a victim of other people’s expectations, which I think a lot of us can identify with. My favorite part of tackling this role is finding moments of awkwardness when she’s trying to please others, and the moments of ease when she gets to be herself around Robbie.

LA: Have you been in a production with Lyric Arts before?

HM: Not only is this my first production with Lyric Arts, but it is my first time performing in the Twin Cities since high school. I graduated with my BA in theatre from UMD and performed exclusively in Duluth the past few years. My experience with Lyric Arts has been extremely positive. All of the wonderful staff, cast, and crew invigorate my passion for theatre.

LA: What's one thing that has brought you joy in doing this show?

HM: If I had to pick just one of many, I would say the cast. It’s not easy being the new kid anywhere, but these people you will see onstage are very welcoming and kind. They are dedicated, intuitive performers, and will not miss an opportunity to make each other laugh. I’m lucky to experience so much unbridled joy from those around me.

LA: Do you have any character inspiration that you're drawing from the help you create your role?

HM: Julia is the first character I’ve played where I’ve drawn almost completely from myself and my experiences—with some added sweetness inspired from Drew Barrymore’s performance. I think a large part of the message of this show is the importance of being yourself, and I saw a lot of myself in Julia.

LA: What’s one of your favorite things about the performing arts?

HM: I love how theatre is an ephemeral form of self expression and storytelling! One of my values in life is authentic connection. Getting to experience the exchange of energy between performers, musicians, the audience, etc, is extremely valuable to me. You don’t get that with film and the radio.

LA: What was your first-ever role in a production? Like OG role?

HM: I played Sleeping Beauty in a week long Summer theatre camp when I was 9. Huge shout out to all the theatre teachers and counselors for young actors!

LA: What's a piece of art that you’re really digging at the moment? Why?

HM: I’m actually a huge fan of video games! I’ve been playing Skyrim a lot lately. For those of you who don’t know, it’s a role playing game with rich storylines and quests where you get to fight dragons and stuff. I love how role playing games makes you feel like you’re acting out a character’s journey. Go figure.

LA: If you could give your younger self one piece of advice, what would it be?

HM: Never dull your sparkle because someone else wants you to. Being yourself is the most important thing you can be.

LA: What's one thing you never leave home without?

HM: Lately I’ve been bringing those Uncrustables PB&J sandwiches with me everywhere. It’s an expensive habit. I wouldn’t recommend it.

LA: What is your favorite 80's fad?

HM: THE HAIR! Mullets, mustaches, perms, and big hair are making a comeback though, so look out!

Thank you so much, Haley for such a fun and inspiring interview! Let us tell you, it has been such a joy to have Haley in the rehearsal room here at Lyric Arts and we are so excited that she’s making her Twin Cities debut with us! Make sure you get your tickets to see Haley and the rest of this phenomenal cast in THE WEDDING SINGER opening on the Main Street Stage on February 24!

Get ready to rock and roll back to a time when the hair was big and the collars were up! Lyric Arts is thrilled to announce the talented cast of our upcoming production of  THE WEDDING SINGER, the musical based on the hit film of the same name. The 1990’s rom-com originally starred Adam Sandler and Drew Barrymore, before heading to Broadway in 2006. Now this electric and charming musical is making its debut on the Lyric Arts stage!

Jake Sung-Guk Sullivan is back at Lyric Arts to direct this 27-person cast, a large increase from his first directorial debut with Lyric Arts with [TITLE OF SHOW] which famously features just a cast of four actors. Sullivan is looking forward to tackling this show and all the zaniness that comes with such a large production.

“We love going to weddings to celebrate the love of people that we love—and that’s the heart of THE WEDDING SINGER,” says Sullivan. “In the drudgery of day-to-day life, a wedding is our chance to reinvigorate the heart and soul, to be reminded of the love we share—not just romantically. They are times to celebrate the love of friends, of family, and the difference between loving being in love, and finding someone you would grow old with. THE WEDDING SINGER is as much a musical as it is an invitation to come celebrate love with Lyric Arts!”

Leading the cast is Chris Paulson as Robbie Hart, the lovable wedding singer who is left at the altar. Paulson, who was last seen in the role of Jimmy Rae Dobbs in the 2019 production of BRIGHT STAR, brings his ability to play guitar and delightful singing voice make him the perfect choice to bring Robbie to life. Opposite Paulson is Haley Methner as Julia, the kind-hearted waitress who captures Robbie's heart. Methner may be new to the Twin Cities, but her sparkle on stage is sure to make a lasting impression.

Audrey Johnson has been cast as Holly, Julia’s best friend and closest confidant. Last seen in SMOKEY JOE’S CAFE, Johnson’s powerhouse voice and comedic chops are sure to bring a strong and sassy energy to the role. Returning to the Main Street Stage after his stellar performance in SOMETHING ROTTEN! is Justin Michael as Sammy, Robbie's loyal friend and bandmate on bass. Rounding out the wedding band is new comer Cris Sanchez as George, the flamboyant and talented piano player. Joey Brueske (GREASE) plays Glen, the Wall Street shark and Julia’s fiancé. Additional cast members include Jaclyn McDonald (SMOKEY JOE’S CAFE, ANYTHING GOES) as Linda, Robbie's jilted fiancée, and Sher U-F as Rosie, Robbie’s feisty and lovable grandmother.

The ensemble is large and kept busy with this show, covering many tracks any playing a wide array of notable 80’s characters including Mr. T, President Reagan, and even Tina Turner. The ensemble for this show includes Hannah Bakke, Latanya Boone, Ann Brummer, Cody Dahlson, Megan Engelhard, Caitlin Featherstone, Carter Hoffer, Madeline Kadlec, Morgan Kempton, Max Kile, Doni Marinos, Tommy McCarthy, Abilene Olson, Brandon Osero, France A. Roberts, Alex Stokes, Luis Ventura, and Courtney VonVett.

Joining director Jake Sung-Guk Sullivan on the artistic team is Wesley Frye as Music Director and Michael Terrell Brown as Choreographer, both who are new to Lyric Arts. Making the 80’s come to life on the Main Street Stage will be Justin Hooper making his scenic designer debut at Lyric Arts, Emma Kravig as Costume Designer with assistance from Jessica Moore, Lucas Granholm as Lighting Designer, Paul A. Estby as Sound Designer, and Emily Carey as Props Designer. The stage management team will be led by Cassi Henning and assisting her on this project will be Leita Ro Strei and Emily Ludewig. Lea Brucker will serve as Sound Technician and Callie Aho will assist the cast as Intimacy and Fight Coordinator.

THE WEDDING SINGER centers around Robbie Hart, New Jersey’s number one wedding singer and the life of the party. That is until his own fiancée strands him at the altar. Shot through the heart, bitter and broken, Robbie begins to make every wedding as disastrous as his own until a warm-hearted waitress named Julia intervenes. When feelings become involved, trouble brews as Julia’s about to be–you guessed it–married! But her Wall Street shark of a fiancé may not be the happily ever after Julia’s always dreamed of… When she announces their plan to elope, Robbie must pull off the performance of the decade or risk losing the girl of his dreams forever.

Based on the Hollywood film starring Adam Sandler, THE WEDDING SINGER celebrates all the fun, love, and ridiculousness of the 80’s.  With an electric soundtrack that gives nod to nostalgic hits, THE WEDDING SINGER will have you dancing down the aisle while eagerly saying “I DO!” THE WEDDING SINGER plays at Lyric Arts from February 24 through March 26! Tickets on sale now!

THE GIRL ON THE TRAIN brought out a lot of our favorite bloggers and reviewers to see the show. Check out what they had to say about this thrilling piece of theater now up on the blog!

THE STAGES OF MN

Rob Dunkleberger of The Stages of MN thoroughly enjoyed this production saying “Lyric Arts] is a small town theatre that frequently delivers big city level productions. The Girl on the Train is one of those productions.” and that “The staging is so inventive and the performances so good that I feel sure those familiar with the plot and resolution with still have a thoroughly entertaining night at the Theater.” You can read his entire review here: The Girl on the Train at Lyric Arts in Anoka is a Thriller Worth the Commute

CHERRY & SPOON

Cherry & Spoon was in the house for the opening weekend of THE GIRL ON THE TRAIN. In her review, she said “A great cast, a suspenseful story (especially if you've never read the book or have forgotten the ending, like I had), and a tight interplay between recorded scenes and live performances make for an entertaining night (or afternoon) at the theater. Get some popcorn at the concession stand, and it's even better than going to the movies.” Read her full review here: THE GIRL ON THE TRAIN AT LYRIC ARTS

PLAY OFF THE PAGE

As an author, book lover, and theater blogger, it was a delight to have Play off the Page in the audience for this book-turned-movie-turned show. “Ooo. This is a good one, folks” starts her review. “The creative team at Lyric Arts has somehow combined the feeling of reading a book and getting into the characters’ heads with the dynamic elements of film to the intimacy of a live performance. This is a must-see!” You can read her full review here: REVIEW OF THE GIRL ON THE TRAIN AT LYRIC ARTS

TALKIN’ BROADWAY

We love having Arty Dorman of Talkin’ Broadway in the house for a show, and Arty was clearly taken with the production. “The play is a dandy whodunnit, and even when one knows the answer in advance, revisiting its circuitous path, in and out of cul-de-sac wrong turns, can be a great pleasure if its well done, as this production assuredly is.” Read his entire review here: THE GIRL ON THE TRAIN

LETTERED IN THEATRE

"I was literally on the edge of my seat until the final moments of the play." says Lettered in Theatre. "The entire ensemble worked together to keep the suspense at the perfect level to make me anxious and nervous to learn what was coming next." Read her full review here: THE GIRL ON THE TRAIN - Lyric Arts

THE GIRL ON THE TRAIN closes on February 5! Get your tickets before this show disappears for good!

The London Underground, also known as the Tube, is a public rapid transit system serving the capital city of the United Kingdom. It is the oldest underground railway network in the world–celebrating 160 years in service as of this year–with the first section opening in 1863. The London Underground has played a significant role in the development and growth of London, and it remains an important part of the city's transportation system to this day.

The origins of the London Underground can be traced back to the early 19th century, when the city's population was rapidly growing and the need for improved transportation became evident. At the time, the only available options were horse-drawn omnibuses, which were slow and inconvenient, and the highly polluted and congested streets. In 1854, a businessman named Charles Pearson proposed the idea of building an underground railway to alleviate these problems.

The first section of the London Underground opened in 1863, running between Paddington and Farringdon Street. It was constructed using the "cut and cover" method, where a trench was dug and then covered over with a brick arch. This section was initially called the Metropolitan Railway, and it was designed to transport commuters from the suburbs into the city center.

The success of the Metropolitan Railway led to the construction of additional lines, and by the late 19th century, the London Underground had expanded to include several different lines running throughout the city. In the early 20th century, the network was electrified and the first electric trains were introduced.

During World War II, the London Underground played a crucial role in the city's defense. Many of the stations were used as shelters for civilians during bombing raids, and the tunnels were also used as storage for important artifacts and documents. “Hide them in caves and cellars, but not one picture shall leave this island,” declared Winston Churchill in 1940, determined that the National Gallery’s collection should be saved from Nazi attacks–but also that the masterpieces should remain on home turf. In London, the Tube was used to house pieces from the Tate and the National Portrait Gallery. 

In the post-war period, the London Underground underwent several major renovations and expansions. In the 1960s, the first automatic ticketing machines were introduced, and in the 1980s, the first automated trains were put into service.

Today, the London Underground is a vital part of the city's transportation system, with over 270 stations and 250 miles of track. It carries over 1 billion passengers each year–a milestone first crossed in 2007–and is one of the most heavily used underground railway networks in the world.

In recent years, the London Underground has faced several challenges, including overcrowding and delays caused by aging infrastructure and an increase in ridership. The government has made significant investments in upgrading and modernizing the network, including the introduction of new trains and the expansion of several lines.

Despite these challenges, the London Underground remains a beloved and integral part of the city's history and culture. It has inspired art, music, and literature, and it continues to serve as a vital link for the people of London.

THANK YOU, 10 is back in the new year and in the first edition of 2023 we’re chatting with Laura Baker who is taking on the incredibly complicated role of Rachel Watson in THE GIRL ON THE TRAIN opening on the Main Street Stage on January 13. Read on to see where Laura is gathering inspiration for this challenging character and what’s feeding her artistic soul right now. Hint: her dance is making waves on social media.

LYRIC ARTS (LA): Tell us a little more about your character. What is some of your favorite parts about tackling this role?

LAURA BAKER (LB): Rachel ends up trying to solve the mystery presented at the beginning of the show. She's an unlikely detective, who is struggling with alcohol abuse, a broken heart, and an unreliable memory. I really enjoy finding Rachel's strength, which she has lost connection with, but also enjoy finding how difficult it is for her to trust herself.

LA: Have you been in a production with Lyric Arts before?

LB: This is my first time in a production with Lyric Arts, and I hope its not the last! It is such a pleasure to work with a theater that has a staff dedicated to supporting their productions, and that brings in such talented people.

LA: What's one thing that has brought you joy in doing this show?

LB: Finding so much laughter and camaraderie during rehearsals.

LA: Do you have any character inspiration that you're drawing from the help you create your role?

LB: As unlikely as it may sound, I am pulling a bit from June Osborn of The Handmaid’s Tale. She shows so much of her thinking and emotion on her face, it really helps to connect with her. She's also in a world that seems to be driven by the actions of men, but still has times where she shows strength and takes control.

LA: What’s one of your favorite things about the performing arts?

LB: I love getting on a stage and experiencing a bit of another character's life for an audience.

LA: What was your first-ever role in a production? Like way-back, first ever show?

LB: Oh boy, I can't remember the name of the play, but it was written by a junior who was inspired by Clue when I was a freshmen in High School. I played the arrogant ex-wife of the main character who was killed off in the second scene, so I spent most of the show playing a corpse. The ending changed every night, so I did get to be the killer one night!

LA: What's a piece of art that you’re really digging at the moment? Why?

LB: Netflix's Wednesday! It is such a visual feast and the main character is incredibly engaging even though 99% or her lines are delivered completely deadpan. If you like dark academia, you'll love this show. Even if you don't, you'll probably still really enjoy it.

LA: If you could give your younger self one piece of advice, what would it be?

LB: Don't slouch.

LA: What's one thing you never leave home without?

LB: My shoes. I can't stand to be barefoot.

LA: If you could have dinner with one person (living or dead), who would it be and why?

LB: Ru Paul. I want all the tea from Drag Race!

Thank you to Laura for taking time out of her busy rehearsal schedule to chat with us about the first show of the New Year! THE GIRL ON THE TRAIN makes is regional debut at Lyric Arts starting on January 13 and running through February 5. This show is going to be a feast of multi-media storytelling, so don’t wait to get your tickets and strap in for a show that’s sure to take you on one heck of a ride.

Dear friend,

Over the years, Lyric Arts has been so fortunate to have friends and supporters—just like you—who believe in our vision of bringing professional performing arts to the northern metro in a warm, welcoming, and accessible hometown setting.

It’s true that Lyric Arts has grown a lot since its founding in 1995, but one thing that has never changed is the fact that those who walk through our doors describe the atmosphere as a feeling of “being home.” Year in and year out, we hear how much Lyric Arts means and how much people love being a part of our family of audience members, artists, students, and volunteers.

To be candid, after surviving the pandemic shutdown, we feel incredibly fortunate to still be here producing theater for you and our community. But, even while celebrating the return of live performances, theaters in the Twin Cities and across the country are struggling—and Lyric Arts is no different.

Unfortunately, supply costs are increasing and ticket sales are not bouncing back to pre-pandemic levels as quickly as we would have hoped. We have an incredible season ahead and continue to be optimistic about what is to come. You can further ensure that bright future — and continued high-quality theater—with a financial contribution this year.

Your tax-deductible gift by December 31…

• Keeps ticket prices affordable. From performance rights to artist stipends to supplies like lumber and fabric, producing theater is expensive. In fact, this past summer’s production of SOMETHING ROTTEN cost almost $85,000. Your contributions make it possible for Lyric Arts to maintain and build on our current level of quality without increasing ticket prices.

• Pays artists for their time and talent. This season, we are paying actors more than double what we were able to offer before the pandemic, but we still have a long way to go to ensure actors are able to make what they can make at other, similar-sized theaters in the area—or at least make sure they can cover the cost of gas for traveling to Lyric Arts for rehearsal and performances.

• Maintains and updates the Main Street Stage. We are lucky to finally own our building. However, essentials like heat, water, and electricity, combined with necessary repairs, cost us over $100,000 each year. Your donation is an investment in Lyric Arts' permanent home in Downtown Anoka.

Our continued sustainability is only possible with your contributions. And, right now, your financial help is more important than ever.

Please consider making your donation of $50 or more today to ensure we have the resources necessary to continue providing professional theater experiences on Anoka’s Main Street—for audiences, artists, and students alike.

Or, provide a steady stream of funding all year long by becoming a sustaining donor for only $10 per month. It’s easy and a great way to deepen your commitment to Lyric Arts while making an ongoing investment in Lyric Arts’ stability and mission.

Your love and support are both our reason for being and what makes our work possible. Audiences say they appreciate what Lyric Arts brings to the community, but when you make a contribution, you are the one truly making great theater happen. Your gift ensures the existence of a successful and sustainable home for theater in Downtown Anoka.

Thank you for sticking with us. Thank you for your contributions. Thank you for keeping a small, local arts organization alive. And, thank you for being a vital part of the Lyric Arts family.

With a heart full of gratitude,

LAURA TAHJA JOHNSON
Artistic & Executive Director of Lyric Arts

This weekend is the final weekend of MISS BENNET: CHRISTMAS AT PEMBERLEY. Although the Holidays can be a very busy time, we were lucky enough to have four theater bloggers out to attend our Holiday production this year. Read on to find out their thoughts on MISS BENNET: CHRISTMAS AT PEMBERLEY.

THE STAGES OF MN

Rob Dunkleberger of The Stages of MN had high praise for MISS BENNET saying “I’ve enjoyed many a show at this Main Street Stage but [MISS BENNET] ranks right up there as one of the best” and that “Lyric Arts has exceeded all expectations with a wonderful set and a cast that could not be improved upon.” You can read his entire review here: MISS BENNET: CHRISTMAS AT PEMBERLEY RECEIVES A BRILLIANT STAGING AT LYRIC ARTS

CHERRY & SPOON

Cherry & Spoon came out to attend our production of MISS BENNET: CHRISTMAS AT PEMBERLEY. She’s previously attended the previous iterations at the Jungle Theatre in Minneapolis so it was a joy to hear how much she enjoyed our staging saying MISS BENNET is “charming, funny, and heart-warming” and that “Elena Giannetti directs this talented young cast, and achieves the right blend of humor, lightness, drama, and romance.” Read her complete review here: MISS BENNET: CHRISTMAS AT PEMBERLEY AT LYRIC ARTS

PLAY OFF THE PAGE

As an author, book lover, and theater blogger, it was a delight to have Play off the Page in the audience. In her review, she says that MISS BENNET is "fan-fiction at its best" and that "the entire cast is strong, giving such personality to each of their characters." You can read her full review here: REVIEW OF MISS BENNET: CHRISTMAS AT PEMBERLEY AT LYRIC ARTS

LETTERED IN THEATRE

"[Elizabeth Efteland and Scott Laban] were a joy to watch awkwardly flirt and stumble their way into love" says Lettered in Theatre. "MISS BENNET: CHRISTMAS AT PEMBERLEY is the charming, funny, and delightful story of love, family, and is sure to warm your heart this holiday season." Read her full review here: DOUBLE DOSE OF CHRISTMAS AT PEMBERLEY

And of course, make sure to give her a follow on Instagram or Tik Tok to see her wildly enjoyable theater snapshots!

MISS BENNET: CHRISTMAS AT PEMBERLEY closes on December 18! Get your tickets and sped an evening at Pemberley before we say goodbye to these characters that have captured the heart of our audience members!

IF CLOTHES COULD TALK
AN INTERVIEW WITH SAMANTHA FROMM HADDOW ON HER 100TH COSTUME DESIGN

MISS BENNET: CHRISTMAS AT PEMBERLEY will serve as Samantha Fromm Haddow’s 100th career costume design! To celebrate this amazing milestone, we sat down with her to talk about her incredible career and how she got to where she is now! This interview was conducted in October of 2022.

LYRIC ARTS (LA): Let’s start at the beginning. Did you always know that you wanted to do something around creating clothing?

SAMANTHA FROMM HADDOW (SFH): Absolutely not. I was originally planning on being a veterinarian. I’d been dabbling backstage in high school and late in my senior year decided to switch course. Even then, I originally thought I’d be a stage manager or lighting designer. The costume design professor discovered I could sew and had a good eye for color and she steered me towards costumes.

LA: How did you get involved in theater? Did you always want to work backstage or did you try your hand at being on stage as well?

SFH: I've always been an introvert and more inclined to support others, so I naturally fell into working behind the scenes. Though I was the lead in a fourth grade production...it was some musical about clowns..

LA: Oh wow! So did you end up going to school for costume design?

SFH: I recieved my BFA from the University of Wisconsin-Stevens Point and went straight on to earn my MFA in Costume Design from Rutgers University in New Brunswick, NJ. However, the niche I really fell into was costume crafts, millinery, and dye work. A lot of those skills were honed and developed on the job.

LA: So you’re celebrating your 100th career costume design. What was your first professional costume design gig?

SFH: My first realized design as an undergrad at UWSP was a production of TWO GENTLEMEN OF VERONA set in the 1950’s. My first paid gig was either BAREFOOT IN THE PARK or SENSUOUS SENATOR at the Attic Theater in Appleton, WI. I believe that was back in 2003.

LA: What does it mean to you to be celebrating your one hundredth costume design? That’s a lot of costumes!

SFH: Surreal is really the only way to describe it.

LA: Are you a full time freelance costume designer or do you have another job or role that you balance as well as doing costume design work?

SFH: I am habitually balancing several gigs at the same time but I'm fortunate that all of them are costume related. When I first moved to Minneapolis in 2009 it was to join the Guthrie costume shop full time as the crafts artisan/painter dyer. That was a steady 40 hr work week. But as I got to know the Twin Cities theater community I began to pick up costume designs. Lyric Arts was one of the first theaters I designed for...WHITE CHRISTMAS back in 2011. As I started picking up more design work, balancing a 40 hour work week became too much so in 2019 I made the difficult decision to leave the Guthrie to pursue costume design full time. I had a really solid first year...and then the pandemic hit. Followed by another incredibly rough year of transition as I navigated a divorce while trying to piece meal work together. Currently I'm still primarily pursuing freelance costume design but am picking up overhire costume and wardrobe work at several theaters.

LA: When you look at where you are now in your career, and where you were when you were first starting out, what's one piece of advice you'd give to your younger self?

SFH: First and foremost take care of your self. Burn out is very real. Forgive yourself. Stay humble. And be a sponge...inspiration can come from the least likely of places.

LA: What about costume design brings you, as an artist, the most joy?

SFH: The collaboration. Especially with the actors. There's something truly magical that happens when the actor dons a costume and truly embodies their character.

LA: Other than MISS BENNET, do you have any projects coming up that you are really excited for and can talk about?

SFH: I’m currently wearing a hat I haven’t donned in a long time. I am on wardrobe for SALLY AND TOM at the Guthrie (running until Nov 6). It’s a nice change of pace to be physically backstage again. Upcoming designs I’m excited about are ONCE ON THIS ISLAND (March 3–19) at Stages Theatre in Hopkins and LADY DAY AT EMERSON’S BAR AND GRILL (April 21– May 21) with Yellow Tree Theatre in Osseo.

We are so grateful to have Sam as one of the many designers we work with to bring our productions to life. The detail and care that she brings to every design is truly top-notch and our productions are better because of the work she does. Make sure you get tickets to see Sam’s latest work—and arguably some of the most beautiful—in MISS BENNET: CHRISTMAS AT PEMBERELY, playing at Lyric Arts through December 18!

Lyric Arts is moving full-steam ahead into the second half of their ’22–23 season with the regional debut of their first show of 2023, THE GIRL ON THE TRAIN! This play based on the best-selling novel of the same name by Paula Hawkins blends mystery, suspense, and story-telling into a night of incredible, multi-media theater that will sure to end up on “must-see” lists across the Twin Cities.

Anna Crace is making her Lyric Arts directorial debut with THE GIRL ON THE TRAIN and excited to be bringing such a large and at times technically challenging new work to the Main Street Stage. Although Crace is new to directing at Lyric Arts, she has made a name for herself as a director in the Twin Cities with previous credits including assistant directing with the Guthrie Theatre in Minneapolis, and directing at Stages Theater Company in Hopkins.

“THE GIRL ON THE TRAIN is different to anything else on the season at Lyric Arts,” say Crace when asked about what she’s most looking forward to in debuting this show. “It’s the thriller that we need in January when the nights feel long and dark and we need a little excitement in our lives. The cast we have are dynamic and I’m excited to see how they bring this world to the stage.”

THE GIRL ON THE TRAIN first made its novel debut in 2015 and the book became an instant best-seller. In 2016, DreamWorks premiered a film adaptation starring Emily Blunt which again went on to  garner wild success. Now, Concord Publishing House has unveiled a stage-adaptation that mixes elements of both the novel and the movie, but adds drama and intrigue that only a live-performance can create. “I love that the stage version of THE GIRL ON THE TRAIN is its own beast. It borrows from its film and novel predecessors, but builds suspense in a way that only live performance can,” says Crace. “It keeps us at the edge of our seats, not knowing who to root for or why we want to. I love that it’s giving us the chance to experiment with how technology and theatre can blend together and how that allows for a different kind of storytelling. When you can’t trust the narrator, who can you trust?”

The cast of  THE GIRL ON THE TRAIN includes an almost all new to Lyric Arts actors with a few alumnus in the mix. Starring as Rachel Watson is Laura Baker, a newcomer to the Main Street Stage. Rachel’s ex-husband Tom Watson and his new wife, Anna Watson, are being played by Jonathan Feld and Grace Hillmyer respectively, both who are also new to Lyric Arts. Making her Lyric Arts debut as Megan Hipwell, who is only seen through projections, is Ninchai Nok-Chiclana. Dr. Kamal Abdic, psychiatrist to Megan Hipwell, is played by Austin Moores, also making his Lyric Arts debut. Returning to Lyric Arts Jack Bonko who was last seen on the Main Street Stage in LITTLE WOMEN, who plays Megan’s husband Scott Hipwell and Doc Woods last seen on the Main Street Stage in A RAISIN IN THE SUN, who plays D.I. Gaskill. Audrey Johnson (SMOKEY JOE’S CAFE, SILENT SKY, URINETOWN), Luke Langfeldt, and Wesley Tilford will be serving as understudies for this production.

As part of the artistic staff, Lyric Arts is thrilled to welcome back to the Main Street Stage costume designer Samantha Fromm Haddow who celebrated her 100th career costume design with Lyric Arts’ holiday production of MISS BENNET: CHRISTMAS AT PEMBERLEY. Also joining Haddow and Crace as part of the artistic team is Chad Van Kekerix as scenic designer, Lee Christiansen as props designer, Emily Ludewig as sound designer, Jim Eischen as lighting designer, Ian Pirner as videographer for all cinematic elements, Aaron Preusse as Fight Director, and Callie Aho as Intimacy Director. Heading the stage management team is returning lead stage manager, Joe Black. Assisting Black will be Emily Carey and Lea Brucker serving as Assistant Stage Managers.

Based on the best-selling novel by Paula Hawkins and DreamWorks film by the same title, THE GIRL ON THE TRAIN follows Rachel Watson, a London woman who longs for a different life. Her only escape is in the glimpse of the perfectly happy suburban couple she views through the train window on her daily London commute. Their life–as she sees it–is perfect. Not unlike the life she so recently lost… When Rachel learns that the woman she’s been secretly watching has suddenly disappeared, she finds herself as first a witness and then a suspect.  Soon she is deeply entangled in not only the investigation, but a mystery that will force her to face revelations she never could have anticipated. THE GIRL ON THE TRAIN runs at Lyric Arts from January 13 through February 5 of 2023.

We’re back with another segment of THANK YOU, 10! This time, we’re chatting with Elizabeth Efteland who plays charming, awkward, yet lovable, Mary Bennet in our upcoming Holiday production, MISS BENNET: CHRISTMAS AT PEMBERLEY. Read more to get an insight into the show and why Elizabeth has always been drawn to the performing arts, even since her acting debut as Sheep #12!

LYRIC ARTS (LA): Tell us a little more about your character. What is some of your favorite parts about tackling this role?

ELIZABETH EFTELAND (EE): Mary is delightfully curious about the world around her, she's observant and smart. I love Mary for so many reasons - early on in the play she says “I simply refuse to favor politeness over honesty” and I think that’s admirable, actually. Especially in the world of “Minnesota nice” we could all use a few more people like Mary in our lives. She says what she thinks, she doesn’t wait around for other people’s approval, and she doesn’t pretend to be interested in things she doesn’t care about. Since she hasn’t historically gotten much attention, she isn’t dependent upon it – she finds joy in other things, like books & music & wondering at the world around & beyond her. That being said, when she suddenly finds herself at the center of quite a lot of attention she has no idea what to do with it!

LA: What's one thing that has brought you joy in doing this show?

EE: Everyone is SO. STINKING. FUNNY. I laugh every rehearsal and it is such a delight. Plus all the other artists working on this show from stage management to director to each and every designer - they’re all absurdly talented and I’m so grateful for the brilliant people bringing this show to life.

LA: Do you have any character inspiration that you're drawing from the help you create your role?

Well, of course Mary is a character that most of the audience will have seen or heard of before, in any number of different iterations from the book to the various films, and other adaptations. So I take whatever might be useful from those, especially what can be learned from the mentions of Mary in the book, but honestly we hear so little about her that there’s a lot of room to play & fill in the gaps. I look at people in my own life or in stories who share similar traits, but mostly I pay attention to the words in the play. To what Mary says & doesn’t say. How other characters perceive her, whether they're right or not. To the moments when she’s quiet – I think that’s always a fascinating place to draw from, because so often as an actor one can look and go “oh there’s nothing going on for me here, I don’t talk for two pages” but in LIFE, there’s so much still happening in me when I’m not sharing, and sometimes those are the moments that are most significant–when I don’t have words, or don’t feel comfortable speaking up, or am too overwhelmed, or distracted, or I'm just taking it all in.

I actually think of my dad a bit – I haven’t told him this. But he, like Mary, is so smart and honestly has so few people who are intellectually on the same level or interested in the same things that he doesn’t often get to have two-way conversation about the things that most fascinate him. So when those opportunities do come, it’s all the more interesting since it’s so rare.

LA: What’s one of your favorite things about the performing arts?

EE: Bringing life into places we don’t expect it, taking characters that could easily be written off as unrelatable or evil or boring or “unnecessarily dour” (as Lizzy says of Mary) and helping an audience see that they’re no less fully human than anyone else, and entirely worthy of love. Acting demands empathy. I love that in theatre we are asked to pay attention, to ask good questions, to challenge our assumptions. And it’s amazing what we find when we do that together. Plus there’s nothing like sharing laughter or holding your breath with an entire room full of people. Being connected with a bunch of strangers in that way – you don’t get that anywhere else. It’s a taste of heaven and I love it.

LA: What was your first-ever role in a production? Like way-back, first ever show?

EE: Oh wow... I'd have to look through the archives... it probably was a sheep, though more likely sheep #12 in a Christmas musical at church when I was 3 years old. Likely my main job was not to fall off the stage!

LA: What's a piece of art that you’re really digging at the moment? Why?

EE: To be entirely honest, I sometimes have a hard time investing in much other art when I’m wrapped up in a play, but I’d like to be better about that. I think it really serves the work to be taking in other things so that you have more outside inspiration to draw from. Plus it’s good for your soul :) All that being said, I do take in a lot of theatre whenever I get the chance, and one of my favorite things I’ve seen recently was MERRILY WE ROLL ALONG at Theatre Latté Da. Not only did it feature my dear friend Becca Hart, who’s one of the most lively & endearing performers I know (and a Lyric Arts alum!), but the whole story was told so fully – as my friend Joy says, they colored “to the edge of the page”. There's an example of attention being paid—to each moment, each element—it was all so beautifully done. And of course, Sondheim has a way of cutting to the meat of the human experience, making you feel seen, and inspiring you to live life with hope and joy and love and determination! Maybe even humility & generosity of spirit... I love that kind of art.

LA: If you could give your younger self one piece of advice, what would it be?

EE: Only one?! That’s too much pressure. I think I’d tell her not to take herself so seriously. To grab hold of the people in life that make you fall on the ground laughing and spend as much time with them as you can. To surround yourself with people who see you & love you as you are, rather than trying to mold yourself into something that you think the people around you will like or approve of. And I’d tell her social media is a trap—just stick with letters and phone calls and knocking on people’s doors instead :)

LA: What's one thing you never leave home without?

EE: A little notebook and something to write with, just in case. Also usually a book... or two or four.

LA: If you could have dinner with one person (living or dead), who would it be and why?

EE: Honestly, probably my grandma. She passed away almost two years ago now, but she was one of my very best friends, and she had such a contagious laugh--it took over her whole body. She also loved books -- she'd stay up all night reading sometimes, and we'd compare notes about what we'd been reading whenever we saw each other. When I was little I was so scared of her -- she was a force to be reckoned with -- you didn't want her to catch you doing something you weren't supposed to be doing! But as we both got older & spent more time together we learned "each other's better traits", as Mary says in the play. She was unreasonably kind & supportive of me, always reminding me of what really mattered. We shared a lot of meals over the years, and she spent half of them asking really good questions, and the other half making sure I was eating enough -- plus, she was an undeniably good dinner date because she always insisted on sharing her dessert :)

Thank you so much, Elizabeth, for this wonderful, heart-filled, and funny interview! We are so grateful that you are choosing to share your talents with us on the Main Street Stage. Seriously, folks, you do not want to miss Elizabeth as Mary Bennet in MISS BENNET: CHRISTMAS AT PEMBERLEY. She shines, delights, and charms throughout the whole play—you can’t help but root for her to finally find her true love.

See Elizabeth and the rest of our wonderful cast in MISS BENNET: CHRISTMAS AT PEMBERLEY playing at Lyric Arts from November 18–December 18. Get your tickets by clicking below!

This evening starts the final weekend of REAL WOMEN HAVE CURVES, Lyric Arts’ first ever collaboration! Partnering with Teatro del Pueblo, a theater company centered around promoting Latino culture through the creation and presentation of performing arts, Lyric Arts remounted their run of REAL WOMEN HAVE CURVES on the Main Street Stage after its original run at the Conn Theatre in Minneapolis. We were excited to welcome some of our favorite theater bloggers out to Anoka to see this poignant show. Continue reading to see what our reviewers thought of the show:

CHERRY & SPOON

A veteran theater-blogger and reviewer, Cherry & Spoon was delighted by the show saying “Lelis Brito and Adlyn Carreras co-direct the piece with lightness, humor, and heart. Everyone in the five-person Latinx cast fully embodies their character with authenticity, speaking English sprinkled with Spanish. Maybe because this is their second run of the show, the sisterly relationship amongst the group is palpable.” You can read her full review here: REAL WOMEN HAVE CURVES AT LYRIC ARTS, A CO-PRODUCTION WITH TEATRO DEL PUEBLO

TALKIN’ BROADWAY

We always love when Arty Dorman of Talkin’ Broadway can make it out to Anoka to join us for the show. In his review, Arty said “The issues of terrible immigration policies, and restraints on women's opportunities (both cultural and legal), continue, and the play provides an arena on which to lay those out, while offering solid entertainment. Lyric Arts and Teatro del Pueblo seem the perfect collaborators to have brought Real Women Have Curves to life, offering a winning production of a play full of sharp insights and good-hearted humor.” Read more of his thoughts here: REAL WOMEN HAVE CURVES REGIONAL REVIEW

LETTERED IN THEATER

Erika Skarholid joined us again making one of her well-known theater tic-tocs! In her review, she said “REAL WOMEN HAVE CURVES portrays a humorous, honest, and loving story about leaning on each other in times of need, celebrating our bodies, and the power of coming together.” Read her take on the show here: REAL WOMEN HAVE CUVES WITH LYRIC ARTS IN COLLABORATION WITH TEATRO DEL PUEBLO

THE STAGES OF MN

We always enjoy having Rob Dunkleberger of The Stages of MN out to the Main Street Stage for his honest and authentic reviews of shows throughout the Twin Cities. Although Rob had some strong critiques of the show, his views and insight is always worth a read. In his review he said, “What is interesting for a white midwestern male is how universal but also unique the relationships are. Some of the relationship nuances, like the mother daughter dynamics and the willingness to sacrifice for each other could be any group of women. But the constant fear of a raid by ICE, even for those who are no longer illegal, is where we in the audience stop knowing and start learning. That is one of the wonderful aspects of the script, we can relate to the characters in so many ways which invites us into their world. Then we are confronted with aspects we have never had to deal with but because we have been able to relate to the characters it allows us to better onboard the new perspective making the empathy we feel that much more tangible.” You can read more of his thoughts here: REAL WOMEN HAVE CURVES AT LYRIC ARTS IN ANOKA

REAL WOMEN HAVE CURVES, Lyric Arts’ first collaboration with Teatro del Pueblo, closes this coming Sunday, October 30! Get your tickets before we have to say adios to this incredible production full of heart, humor, and thought.

Teatro del Pueblo was started as an unapologetic act of defiance by a group of artists in search of a space where they could exude their cultural heritage in an authentic celebratory expression on their own terms. Its first production was La Bodega, by playwright Freddy Fraguada. A raw portrayal of a robbery gone bad at a Spanish Harlem bodega, the play was reminiscent of the cinéma-vérité of the 60’s and 70’s. Its graphic portrayal of violence and vengeance was at the time gratuitous, and at best, cliché. It was a resounding flop.

In hindsight, maybe it was not the best selection for a nascent theater company to open its first season. Regardless, it taught us an enduring lesson in perseverance and how the collaborative efforts of a group of artists can bring art with relevance to its community. This collaborative experience was seminal to our evolution as a theater and continues to be an important element of our artistic programming.

Teatro del Pueblo was founded in 1992 by a group of Latinx artists and community members living or working in the West Side neighborhood of Saint Paul, the heart of the city’s Latin American population at the time. It was here, early in its history, that a traumatic incident cemented the theater’s ties with this thriving community. We were called in to help respond to a local school shooting incident. The case involved one student bringing a gun to school and another student mishandling the weapon, causing an accidental self-inflicted injury. Both students were immediately suspended from school. A team composed of community leaders asked Teatro del Pueblo to create a presentation in response to the incident. Teatro del Pueblo proposed using prevalent social change techniques known as Theater of the Oppressed, an approach developed by a Brazilian theater director. The only caveat to our plan was that it would require the participation of the two perpetrators, who were best friends. At first the school principal resisted the idea of having the students come back to school as part of the presentation, but they were soon persuaded by the community members to temporarily lift the suspension. The students joined a cast of professional actors in constructing a play for the school. The participation of the two students sent a powerful message, highlighting the foolishness of their actions. The presentation provided a constructive platform for discussion regarding the incident and helped the community bring closure to this jarring episode. This event increased the theater company’s visibility and stake in the community, while permanently etching in our consciousness the value of collaboration with our community. It became the hallmark of everything we do. Teatro del Pueblo has continued to build on this early experience by incorporating practices that help us be more responsive to the changing needs of our community.

This commitment to social change and collaboration has grown throughout the years. It has led to artistic programs such as an eight-year collaboration with the Guthrie and Ordway Theaters, in which we presented our iconic community production of LAS POSADAS. It also gave birth to such notable Teatro artistic programs such as the Political Theater festival and the Latino/Asian Fusion series, which is part of our ongoing twelve-year collaboration with Pangea World Theater.

Teatro del Pueblo continues to collaborate in various multiyear collaborative projects with the East Side Arts Council, CLUES, Centro Tyron Guzman, and the Neighborhood House.

At its core, Teatro del Pueblo continues to be a conduit for stories and cultural values reflecting a dynamic and evolving Latino identity, speaking to its diversity within the confines of a mainstream culture. The theater is a nurturing hub for artists and community members to create art that provokes community reflection and embodies social, economic and racial equity. At the center of it all is our commitment to the art of collaboration. These values permeate everything we do and are consciously practiced by our staff, board and artists, as we continue to build cross cultural engagement. We strive to serve the Latino community by presenting and producing work that echoes our history and cultural legacy.

Teatro del Pueblo has just reached its 30th year anniversary, a milestone in the non-profit life cycle. Our programming continues to evolve. Currently, we are launching our latest episode of Coco’s Barrio podcast, ALICIA FALLS DOWN THE RABBIT HOLE, a contemporary parody that pokes fun at the barriers to healthcare through the nonsensical lens of ALICE IN WONDERLAND. We are also working on collaborating with Lyric Arts to bring the critically acclaimed play, REAL WOMEN HAVE CURVES to the city of Anoka. In November, we are working with the University of Minnesota to present “Teatro Los Audaces,” an indigenous theatrical group from Arequipa, Peru. Additionally we have scheduled a public reading for Teatro’s adaptation of ROMEO AND JULIET titled LOVE IN THE TIME OF HATE in mid-November at Park Square Theater in Saint Paul.

At this point in time, Teatro del Pueblo finds itself continuously developing new, equitable collaborative initiative models that strengthen Teatro’s artistic program and further its mission. Each collaboration brings different elements to the table, and provides each participant with the opportunity to grow its audiences and artistic goals. As we continue to grow and evolve, we hope to continue to be a portal into Latin America by inspiring more economic, social, and artistic exchanges and to continue to be a resource to all our fellow residents of the great state of Minnesota.

We’re back with our newest segment of Thank You, 10! with Bethmari Márquez Barreto from REAL WOMEN HAVE CURVES. Read through this truly fantastic interview with Beth to hear more about what drives her every day, her advice to her younger self (which we should all remember), and what excites her the most about bringing the complicated and charming character of Ana Garcia to life!

LYRIC ARTS (LA): Tell us a little more about your character. What is some of your favorite parts about tackling this role?

BETHMARI (BM): I think I see a lot of my younger self in Ana and my best description for her is that Ana is a first generation woman that is trying to break cyclical, stereotypical barriers and pave the way for others (although she really doesn't understand that "the way" she is paving looks different for everyone). I feel like she is a walking paradox; she is so smart and intelligent but she is naive and ignorant to some extent. She is caring and compassionate but dismisses it if it doesn't prove her point.

I think my favorite parts in tackling her role are: 1) the relationships with all of the other characters, 2) her character arch (she is always changing and shifting gears, and even when she is not saying anything, she is saying something), and 3) how her journey is so similar and so relatable to each and every person in one way, shape, or form.

LA: What's one thing that has brought you joy in doing this show?

BM: La familia, la ambición de soñar, y la representación de la lucha en diferentes manifestaciones.

LA: Do you have any character inspiration that you're drawing from the help you create your role?

BM: The inspiration of my character development comes from my community. My journey; my sisters' journeys; my mom's journey; my latina sorority sisters journeys; the journeys of my cast-mates, my directors, my family and so many more. We all have such intricate patterns, stories, and recollections that are perpetually interwoven with the story we are telling, which is not exclusively ours, but is of the community and for the community and that is what inspires me the shaping of my character and therefore, the play.

LA: What’s one of your favorite things about the performing artS?

BM: I have two favorite things: The first thing is to be able to act and express emotions that are not mine. In some cases, I sympathize and empathize with the characters I am playing (like in this instance, Ana resonates with me so much), but, as contradictory as this may sound, being able to act and pretend somebody I am not on stage is when I am myself the most since I have never been able to express or articulate my emotions efficiently. Now my second favorite thing is the networking. Not only with my cast-mates and the production team, but with the audience as well.

LA: What was your first-ever role in a production?

BM: Well, technically speaking, my first-ever production was being part of the set designing crew for CHARLIE AND THE CHOCOLATE FACTORY production back in sixth grade, but my first-ever role on an official stage was Charita Bauer in IT’S A WONDERFUL LIFE: A LIVE RADIO PLAY at Iowa State University back in 2018.

LA: What's a piece of art that you’re really digging at the moment? Why?

BM: Arcane (it is a animated TV series). IT IS SO GOOD. I cannot pinpoint something specifically; the authenticity of the characters, the storyline, the art; it is all just so fascinating. I think it is one of the best written pieces I have ever watched, and it emphasizes so many topics about social injustice that it is worth the time watching it, and reflecting upon it.

LA: If you could give your younger self one piece of advice, what would it be?

BM: You are enough and you can do it. A bad day does not define you nor your future.

LA: What's one thing you never leave home without?

BM: Lip gloss.

LA: If you could have dinner with one person (living or dead), who would it be and why?

My nana, Catrina. Because after moving out of my homeland, I barely was in communication with my family and I didn't get to say goodbye or have a last glance at her due to the long distance and my studies.

Beth, thank you so much for taking the time to talk with us. There is no doubt that your nana is watching over you and is so proud of you! Thank you for taking the time to share so much about you and your journey with this show!

Make sure to get your tickets to see Beth as Ana Garcia in REAL WOMEN HAVE CURVES in collaboration with Teatro del Pueblo playing at Lyric Arts from October 14–30!

CHERRY & SPOON

Jill Schafer of the well-known Twin Cities Theater Blog Cherry & Spoon joined us for LUMBERJACKS IN LOVE. She mentioned that “"You can't help but fall a little in love with these oddball characters in their search for (or running scared from) love. Read her review of the show here: LUMBERJACKS IN LOVE AT LYRIC ARTS

THE STAGES OF MN

Rob Dunkleberger of The Stages of MN always brings heart, humor, and honesty to his reviews. Although LUMBERJACKS IN LOVE wasn’t his favorite show he’s ever seen on the Main Street Stage, he was impressed with the talent-level of the cast, specifically giving a shout out to Steve Ramirez as Dirty Bob, saying “[Steve Ramirez] gets the most outrageous character to play but man does he find a way to wring every laugh possible out of Dirty Bob.” Read his entire thoughts here: LUMBERJACKS IN LOVE IS A THING AND IT’S HAPPENING AT LYRIC ARTS IN ANOKA

LETTERED IN THEATRE

Finally, Erica Skarohlid from Lettered in Theatre joined us for the opening of Season 22–23. She said, LUMBERJACKS IN LOVE had “wonderful comedic timing and over the top moments that you just can't help but laugh.” Check out the rest of her blog post here: TIME TO FALL IN LOVE!

LUMBERJACKS IN LOVE closes on September 25! Get your tickets to catch our Season Opener before we close this Sunday!

Although students across the state have just returned to school and the first hint of fall color is starting to streak the trees, Lyric Arts is already thinking about the holiday season by announcing the cast of their 2022 holiday show, MISS BENNET: CHRISTMAS AT PEMBERLEY. This charming imagined sequel to Jane Austen’s beloved novel Pride and Prejudice follows Mary Bennet, the middle sister, as she works hard to discover herself outside the role of obedient sister and possibly even find true love in the process.

Elena Giannetti is once again taking the helm as director for this sweet Christmas production after most recently directing LITTLE WOMEN last season, and BLOOMSDAY in 2019. Giannetti is thrilled to be back directing for Lyric Arts and to bring this gorgeous, witty, and relevant script to life on the Main Street Stage.

"I am excited to work with this incredibly talented cast and design team to bring this lovely romantic comedy to the stage. It will be fun to direct this holiday reunion of the well-known Bennet sisters in this brilliantly creative sequel, says Giannetti when asked about what she is most looking forward to in directing this show. “While the characters might be familiar to some, it’s going to be wonderful to work on this new story, that also has a few unexpected surprises, that I am sure will delight everyone for Christmas!”

MISS BENNET: CHRISTMAS AT PEMBERLEY made its Twin Cities Theater debut back in 2019 with the production premiering at The Jungle Theatre in Minneapolis. It went on to find such success that the theater commissioned the sequel and the third installment in the “Miss Bennet” series, the latter of which—GEORGIANA & KITTY: CHRISTMAS AT PEMBERLEY—is premiering this Holiday season at The Jungle. Lyric Arts is excited to be bringing this show to its audience members in Anoka for the first time. Although this will be the debut of the “Miss Bennet” shows on the Main Street Stage, plays by Lauren Gunderson have found an audience at Lyric Arts.  In 2021, Lyric Arts produced THE REVOLUTIONISTS as a virtual production, and 2017 premiered SILENT SKY as a regional premiere. Gunderson is known for her quick wit, enticing dialogue, and delightful characters, all of which will be present in this script.

The cast of MISS BENNET: CHRISTMAS AT PEMBERLEY includes a mix of returning Lyric Arts actors and new faces. Leading the show as Mary Bennet and Arther de Bourgh are new comers Elizabeth Efteland and Scott Laban respectively. As loving and warm older sister Lizzy Darcy is Maureen O’Malley (LEGALLY BLONDE). Ben Qualley plays Lizzy’s new husband, the slightly-less-brooding  Fitzwilliam Darcy. Joining the Darcy’s for Christmas at Pemberley is Jane and Charles Bingley, played by Gillian Constable (BLOOMSDAY) and Noah Hynick. Siri Wright (BRIGHT STAR) plays the bubbly, yet dissatisfied, youngest sister Lydia Wickham. Rounding out the cast  of eight is Katrina Stelk who plays the haughty and opinionated Anne de Bourgh, the cousin of Arthur, Mary’s potential love interest.  Gabrielle Jones, Waverly Ann McCollum, and Jonah Smith will be serving as understudies for this production.

As part of the artistic staff, Lyric Arts is thrilled to welcome back to the Main Street Stage costume designer Samantha Fromm Haddow who will be celebrating her 100th career costume design with this production. Also joining Haddow and Giannetti as part of the artistic team is Greg Vanslow as scenic designer, Kat Walker as props designer, Katie Korpi as sound designer, and Kurt Jung as lighting designer. Heading the stage management team is returning lead stage manager, Dallas Wiliams. Assisting Williams will be Samantha Smith and Aria Shelton serving as Assistant Stage Managers.

From the pen of America’s most produced playwright comes this charming and cleverly imagined sequel to Pride and Prejudice. It is two years later, and the Bennet family gathers at Pemberley to celebrate Christmas together. Unlike her witty and vibrant sisters, Mary Bennet is unmarried, nerdy, and growing tired of her role as the obedient middle sister. But an unexpected guest gives Mary the courage she needs to embrace her independence and find true love. MISS BENNET: CHRISTMAS AT PEMBERLEY is an energetic, witty, and romantic holiday comedy about family, awkward love, and personal transformation that will delight and enchant Jane Austen aficionados and newcomers alike. MISS BENNET: CHRISTMAS AT PEMBERLEY is on stage at Lyric Arts from November 18–December 18, 2022.

MISS BENNET: CHRISTMAS AT PEMBERLEY is the second show in the 2022–23 season at Lyric Arts that features a collection of  contemporary and classic shows that feature hilarious comedies, intriguing dramas, sweet storytelling, and rocking musicals. With something for everyone in Season 2022–23, Lyric Arts invites the audience back to the theater to find inspiration, humanity, and heart in the satires and characters on the Main Street Stage.

When you look through a dictionary or go online and enter the word “lumberjack” the following definition pops up quickly and easily. Lumberjack (noun): someone whose job is to cut down trees for wood. When you type in the word “lumberjill” however, you get the following error message: The word you’ve entered isn’t in the dictionary. 

When most people think about lumberjacks they think plaid-shirts, tall pine trees, and our own state-hero, Paul Bunyan. The other thing they envision? Men. Men wearing plaid shirts, men cutting down tall pine trees, and Paul Bunyan is, needless to say, a man. But women have long been a part of the timber industry, and have proven vital to logging operations across North America and Europe. Never was this fact so apparent as in the United Kingdom during World War II, where women took up the roles usually filled by men which included positions like mechanics, farmers, and even–you guessed it–lumberjacks. 

On September 3rd, 1939 British Prime Minister Neville Chamberlain took to the airwaves to announce that Great Britain was officially at war with Germany. The Prime Minister called on the nation’s people to serve their country during this time. The men answered by taking up arms; the women answered by picking up the shovels and axes the men had left behind. 

The Women’s Land Army (WLA) was first created in World War I to help fill the agricultural jobs left open when Britain's men went off to war. With women able to take up these jobs traditionally done by men, the nation could continue to feed its people at home and abroad. In 1939, England once again faced war with Germany and knew that agriculture was key to military success. While agriculture was the WLA’s primary mission, the armed forces needed lumber to build ships and aircraft, erect fences and telegraph poles, and produce the charcoal needed for explosives and gas mask filters. In 1942, the Women’s Timber Corp (WTC) was formed.

In the three years that followed, over 8,500 “Lumberjills” from across England, Scotland, and Wales cut down trees and worked in sawmills, ensuring the British army had the lumber it needed to keep its men at sea, in the air, and safe from Axis chemical weapons. These “Lumberjills” willingly took up the dangerous and grueling work of the timber industry which included crosscutting, felling, snedding (the process of stripping the side shoots and buds from the length of a branch), and operating the sawmills. They also learned how to drive tractors, trucks, and work with horses. The most specialized skill was measuring, which had three objectives: identifying trees for felling, assessing the timber in a tree, and measuring the amount felled. 

Both the WLA and the WTC uniforms included riding trousers, boots, and dungarees–now more commonly known as blue jeans. While the idea of women wearing trousers as part of a government-issued uniform shocked many, the necessities of war required a certain softening of gender expectations. Great Britain needed the help of every citizen to help win the war, regardless of if they wore trousers or skirts to do so. 

In addition to shaking-up social gender norms, the Land Girls of the WLA and the Lumberjills of the WTC unofficially influenced post-war relations with wartime enemies. Although the government encouraged the women not to fraternize with the prisoners of war they worked alongside, their first-hand experience gave them a different view. “If we are to have a proper peace after the war, we shall have to show consideration and kindness to every country, even if they are our enemies,” wrote one service member in a May 1943 letter. “There is no need to be overfriendly, but let us at least show the true British spirit of courtesy and goodwill.” 

After the war ended in 1945, the Women’s Timber Corps demobilized in 1946, with the Women’s Land Army following suit in 1949. Once released from service, most women returned to the same livelihoods they had before the war. Unfortunately, society also soon returned to its stereotyped ideas of what women could, and could not, do. As a result, the WLA and WTC soon became just a footnote in the history of war, with the women only receiving their uniform and a letter from Queen Elizabeth thanking them for their service  “We didn’t get any recognition, pensions or anything like that,” said Ina Brash, a member of the WTC. “Nobody knew anything about us.” 

Finally on October 10th, 2006 official recognition was given to the courageous women of the WLA and WTC with a memorial plaque and erection of a bronze statue in Queen Elizabeth Forest Park in Aberfoyle, Scotland. The statue and plaque came 60 years after the two groups had disbanded. The Forestry Commission marked the 70th anniversary of the Women’s Timber Corps in 2012, and in 2014 a statue honoring both the WLA and the WTC was unveiled at the Memorial Arboretum in Alrewas, Scotland. 

Although it took decades for these brave and courageous women to be recognized for their work, there is no doubt that they were as instrumental in helping the Allies win World War II as the many men fighting on the ground. So next time when you find yourself thinking about lumberjacks dressed in plaid, cutting down trees, hopefully you’ll find yourself remembering about the many forgotten lumberjills who answered the call of duty with optimism and an ax.

In October, Lyric Arts (Laura Tahja Johnson, Artistic and Executive Director) will be honored to welcome to the Main Street Stage artists from Teatro del Pueblo (Alberto Justiniano, Artistic Director) for the first of its kind collaboration with a fellow theater company. After a successful run of the same show this past June at The Conn Theater inside Plymouth Congregational Church in Minneapolis, Lyric Arts is eager to share Teatro del Pueblo’s beautiful, poignant, production that centers around family, friendship, and latinidad.

Bringing this story to Lyric Arts is the directing team from Teatro del Pueblo made up of Lelis Brito and Adlyn Carreras. Brito is a Venezuelan-American theater director, choreographer, educator, performer, writer, and director of the Center for Moving Cultures. Carreras is a Puerto Rican actor, writer, and performer, as well as General Manager at Pangea World Theater and Adjunct Professor at Augsburg University. These two are both new to Lyric Arts, but are no strangers to the performing arts with both directors having worked locally and nationally teaching, acting, and directing, as well as co-directing the Teatro del Pueblo’s performance of REAL WOMEN HAVE CURVES back in June.

“When we began delving into this script, initially created in the 1980’s, we were struck by how all the themes are still relevant today ,” comments Brito and Carreras. “Women (and increasingly men) are driven to alter their bodies to achieve unrealistic expectations of beauty; immigrants struggle to have their full humanity recognized; immigrant families carry the tensions of imparting wisdom and cultural practices that are at times in conflict with the dominant culture. How does the younger generation learn to be proud of who they are and where they come from?

The October remount will feature four out of the five original cast members which includes Bethmari Márquez Barreto as Ana, the young feminist and recent high-school graduate who finds herself working at the sewing factory waiting to attend her dream school, New York University. Abigail Chagolla as the owner of the sewing factory, Estela, who is nervous about being behind on her payments, but is still kind and hard working regardless. Working with sisters Ana and Estela in the small sewing factory is Carmen, the storyteller of the group and mother of Ana and Estela, played by Mariadela Belle Alvarez and sweet and easygoing Rosali played by Xochi de la Luna. Joining the original cast is Alice D. Piar who will be taking on the role of smart, sassy Pancha, the final of the sewing factory workers.

“This play is continually relevant and contributes to our ongoing and evolving conversation of Latinidad, gender expectations, and body image expectations,” says Brito and Carreras. When asked about working with this stellar cast, the directing team says, “This phenomenal cast brings their passion, humor, culture, and bodies to reveal the many paths to liberation. I am excited to come to every rehearsal to see what they discover! “

In addition to the actors and directors for REAL WOMEN HAVE CURVES, Lyric Arts is ecstatic to welcome some of the original artistic staff from Teatro del Pueblo including scenic designer Mihka Alemán from House of Arts and Jahnke Company, costume designer Anna Brauch, and sound designer Eric Gonzalez. Joining into this collaboration from Lyric Arts is lighting designer Shannon Elliot, and props coordinator Kat Walker. The stage management team consists of Cassi Henning, lead stage manager, and assistant stage managers Claire Frederick and Lea Brucker.

As mentioned earlier, this is the first collaboration with a fellow theater company for Lyric Arts, but hopefully won’t be the last.  Laura Tahja Johnson, Artistic and Executive Director of Lyric Arts, is thrilled at the chance to tackle this script. “REAL WOMEN HAVE CURVES is a script I have been drawn to for years,” says Tahja Johnson. “While the story is such a perfect snapshot of the experience of many Latina immigrants, the themes contained within are instantly relatable to a universal audience—children of a new generation following their passion and striving for something different for their life and the sisterhood of women and the strong ties we create between each other for comfort and support.”

Set in a tiny sewing factory in East L.A., REAL WOMEN HAVE CURVES is the outrageously funny story of five Latin-American women who are racing to meet nearly impossible deadlines in order to keep their factory from going under. And while they work, they talk...about their husbands and lovers, their children and their dreams for the future. Ana, however, has dreams bigger than sewing away the rest of her life. Her world-weary coworkers can't help but laugh at her ambitions and what they consider her "idealistic feminist philosophies." As the summer unfolds, the threat of deportation and cultural pressures mount. The women navigate issues of self-image while uniting to achieve their seemingly impossible goals; learning to love and appreciate not only one another, but themselves in the process. A microcosm of the Latina immigrant experience, REAL WOMEN HAVE CURVES celebrates women's bodies, the power of women, and the incredible bond that happens when women work together. On stage at Lyric Arts from October 14–30, 2022.

REAL WOMEN HAVE CURVES is the second show in the 2022–23 season at Lyric Arts that features a collection of  contemporary and classic shows that feature hilarious comedies, intriguing dramas, sweet storytelling, and rocking musicals. With something for everyone in Season 2022–23, Lyric Arts invites the audience back to the theater to find inspiration, humanity, and heart in the satires and characters on the Main Street Stage.

To kick off a new season here at Lyric Arts, we’re really excited to share with you a new segment called “Thank You, 10!” In these short interview, we’re asking an actor from our current production ten questions about the show, themselves, and reminisce on some of their favorite theater memories.

For our first show of the new season, we sat down with Ryan Lee who plays Minnesota Slim, a tough-on-the-outside, soft-and-squishy on the inside lumberjack who accidentally orders himself a mail-order-bride. Needless to say, chaos ensues.

Read on to hear more about Ryan’s thoughts on LUMBERJACKS IN LOVE, his unexpected debut theater performance, and what’s currently at the top of his Spotify list.

LYRIC ARTS (LA): Tell us a little more about your character. What is some of your favorite parts about tackling this role?

RYAN LEE (RL): [Minnesota] Slim is pretty rough around the edges & takes on the role of keeping his fellow lumberjacks in line very seriously. But underneath his tough exterior and commitment to bachelorhood, he's a hurt little boy who never really got over his one true love. So it's been fun to work on finding that balance, maintaining his manly man identity while exploring the moments where he can let his guard down and let the vulnerability peek out a bit.

LA: Have you been in a production with Lyric Arts before? If you've been in multiple shows, is there one that you would consider a "favorite?" Why?

RL: Yes, this is my fourth show with Lyric Arts. My first was GUYS & DOLLS followed by LEGALLY BLONDE and then A 1940’S RADIO CHRISTMAS CAROL, which was probably my favorite. I got to play a really bonkers goofball character and the entire creative team was an absolute dream to work with.

LA: What's one thing that has brought you joy in doing LUMBERJACKS IN LOVE?

RL: I didn't know any of the songs before rehearsals began, and was surprised to find that the music is REALLY GOOD! Beautiful harmonies & arrangements, and singing with my fellow lumberjacks is really fun.

LA: Do you have any character inspiration that you're drawing from the help you create your role?

RL: Actually, Slim reminds me a lot of my older brother. He hunts, builds houses, trains dogs, a real man's man. But as he's gotten older, with kids & grandkids, you can really see his softness come out. He definitely comes to mind a lot during rehearsals.

LA: What's your favorite thing about acting/theater/being in shows?

RL: Definitely the connections I make with everyone involved. Storytelling, creating a character, singing together—those are all wonderful, but the bonds you make with your team are just priceless. I have so many friends from all of the shows I've done over the years and am very grateful for that.

LA: What was your first-ever role in a production? Yes, playing sheep #2 in 1st grade in the school play totally counts!

RL: I was a cowboy in the background of a 4-H play when I was 12. Quite a funny story; it was a one night only performance and my mom had the date wrong. She dropped me off for rehearsal one night and I walked into the auditorium to see it PACKED with people. I quickly realized "oh wow, tonight is the ACTUAL show!" When my mom picked me up later that night and I told her she missed the play, she was so devastated. Even to this day, I don't dare bring it up. Hey, maybe that's why she has made it to EVERY single show I've done since. A-HA! My plan worked :)

LA: What's a piece of art (television show, book, album, movie, play or musical) that your really digging at the moment? Why?

RL: I've been on such a Motown kick lately. Otis Redding, Sam Cooke, The Supremes, Stevie Wonder—such dynamite classics to have on while driving around in the summer.

LA: If you could give your younger self one piece of advice, what would it be?

RL : Don't waste so much time trying to plan and figure everything out because you only have today!

LA: What's one thing you never leave home without?

RL: A little stone that says "Embrace The Journey". I got it forever ago & have managed not to lose it yet!

LA: If you could have dinner with one person (living or dead), who would it be and why?

RL: Yusuf Islam (Cat Stevens) - he's my favorite songwriter of all time.

Thank you so much, Ryan, for letting us talk to you about LUMBERJACKS IN LOVE and your love of theater! Make sure you catch Ryan and the rest of this dynamite cast in our first show of the 2022–2023 Season opening on September 9!

LUMBERJACKS IN LOVE runs at Lyric Arts from September 9–25! Get your tickets here: TICKETS FOR LUMBERJACKS IN LOVE!

Just a reminder that we also have 8- and 6-show season subscription packages available as well as our 4-show flex passes. These are an excellent way to see multiple Lyric Arts performances at the lowest rates!

Happy reading!

LUMBERJACKS IN LOVE | Sep 9–25, 2022

You might like this show if you...

• Have a lot of plaid in your closet.

• Enjoy spending time "up nordt, donchyaknow." 

• Like listening to Bluegrass, Americana, and Folk music. 

You might like this show if you enjoyed these previous Lyric Arts performances:

• FOREVER PLAID

• NUNSENSE

• THE ODD COUPLE

Laura says...  
"LUMBERJACKS IN LOVE is an endearing north woods musical full of humor and heart."

It's 1912 and lumberjacks Minnesota Slim, Muskrat, Dirty Bob, Moonlight, and The Kid live in a state of manly bliss at Haywire Lumber Camp in northern Wisconsin, 200 miles from the nearest woman. However, when Slim accidentally orders himself a mail-order bride named Rose, their simple, shanty lives are turned upside down.

Book and Lyrics by Fred Alley
Music by James Kaplan

REAL WOMEN HAVE CURVES | Oct 14–30, 2022

You might like this show if you...

• Enjoy authentic stories mixed with humor.

• Have a connection to the Latinx or immigrant community.

• Have ever overcome a challenge deemed "impossible!"

You might like this show if you enjoyed these previous Lyric Arts performances:

• EVITA

• THE REVOLUTIONISTS

• GOD OF CARNAGE

Laura says...

"REAL WOMEN HAVE CURVES is our first collaboration with another theater company. Working with Teatro del Pueblo, we are thrilled to present this sweetly comedic play that is specific to the Latina immigrant experience while being universal in its themes of family, struggle, and the bonds formed between women."

Set in a tiny sewing factory in East L.A., this is the outrageously funny story of five Mexican-American women who are racing to meet nearly impossible deadlines in order to keep their factory from going under. A microcosm of the Latina immigrant experience, REAL WOMEN HAVE CURVES celebrates and empowers women of all shapes and sizes. 

by Josefina López
In Collaboration with Teatro del Pueblo

MISS BENNET: CHRISTMAS AT PEMBERLEY | Nov 18–Dec 18, 2022

You might like this show if you...

• Are a Jane Austen fan!

• Eagerly look forward to the Hallmark Christmas Movies.

• Enjoy curling up by the fire with a warm cup of tea.

You might like this show if you enjoyed these previous Lyric Arts performances:

• SENSE & SENSIBILITY

• SILENT SKY

• LITTLE WOMEN

Laura says...

"MISS BENNET: CHRISTMAS AT PEMBERLEY is a comedy of manners set in the fictional world of Jane Austen with a slightly contemporary twist. It is delightfully funny and romantic and filled with all the sentiment audiences expect from a Lyric Arts Christmas show."

In this sequel to Pride and Prejudice, we meet up with the Bennet family two years later. Unlike her witty and vibrant sisters, Mary Bennet is unmarried, nerdy, and growing tired of her role as the obedient middle sister. But an unexpected guest gives Mary the courage she needs to embrace her independence and find true love.

By Lauren Gunderson & Margot Melcon

THE GIRL ON THE TRAIN | Jan 13–Feb 5, 2023

You might like this show if you...

• Enjoyed books or movies like Gone Girl and The Woman in the Window.

• Like twists, turns, and messy endings.

• Aren't afraid of the dark.

You might like this show if you enjoyed these previous Lyric Arts performances:

• THE MOUSETRAP

• WAIT UNTIL DARK

• DIAL M FOR MURDER

Laura says...

"THE GIRL ON THE TRAIN is a dark contemporary thriller based on a best-selling novel that touches on themes of jealousy, motherhood, marriage, loss, and the slipperiness of the truth. It is like nothing else Lyric Arts has ever produced before."

Rachel Watson longs for a different life. Her only escape is in the glimpse of the perfectly happy suburban couple she views through the train window on her daily commute. Their life–as she sees it–is perfect. Not unlike the life she so recently lost. When Rachel learns that the woman she’s been secretly watching has suddenly disappeared, she finds herself as first a witness...and then a suspect.

Based on the bestselling novel by Paula Hawkins and the DreamWorks film,
Adapted by Rachel Wagstaff and Duncan Abel

THE WEDDING SINGER | Feb 24–Mar 26, 2023

You might like this show if you...

• Love and/or grew up in the 80's!

• Are often the last one to leave the dance floor at a wedding.

• Have ever been head-over-heels in love!

You might like this show if you enjoyed these previous Lyric Arts performances:

• FOOTLOOSE

• HAIRSPRAY

• SMOKEY JOE'S CAFE

Laura says...

 "THE WEDDING SINGER is a feel-good musical wrapped up in a big 1980s-themed bow. It is a joyful, ridiculous, enthusiastic, nostalgic, and romantic show about finding true love and keeping it for a lifetime."

Robbie Hart is New Jersey’s number one wedding singer and the life of the party. That is until his own fiancé strands him at the altar. However, when a kind-hearted Julia intervenes, Robbie realizes that maybe love hasn't abandoned him after all. But Robbie will have to pull of the performance of a decade in order to win the girl of his dreams...

Book by Chad Beguelin and Tim Herlihy
Music by Matthew Sklar | Lyrics by Chad Beguelin
Based upon the New Line Cinema film written by Tim Herlihy

THE SAVANNAH SIPPING SOCIETY |  Apr 14–May 7, 2023

You might like this show if you...

• Enjoy a night out with your best friends.

• Are always down for a Happy Hour!

• Have ever wanted to make a "fresh start."

You might like this show if you enjoyed these previous Lyric Arts performances:

• STEEL MAGNOLIAS

• THE RED VELVET CAKE WAR

• THE DIXIE SWIM CLUB

Laura says...

"THE SAVANNAH SIPPING SOCIETY is a comedy about sisterhood and found family that will feel familiar to fans of THE DIXIE SWIM CLUB, THE HALLELUJAH GIRLS, and THE RED VELVET CAKE WAR. Plays by Jones, Hope, and Wooten have always been crowd-pleasers at Lyric Arts and we expect nothing different from this one."

In this delightful, laugh-a-minute comedy, four unique Southern women find themselves in need of escape from the sameness of their day-to-day routines. Drawn together by fate—and an impromptu happy hour—these new found friends decide it’s high time to reclaim the enthusiasm for life they’ve lost through the years.

By Jessie Jones, Nicholas Hope, and Jamie Wooten

OUR TOWN | Jun 2–25, 2023

You might like this show if you...

• Enjoy a good classic.

• Love and appreciate the art of "story telling."

• Have an affinity for ladders...

You might like this show if you enjoyed these previous Lyric Arts performances:

• BRIGHT STAR

• THE GLASS MENAGERIE

• DEATH OF A SALESMAN

Laura says...

"OUR TOWN is a true classic, loved by generations of theatergoers. This simple play about the citizens of a small town at the turn of the century is an endlessly relatable snapshot of the full spectrum of human experience."

Morning breaks on another ordinary day in Grover's Corners. The townsfolk go about their business: newspapers are delivered, meals are cooked and eaten, people go to work, gardens are tended to, and a boy and girl fall in love. Thornton Wilder's Pulitzer Prize-winning play celebrates what it means to be human and the bonds that unite us all.

by Thorton Wilder

THE SPONGEBOB MUSICAL | Jul 14–Aug 13, 2023

You might like this show if you...

• Enjoyed the smash-hit TV show.

• Like music by artists like John Legend, Panic! at the Disco, Sara Bareillis, Cindy Lauper, Lady A, David Bowie, The Plain White T's, and Aerosmith.

• Just want to have a GREAT time!

You might like this show if you enjoyed these previous Lyric Arts performances:

• SHREK

• SOMETHING ROTTEN!

• LEGALLY BLONDE THE MUSICAL

Laura says...

"THE SPONGEBOB MUSICAL is everything you would expect and completely unexpected at the same time. This brand-new musical is big, bright, colorful, and endlessly optimistic. Kids will love it and adults will find its heartfelt, layered story and sense of fun equally absorbing. Beyond that, the music is outstanding, The songs are clever and well-written, by musicians like Sara Bareilles, Cyndi Lauper, John Legend, Steven Tyler and Joe Perry of Aerosmith, and They Might Be Giants."

The stakes are higher than ever in this dynamic stage musical, as SpongeBob and all of Bikini Bottom face the total annihilation of their undersea world. Chaos erupts and lives hang in the balance, and just when all hope seems lost, a most unexpected hero rises up and takes center stage. The power of optimism really can save the world!

Based on the series by Stephen Hillenburg
Book by Kyle Jarrow
Musical Production Conceived by Tina Landau

Don’t forget—if you’re interested in seeing four or more shows, consider becoming a season ticket holder! You get access to not only the best rates, but special perks, discounts, and insider information throughout the year! Just click one of the buttons below to get started.

It’s hard to believe that summer is almost over and that Wednesday starts our final weekend of SOMETHING ROTTEN! It seems like both this show—and summer in general—has gone by too quickly! We have had so much fun with this show and our audiences and reviewers have raved about the final production of Season 21–22! We put them all together in one place for you to take a look through why yolks…er, folks are saying that SOMETHING ROTTEN! is actually something pretty fantastic!

CHERRY & SPOON

Jill Schafer of the well-known Twin Cities Theater Blog Cherry & Spoon called SOMETHING ROTTEN! “a production that's full of so much heart and humor.” Check out her review of the show here: SOMETHING ROTTEN! AT LYRIC ARTS

THE STAGES OF MN

We always love to have Rob Dunkleberger in the house with his blog, The Stages of MN. Find out why he says that “SOMETHING ROTTEN! is some kind of wonderful!” at his blog here: SOMETHING ROTTEN! IS SOME KIND OF WONDERFUL AT LYRIC ARTS IN ANOKA

PLAY OFF THE PAGE

Mary Aalgaard from Play off the Page joined us at the Main Street Stage for SOMETHING ROTTEN! and claimed that this show was ”a great evening of entertainment” Read her review here: REVIEW OF SOMETHING ROTTEN AT LYRIC ARTS

LETTERED IN THEATRE

Lastly, but most certainly not least-ly, Erica Skarohlid from Lettered in Theatre joined us once again and made an awesome Tik Tok about her experience seeing the show! In her blog post she said, “You will be cheering them on and wanting to jump on stage to join their chorus line or tap dancing battles in this upbeat, silly, clever, and fully entertaining musical.” Check out the rest of her interview here: SOMETHING ROTTEN! - LYRIC ARTS

AN INTERVIEW WITH BROADWAYWORLD.COM

And finally, just for fun, make sure you don’t miss out on this fantastic interview from Broadwayworld.com where Carl Swanson talked about taking on the role of the the outrageously funny William Shakespear in our production of SOMETHING ROTTEN! Read the entire interview here: INTERVIEW: CARL SWANSON OF SOMETHING ROTTEN AT LYRIC ARTS!

If you are still waiting to see SOMETHING ROTTEN!, you only have until August 14! Get your tickets online or by calling the box office at 763.422.1838

Lyric Arts is thrilled to announce the cast of the first show in their ’22–23 Season, LUMBERJACKS IN LOVE! A hilarious, ridiculous, and campy musical romp through the forests of Northern Wisconsin, this show is the perfect show for anyone who loves the North Woods, flapjacks, and men in plaid…or just wants to head to the theater for a good time!

The arts organization is eager to welcome back Scott Ford to the directing table who directed two of the shows in the ’21–22 season (THE 39 STEPS and SOMETHING ROTTEN!) Ford is excited to be back at Lyric Arts to once again help open the new season. “[LUMBERJACKS IN LOVE] is romance served up with a huge helping of comedy (or maybe it’s the other way around),” says Ford. “The Shanty Boys, are a slaphappy music-loving group of lumberjacks deep in the woods of Northern Wisconsin where they are ‘safe from women, but not from wood ticks.’ But all that fresh air and hard work isn’t enough to distract from the winds of love and the comic mayhem it creates.”

LUMBERJACKS IN LOVE features a tight cast of six actors that include lumberjacks Minnesota Slim (Ryan Lee), Muskrat (Mark Palmer), Dirty Bob (Steve Ramirez), Moonlight (Mark Deel), and The Kid (Siri Hammond). The five men live in a state of manly bliss until an accidentally-ordered mail-order bride named Rose (Caitlin Burns) arrives and throws the camp into utter chaos. With a cast made up entirely of Lyric Arts alumni, LUMBERJACKS IN LOVE is a silly romantic comedy about the power of love and finding the courage to love yourself. “One unique feature of this show is that some of the actors will also be playing musical instruments [like] guitar, fiddle, mandolin, and so on,” Ford says. Joining the lumberjacks on stage will be Michelle Rademacher on piano and Warren Sampson on guitar. “It is full of catchy little tunes; a few of them sweet and many of them jaunty and hilarious,” explains Ford. “The song ‘Buncha Naked Lumberjacks’ is going to put you in a happy place.” With all these catchy tunes with uproarious titles, a whole lot of mistaken identity, and a forest-full of absurdity, this show is the perfect way to welcome fall into Minnesota!

Joining our rowdy group of lumberjacks at logging camp is a stellar group of artists that will help Ford bring this musical to life on the Main Street Stage. Helping lead the artistic team is music director Michelle Rademacher, and choreographer Jon Hegge. Helping to recreate a 1912 logging camp on stage is scenic designer Todd Edwards, props designer Vicky Erickson, costume designer Bronson Talcott, lighting designer Shannon Elliot, and sound designer Julie Zumsteg. Ensuring that it all runs smoothly and everything goes as planned is stage manager Dallas Williams.

With the cast and crew in place, Lyric Arts is more than ready to jump into the first show of their new season featuring a total of eight shows including titles like THE WEDDING SINGER, THE GIRL ON THE TRAIN, OUR TOWN and THE SPONGEBOB MUSICAL!

When asked about why people should come up to see the show, Ford puts it simply: “Astonishing lumberjack secrets are revealed. Faces in the breakfast flapjacks portend doom. A mail order bride is sent for. Identities are mistaken. Baths are taken. Bosoms are heaved. Tobacco juice is spit.” Talk about a lot to pack into this 90 minute musical!

It's 1912 and lumberjacks Minnesota Slim, Muskrat, Dirty Bob, Moonlight, and The Kid live in a state of manly bliss at Haywire Lumber Camp in northern Wisconsin, 200 miles from the nearest woman. Entertainment is found through rejoicing (or complaining) about their bachelor status, taking weekly baths, and practicing their social dancing. However, when Slim accidentally orders himself a mail-order bride named Rose, their simple, shanty lives are turned upside down. Rose's arrival pushes the camp further into chaos, and soon every single lumberjack has to come to terms with what they really want and who they truly are. LUMBERJACKS IN LOVE is a hilarious, heart-warming musical romp through the North Woods that reminds us sometimes the best thing to do is “axe.”

LUMBERJACKS IN LOVE is the first show in the 2022–23 season at Lyric Arts that features a collection of  contemporary and classic shows that feature hilarious comedies, intriguing dramas, sweet stories, and rocking musicals. With something for everyone in Season 2022–23, Lyric Arts invites the audience back to the theater to find inspiration, humanity, and heart in the stories and characters explored on the Main Street Stage.

GOD, WE HATE SHAKESPEARE! A Countdown of the Top Five Shakespeare-Haters Through History!

The theater community in Shakespeare’s time was  lively and highly competitive; playwrights imitated each other, satirized each other and admired each other in equal measures. A mixture of jealousy and literary critique has followed Shakespeare’s legacy with some of his staunchest critics well known names including Tolstoy and JRR Tolkien. Let’s count down Shakespeare’s top 5 haters in their own words.

5. Voltaire (1694- 1778)

At number 5 is Voltaire, a French Enlightenment writer, historian, and philosopher. Originally a supporter of Shakespeare who introduced the French public to his plays, his views changed drastically later in life. He declared Hamlet a ‘vulgar and barbarous play’ and that ‘one would take this work to be the fruit of the inspiration of a drunken savage’. Ultimately he concluded Shakespeare’s work was an ‘enormous dunghill’.

4. JRR Tolkien (1892 - 1973)

The author of The Lord of the Rings is an unexpected entry at number 4. Tolkien gave off pure hatred for Shakespeare since he was a teenager talking about “his dirty birthplace, his simple surroundings and his seedy character”. As an adult he referred to Shakespeare's writings as "bloody cobwebs.". Tolkien’s hatred for Shakespeare came from what he perceived as the damage down to the English ideas of eleves: ‘the disastrous debasement of this word, in which Shakespeare played an unforgivable part, has really overloaded it with regrettable tones, which are too much to overcome’ - talking about he cute spirits in A Midsummer Night’s Dream.

3. Robert Greene (1558 - 1592)

At number 3 is Robert Greene, a popular author in Shakespeare’s time. Greene outwardly accused Shakespeare of plagiarism with this eloquent quote: 

"...there is an upstart Crow, beautified with our feathers, that with his Tiger's heart wrapped in a Player's hide, supposes he is as well able to bombast out a blank verse as the best of you: and being an absolute Johannes factotum, is in his own conceit the only Shake-scene in a country."

2. George Bernad Shaw (1856 - 1950)

 George Bernard Shaw was, famously, a playwright and a critic — and a particularly acerbic critic of Shakespeare, whose cult he insisted had mushroomed by the 20th century far beyond what the man’s work merited, and whose characters he declared “have no religion, no politics, no conscience, no hope, no convictions of any sort.” He audaciously rewrote Shakespeare (as he penned him) shown particularly in ‘Cymbeline Refinished’ where we rewrote the 5th act. He created the term ‘Bardolatry’ which means an excessive admiration of William Shakespeare - it is derived from Shakespeare’s nickname ‘the Bard of Avon’.  “There is no eminent writer, not even Sir Walter Scott, whom I despise so entirely as I despise Shakespeare,” he said. “It would be positively a relief to me to dig him up and throw stones at him.”

1. Leo Tolstoy (1828 - 1910)

Number one Shakespeare hater goes to Leo Tolstoy. Tolstoy was a Russian writer, known for War and Peace and Anna Karenina and in his time his opinion of Shakespeare was a literary scandal!  Many have posited that Tolstoy’s hatred of Shakespeare stemmed not only from a difference in style but that it did not adhere to a neoclassical standard of drama. In his own words:   

“I remember the astonishment I felt when I first read Shakespeare. I expected to receive a powerful esthetic pleasure, but having read, one after the other, works regarded as his best: “King Lear,” “Romeo and Juliet,” “Hamlet” and “Macbeth,” not only did I feel no delight, but I felt an irresistible repulsion and tedium, and doubted as to whether I was senseless in feeling works regarded as the summit of perfection by the whole of the civilized world to be trivial and positively bad, or whether the significance which this civilized world attributes to the works of Shakespeare was itself senseless.”

Yikes! Looks like Nick and Nigel could have found some solace in these literary icons on their mutual hatred of that playwriting rockstar…  

Make sure to get your tickets to SOMETHING ROTTEN! playing at Lyric Arts from July 15–August 14!

Dear friends,

When Lyric Arts reopened for our 2021–2022 season, it felt like a homecoming in many ways. The warmth of the stage lights felt like embrace of an old friend. The sparkling marquee created an undeniable excitement we hadn’t felt in over a year-and-a-half. Having our stage full of actors, sets, and costumes once again filled our hearts to the brim.

 Most importantly, welcoming you back through our doors made Lyric Arts feel like home again. We hope you felt the same.

Speaking of “home,” we have some exciting news. For as long as we have been in the Main Street Stage, we have held a contract-for-deed with the building’s owners. But, last December, we fulfilled the obligation of the contract making us the owners of the building. We are homeowners!

Lyric Arts is often described as a “home” for so many artists, audience members, volunteers, donors, and students. Myself included. Owning the building means that Lyric Arts will remain a home for so many for years to come. It also provides Lyric Arts valuable equity and a solid foundation to continue to grow to be our very best.

Both reopening from the pandemic and owning the building are huge accomplishments and our future is bright here in our home on Main Street. We wouldn’t be here today without te support of donors, ticket buyers, artists, and volunteers—people just like you!

As we close out our 2022 fiscal year on June 30, we ask you to consider making a donation to help us end the fiscal year with strength. Your tax-deductible donation—in any amount—will pay for...

• Competitive stipends to compensate our incredibly talented artists, musicians, and technicians

• Lumber, nails, screws, and paint, used to create our breathtaking sets which have doubled in expense due to inflation and supply chain issues

• Sunscreen and arts supplies for our summer day camps

• Authentic props and furniture to create fully realized worlds

• Fabric, clothing, shoes, and hats to create stunning costumes

• And essential repairs and improvements for our newly purchased home

That’s right. Every bucket of paint, every bolt of fabric, every musician in the orchestra, and every outstanding performance you see is all thanks to—and because of—you and your investment in Lyric Arts as an audience member and donor.

     As I am sure you already know, ticket sales cover a hefty portion of our annual expens- es—about 65%—and cover what we need to pay for day-to-day expenses and basic supplies. But, the dazzling sets, fantastic costumes, and the amazing talent you see when you attend a performance at Lyric Arts are possible only because of your generous gifts. 

Ticket sales provide the bones of what we need, but it is your donations that allow us to go beyond the basics and create art.

Would you consider a tax-deductible contribution by June 30 to help us thrive and create art in our home? Or, would you consider becoming a sustaining donor by making a pledge to give each month?

Every dollar counts as we work toward our goal of raising $40,000 by June 30.

Your investment is essential to our continued success to the quality of the art we are able to create for you and the rest of our audiences. We hope that Lyric Arts is, or someday will be, a home for you as well. Remember, home is where the he(art) is.

With gratitude,

WHERE YOUR ART ON YOUR SLEEVE!

Join us in our Fiscal Year End fundraising campaign and receive this custom Lyric Arts sticker for a contribution of $10!

Wear your “ART” on your sleeve! Support Lyric Arts by donating $10 and receive a sticker to show your support! Your donation of $10 helps Lyric Arts continue to be an artistic home for dozens of actors, technicians, students, and artistic staff every year. Proudly wear your he(Art) on your sleeve!

Order your sticker and we’ll mail it to you through USPS!

LITTLE WOMEN was first published in 1868 and was an immediate best-seller. Today, 154 years later, this novel is still considered one of the pillars of American literature. In the over 150 years since Mary Louise Alcott’s novel first made it into the hands of readers, the book has never been out of print. The story of the four March sisters has spawned dozens of adaptations including six featured films, 11 television series—including two Japanese anime series, a 1912 Broadway play, one opera, one ballet, one Broadway musical—starring Sutton Foster as Jo March in 2005, and one Off-Broadway play penned by Kate Hamill, the same production we’re doing here at Lyric Arts. In addition to these adaptations, a quick Google search will show LITTLE WOMEN fans can also find sequels including Little Men and Jo’s Boys penned by Alcott, coloring books and fashion paper dolls, clothing, stickers, a complete line of Madame Alexander dolls, candles, cookbooks, posters, and of course, multiple personality quizzes (like the one in our playbill!) entitled “Which Little Women Sister Are You?” However, this beloved story almost didn’t come to be.

When Louisa May Alcott’s publisher asked her to pen a story “for girls,” she blanched at the thought. Although Alcott was a fierce feminist, she never gravitated toward female friendships and often kept other women at a distance in her social circle. She is quoted saying “I don’t very much like other women, the only women I know are my sisters.” However, this ended up being all that Alcott needed to pen one of the greatest stories in American literature. Many years after LITTLE WOMEN was first published, historians and fans alike squabble over the question of just how much of this well-loved story is autobiographical, but when comparing the March family to the Alcott family, its clear the author wrote about what she knew best.

LOUISA AND JO

Just like the March family, the Alcotts were a family of six including four daughters. Louisa May was the second oldest, just like Jo. Louisa May Alcott had always loved writing, and for a girl with literary ambitions, her home life—although tumultuous—was the perfect cocoon. Her father, Amos Bronson Alcott, was a philosopher who was deeply involved in the Transcendentalist movement—a new progressive philosophical movement that emphasized self-reliance, imagination and creativity. Although a terrible provider who often caused the family to live in destitution, he did keep company with some of the greatest minds in literature at the time. It is reported that the Alcott sisters' childhood teacher was 23-year-old Henry David Thoreau, who taught them lessons in the woods near Walden Pond. As a teenager, Alcott picked books from the shelves of Ralph Waldo Emerson's gigantic library. Allegedly, she had crushes on them both and they may have serves as inspiration for the character of Laurie.

Though Louisa was just as independent and talented as Jo March, her literary counterpart, her life was marked by struggle and sorrow. Alcott signed up to serve as a nurse in Georgetown. She intended to serve for three months, but only completed six weeks of service due to a contraction of typhoid. At the time, typhoid was treated with mercury which is now known to not only be poisonous but can also trigger autoimmune diseases. It is widely assumed that Alcott’s health difficulties that followed her through the rest of her life were due to either mercury poising or lupus, brought on through the administration of mercury as a cure. In the book, Marmee must drop everything to attend to Father when he is gravely ill in Washington DC, but in reality this actually all happened to Louisa herself.

After returning from the war, Louisa wrote a book entitled “Hospital Sketches” that pulled on her experience and showed her literary promise. From 1863 to 1872, Alcott wrote at least thirty-five “gothic thrillers” for newspapers and magazines in addition to passionate, fiery romance novels considered at the time to be quite racy. These stories were written under a nom de plum and not uncovered to be penned by Alcott until the late 1970s.

In 1868, Louisa was asked to write a “book for girls” and although she has quite hesitant, Little Women became a smash-hit when it was first published selling out within just a few months. This book that she deemed “simple and true” has not gone out of print since its publishing in 1869. Louisa commented on the early success of her novel in her diary writing, “We really lived most of it; and if it succeeds that will be the reason of it.”

While fans insisted that Jo be married off and Louisa obliged in the second part of Little Women, Louisa chose to spend her life as a “literary spinster” choosing to never marry. She passed away at the age of 55 at her home in Boston, MA. She is buried at the family lot on Author's Ridge in Sleepy Hollow Cemetery, Concord.

ANNA AND MEG

Despite the radical family that she was born into, Anna Bronson Alcott, the eldest of the Alcott sisters, found herself happily content fitting within the confines of early Victorian living. Just like Meg, Anna dreamed of being an actor and especially loved acting in the plays and skits penned by her sister, Louisa, just as Meg does with Jo. Together, the sisters helped form the Concord Dramatic Union now known as the Concord Players which is still in operation today.  Eventually, that's where Anna met her own “John,” but instead of John Brooks like in the novel, Anna falls in love with a man named John Bridge Pratt. Married in 1860 at the family home, just like the book, the two went on to have two sons. Sadly, just like the sequel to Little Women titled Little Men, Anna’s husband died unexpectedly about 10 years later. Anna Alcott Pratt passed away in 1893 and is buried next to Louisa in Sleepy Hollow Cemetery.

LIZZIE AND BETH

Not much is known about the life of Elizabeth “Lizzie” Alcott, the second to youngest of the Alcott sisters, who passed away at 22 from scarlet fever. Just like in the book, Lizzie contracts scarlet fever while helping a poor neighboring family. Sadly, unlike Beth who accepts death with a serene sense of grace and peace, Lizzie suffered immensely for almost two years before succumbing to her illness. In Louisa May Alcott: A Personal Biography, Alcott biographer Susan Cheever points out the distance between the real and fictional Beth: “Beth has a quiet, dignified death, a fictional death. Although young Lizzie Alcott was a graceful, quiet woman, she was not so lucky. A 22-year-old whose disease had wasted her body so that she looked like a middle-aged woman, she lashed out at her family and her fate with an anger that she had never before expressed.” Lizzie passed away just three months shy of her 23rd birthday. The funeral was a small affair and Ralph Waldo Emerson, Henry David Thoreau and Franklin Benjamin Sanborn served as pallbearers. She is buried at Sleepy Hallow Cemetery next to her sisters.

MAY AND AMY

The youngest of the Alcott daughters was Abigail May Alcott, who went by “May.” May served as the inspiration for the Jo’s youngest sister and rival, Amy (which is simply the name “May” rearranged.) In the book, Amy has grand dreams to be a painter, and even travels to Paris to chase her passion. After eventually deciding she's not one of the greats, Amy abandons the pursuit entirely happy in her marriage to Laurie. May Alcott, however, stayed dogged in her pursuit. She studied at the School of the Fine Arts in Boston, and traveled to Paris. Later, her wealthy older sister financed three more trips to Europe where she finally found success is 1877 having a painting accepted to the Paris Salon. In 1878, she married a Swiss businessman and musician, Ernest Nieriker (not Laurie). According to her journal, they lived "an ideal life—painting, music, and love.”

A year later, in 1879, they had a daughter called Lulu, short for Louisa May. Tragically, May died seven weeks after giving birth. Lulu was sent to live with her aunt, Louisa May Alcott, in Boston. When Louisa passed away in 1888, Lulu moved back to Europe.

May's work is on display at Orchard House, the Alcott family home in Concord, MA.

 Lyric Arts is happy to announce the “egg-cellent” cast of the summer musical SOMETHING ROTTEN! This hilarious new musical is the brain-child of  John O’Farrell and brothers Wayne and Karey Kirkpatrick. Set in beautiful, plague ridden Elizabethan England, the story follows Nigel and Nick Bottom, two aspiring playwrights who can’t get out from under the shadow of “The Bard,” the hottest writer in England who answers to the name of Will. SOMETHING ROTTEN! has been lauded by audience members and critics alike, receiving several Best Musical nominations and hailed by Time Out New York as "the funniest musical comedy in at least 400 years.”

Back at the director’s table is Scott Ford, who directed the opening show of the ’21–22 Season, THE 39 STEPS. Ford is honored to direct the two shows that “bookend” the season and is thrilled at directing this regional premiere. “[SOMETHING ROTTEN!] has a clever script, catchy tunes, funny actors, and a bit of tap dancing. I love the relentless pacing of the comedy and the sheer quantity of jokes,” says Ford. “There is something for everyone in the humor of this show.  There is a little highbrow, a little lowbrow, and a ton of laughs right in that middle sweet spot that appeals to most people.”

SOMETHING ROTTEN! features the largest cast in the ’21–22 season line-up with a total of 23 actors taking the stage this summer! In the lead roles of Nigel and Nick bottom are returning actors Grant Hooyer and Kyler Chase, respectively. Opening the show is Kiko Laureano as the Minstrel who welcomes the audience to the English Renaissance, dominated by the playwriting rockstar, William Shakespeare played by Carl Swanson. In the role of Bea Bottom, Nick’s loving but strong-headed wife, is Becca Hart. Portia, a Puritan woman and Nigel Bottom’s love interest, is played by Courtney VonVett and her father, Brother Jeremiah who believes Nick and Nigel’s plays are sinful, is played by Eric Knutson. A cast of colorful characters help—and hinder—the Bottom Brothers on their way to overtake Shakespeare’s fame including soothsayer Nostradamus (Thomas Nostradamus, that is. Nephew to that Nostradamus.) played by Justin Betancourt, investor and debt-collector Shylock played by Jim Ahrens, and Lord Clapham, a posh patron of the theater, played by Steven Ramirez. 

SOMETHING ROTTEN! features a phenomenal ensemble of 11 cast members and two swings playing everything from towns people to tap-dancing eggs. (Yes, you read that correctly!) Making up the ensemble is Alex Stokes, Andy Elfenbein, Brandon Osero, Cody Dahlson, Elizabeth Cassidy, Jack Strub, Joshua Meltzer, Lars Nisswandt, Marley Ritchie, Morgan Kempton, and Tori Wheeler. The swings for SOMETHING ROTTEN! will be covered by Ryan Ledman and Laini Devin.

When asked what he’s most looking forward to in directing this show, Scott Ford says, “Laughing hard together with a roomful of people is one of the sweet joys of life.” And this show is certainly full of laughs! “[Audience members] will leave the theatre feeling somewhat giddy and maybe even a bit light-headed because their brains will be awash in endorphins from all the laughter!” 

For a show this large it really takes a village to make this show a reality. Sitting at the director’s table with Ford is choreographer Hannah Weinberg-Goerger and music director Anna Murphy. Additional artistic staff includes scenic designer Peter Lerohl, props designer Michaela Lochen, costume designer Caitlin Quinn, lighting designer Shannon Elliot, sound designer Paul Estby, and sound tech Emily Ludewig In the rehearsal room assisting Ford is lead stage manager is Jenna Hyde, associate stage manager Kate Peters, lead assistant stage manager Kat Walker, and assistant stage manager Kelley Yount.

With such a fantastic cast and artistic team in place, Lyric Arts is more than ready to bring the hilarious, over-the-top, laugh-until-you-cry musical to the Main Street Stage. Ford says, “It is snot-come-out-of-your-nose funny.  So bring a tissue!”

SOMETHING ROTTEN! invites the audience to beautiful, 1590 plague-ridden England! The Bottom Brothers are desperate to write a play to undermine the success of that Renaissance playwriting rock star, "The Bard!" When the brothers seek aid from the local soothsayer, they learn the future of theater involves singing, dancing, and acting—all at the same time! To take down their rival, Nick and Nigel set out to write the world's very first musical. But amidst the scandalous excitement of opening night, the Bottom Brothers realize that reaching the top means being true to thine own self, and all that jazz...

SOMETHING ROTTEN! Is the final show of Lyric Arts’ return season which included heart-warming classics, intriguing thrillers, and joy-filled musicals. Single tickets for SOMETHING ROTTEN! can be purchased by calling the box office at 763.422.1838 or by going to www.lyricarts.org/tickets. More information about SOMETHING ROTTEN! and the rest of the Lyric Arts Season can be found at www.lyricarts.org

At first glance, the set of SMOKEY JOE’S CAFE may seem like a pretty typical set. However, scenic designer Sadie Ward has done something radical: designing with sustainability as the guiding principle. Before SMOKEY JOE’S CAFE opened at Lyric Arts on April 8, Molly Weibel (Marketing & Communications) talked with both Sadie Ward and Beth Miller, Lyric Arts Technical Director, about the set, designing for sustainability, and why theater often struggles with the idea of “going green.”

Molly Weibel: Let's start at the beginning. What was your inspiration for this set?

Sadie Ward: When I first listened to SMOKEY JOE'S CAFE , obviously it's a traditional juke box musical, so the thing that really stuck out to me was it felt like the music notes were flying off of the music stanzas. So that's what has been a guiding image for me because really this show is about the music and I think it's really the designers responsibility to design as show that's achievable. That's what I believe is a part of sustainability--making choices that aren't going to push people to the edge. Something we learned in the pandemic is that the pace we were pushing people at before wasn't sustainable. It's really easy to try and over-design something because you can feel the pressure that [your show] is the biggest thing. But particularly for this show, it's a really dance-heavy show, and with dance shows you need a lot of space downstage. So it's about making choices that support the storytelling while also giving it a background and atmosphere.

MW: Wow, look at this set! Can you tell me what pieces have been reused/repurposed?

SW: Particularly up top are pieces that were already in Lyric's stock. They're really cool pieces that were already built! I knew I wanted a brick feel in this [design] so this was kind of the first step. There isn't anything from my own stock, but there is a lot from Lyric Arts' stock. Looking at this platform, this is all 8x4 platforms. In traditional design choices, you might say "I want to platform to be 10 ft" but with leading with sustainable choices, you can lean into whatever is already made. "It's going to be 8 feet, but how long do we want it so we can use the platforming already made." A lot of the stuff that's up here is all inventory items from Lyric Arts. The set decorating, the couches...the tin ceiling is one of the only things we've purchased new on the set.

Beth Miller: It's true. We had all of this, including the 14 foot pole. They said, "Do we want to do this?" and I was like "I think we have the stuff for it."

SW: That was actually one of the requests from the director was to have a fire pole, because we kind of created a backstory that this could have been an old firehouse. And I think it's really effective actually in the running of the show to add dynamic with the platforming because multiple actors actually go down it.

BM: We use it a lot, they were very excited about it.

SW: Vanessa [Ages, director of SMOKEY JOE'S CAFE] also requested that we have a second platform up here, which I think was a great addition to the design because it's really that balance of "how do you keep things within scope" while also making things dynamic and interesting for the blocking and the playing of the production.

MW: Why is recycling/reusing set pieces so abnormal? Why are designers not like "what do we have in stock?" and then go on designing from there?

BM: So I always lead with sending [designers] our inventory, but I think a lot of it is that it's just another parameter that you have to design within. It's just another aspect to start factoring in. Suddenly you have to design within what the director wants, and what the show needs, and also using things from the shop…and I think that that's really hard.

SW: One of the things with sustainability to avoid single-use items and in a broad sense, theater is a single-use item. So where as some designers find [not using single-use items] restricting, I lean in to it. I can just lean into it knowing that I'm not making off-cuts of material that will just get thrown in the trash. Not every show can be designed in this way, but in this show we could lean into it. It's part of the reason I was interested in this show because [the setting] is abstract. When you're able to abstract that helps you lean into the more sustainable choices as well. Also--fact check me on this--but all of the music notes are from off-cuts as well, right?

BM: Yep, that's just scrap plywood.

SW: I think I said multiple times, "Don't cut in to anything new!"

BM: [The music stanzas] were all ripped down pieces of the beams from the show before.

SW: In traditional design you would say "I want precisely 102 music notes exactly this size" where I was more like "Here's generally the size of music notes I want, and however many you make, we'll put them on stage" which means no new material was purchased.

MW: Can you talk about the evolution of sustainability as a principle of your design practices?

SW: So as a designer before the pandemic, I tried to incorporate elements of sustainability where I could, and it was convenient but it never led my design choices. Coming out of the pandemic, I'm much more in a spot where I am putting sustainability as a priority in my design choices rather than doing it when it's convenient. You go to school and you "learn" how to do set design, so it takes a little time to unlearn some of those practices. Coming out of the pandemic, I was interested in taking shows that I knew I could try to lead with sustainability rather than just design the set.

MW: Beth, what has it been like to work with Sadie who comes in a says, "I want to build a set with what we have?"

BM: A beautiful thing.

MW: Okay, so it makes your job easier?

BM: It does! It in many ways makes my job easier. If a platform already exists, that’s a lot of time I don't have to spend on making that platform exist. I don't have to run to Menard's to get a certain type of trim if we already have trim. It saves me time, and I think in a lot of ways gives us a better finished project because we have time to really get into the details of it instead of shopping and building.

SW: I'm glad you actually brought up the trim because there's a lot of trim on this set and none of it is purchased new. And I think that it's still in large enough chunks that you’re still going to be able to use the majority of it for other shows too. That's part of the life cycle analysis of things is understanding where are things coming from, what am I doing to them, and then what's going to happen to them afterwards, because what I do with them informs what's going to happen to them afterwards. So like with some of this brick-work, it could have been an easier choice to lean into a layering of texture, but leaning into this simpler paint treatment that still conveys age and time but allows it to be a whole reusable piece. That's a big reason to lean into this pressed brick because you'll be able to use quite a bit of it after the show is done.

BM: All of it. All of it except for like two silvers is full sheets which is nice because this is about $30 per sheet, so using it for multiple shows is nice.

SW: I guess I shouldn't say that we only purchased the tin roof new, but the things we did purchase new, you're able to reuse again.

BM: We actually leaned into brick partially because I already had four to five sheets of it, and so it was like "okay we’re half way there anyway" so if we're just using full sheets that can move forward into the world, or next season, all the better.

MW: This is so interesting. What about all this set decorating?

SW: All of the set decorating is pulled from upstairs in the prop room. This is a really simple design, so what you have to lean into is some of these specific touches that are telling the story. A week ago I was a kind of afraid, like maybe I super undersigned this and it wasn't the right choice, but after getting the set decorating on I was like "oh this is the right choice."

BM: And a lot of the lighting, like even the practicals, are all things we had.

SW: Ya and part of it is this story allows you to lean into that, but it's also leading consciously with those design choices as well.

MW: So tell me a little bit more about Next Stage

SW: So I'm a part owner in Next Stage rental and market. Part of our mission at Next Stage is to eliminate the amount of theatrical material that ends up in the trash. So we are constantly trying to curate a rental inventory of packages and shows that we can just rent out a whole show...or give things a place to pause before it ends up in its next life.. We've been talking about Next Stage for almost a year now because Sarah Herman sent an email to a bunch of scenic designers and she wanted to create a theatrical reclaimed store and rental. She was like "is this an idea people are interested in?" and a lot of people were like "YES!" In the weird way that the pandemic has some silver linings, if we hadn't all taken a year and a half pause, we probably wouldn't have stopped to think about how are we really doing this. I keep coming back to the fact that we had a thunderstorm in December and that's not good. We have to be doing things differently. I listen to a podcast called "Green Dreamer" and for myself it was kind of this existential moment of "I don't know, I do theater and that generates a lot of waste and how am I going to bridge this." And I don't remember who the speaker was but they said, "if you have one facet of your life, that even if it's a niche thing that makes the world greener, really jump into that and really take advantage of that." I remember during the pandemic, being like "I don't know if I can do theater anymore because it just generates so much trash...like literally." And so when this opportunity came up with Next Stage I was like "oh my gosh! This is it!" It's not about not doing theater, it's about doing theater how I want to do theater. Which I think is also a step of how you define yourself as an artist. So it really started with a lot of conversation.

MW: And you partner with The Costume Collective, right?

SW: Yes! We actually sublease our warehouse space from under The Costume Collective. It was kind of like the scenics were talking over here, the costumers were talking over here, and it was like maybe we should work together a little bit because we're all doing this for the same purpose: to make resources available and not creating new all the time. So honestly working with the Costume Collective was such a huge positive thing because we wouldn't have the warehouse space without them.

MW: Let's say I was doing a show and needed to source something. Do I have access to your warehouse?

SW: Definitely! So right now Next Stage is open Monday 3–7pm and Saturdays 10am–2pm, for now. We kind of figure that Mondays are the day of tech where you're like "oh God, I need this thing right now." So we're trying to position ourselves to be a place to stop before you go to the hardware store to buy new. And the Costume Collective is open Monday through Friday, 10am–4pm.

MW: What's one thing you would like to see moving forward designing with sustainability in mind?

SW: So right now it does feel like you have to be in the right time and place to be able to make these sustainable choices, but I hope that over time we'll be able to make it more of the norm. This worked out really well because Lyric Arts does have a stock and and inventory to be able to do this and make these kind of choices, and honestly have a staff that's open to it. That's a big part of it is people willing to participate and doing things differently, and doing this differently is hard, because we're human and we like our patterns.

MW: So to wrap up our interview, what are some ways that people can be sustainable in their every day life?

SW: I wish there was a simple answer, because if it was easy, we would have fixed it already. But I think the thing that I really lean into is in your life, examine your single use items. And "Green Dreamer" the podcast I mentioned? Just listen to that, because there's so many topics they cover. And I think that leaning into the positive is a big thing. It's really easy to focus on what you're not doing. So if you can be like "right now today I was able to use my metal straws instead of my plastic straws, and that's what I can do today" you'll be more likely to do it again because you are leaning into the positive aspect instead of dwelling on the negative.

If you’re interested in learning more about Next Stage or The Costume Collective, or visiting their warehouses, check out their website at https://www.nextstagemarket.com/ and https://thecostumecollectivemn.com/ respectively.

“We don't have to engage in grand, heroic actions to participate in change. Small acts, when multiplied by millions of people, can transform the world.” -American Historian Howard Zinn

Lyric Arts is thrilled to announce the cast of LITTLE WOMEN! Penned by playwright Kate Hamill, this sharp take on a beloved classic takes the cherished story and explodes it on stage to get at the heart, vulnerability, and passion that lies within each of the four March sisters: Meg, Jo, Amy, and Beth. Just as heart-warming as the original, this play adaptation of the famous Louisa May Alcott novel is an authentic celebration of strong women living within and fighting against the confines of Civil-war era America. 

Lyric Arts is honored to have Elena Gianetti at the director’s table for this project. After her 2019 production of BLOOMSDAY melted hearts, Giannetti is excited to tackle her next show on the Main Street Stage. “Kate Hamill is known for what she herself describes as the ‘feminist reclamation of classical texts,’ and her new adaptation of LITTLE WOMEN does not disappoint,” says Giannetti. “What I find so exciting about this show is that Hamill consciously explodes the archetypes we usually imagine about this beloved story and these iconic characters, making it much more relevant to the world we live in, and better reflecting today’s younger generation.” 

Hamill’s adaptation of LITTLE WOMEN features a cast of nine actors, many playing multiple parts throughout the show. The  casting of the March sisters feature three new actors to the Main Street Stage and one alumnus. In the role of head-strong, free-willed Jo March is returning cast member Antonia Perez (SMOKEY JOE’S CAFE). In the role of Meg March, the oldest sister, and romantic at heart, is played by Marci Lucht, making her Lyric Arts debut. The younger sisters, Beth and Amy March are played by Nina Aguilera Araya and Grace Jones, respectively. Both women are also making their Lyric Arts debut in LITTLE WOMEN. Matriarch of the March household, Marmie, is played by newcomer Fjaere Harder, who also doubles as the often unpleasant, elderly Auntie. Rounding out the March household is beloved maid Hannah, played by Mary Cutler (THE RED VELVET CAKE WAR, A CONEY ISLAND CHRISTMAS). The Laurence household centers around Theodore “Laurie” Laurence played Derrick Hak (NEW VOICES CABARET) who’s friendship with Jo evolves as they grow older. Laurie’s grandfather, Mr. Laurence, is played by Glen Stone (DRAWER BOY)—who also doubles as Robert March, patriarch of the March household. Laurie’s tutor and future love interest of Meg March, Mr. John Brooks, is played by returning Lyric Arts actor Chris Jimmy (A RAISIN IN THE SUN).

Elena Giannetti is excited to bring this  adaptation to Lyric Arts that honors the spirit of Alcott’s original while freshly interpreting it for a new era. “This is not the LITTLE WOMEN we’ve grown up with. This is not precious. This is not the ending we expect. In other words, this re-telling gives our diverse cast and Lyric [Arts] audiences the opportunity to challenge gender stereotypes and conventions that society has conditioned us to accept as ‘the standard’. Instead, it opens the possibility for greater compassion, understanding and acceptance across a broader spectrum of identities to connect with and relate to.” 

Helping to bring Giannetti’s vision to life are a talented artistic staff who are taking on the challenge of bringing this work from page to stage. The artistic staff includes scenic designer MJ Leffler, props designer Kat Walker, costume designer Katie Martin, lighting designer Shannon Elliott, and sound designer Emily Ludwig with sound design mentor Paul Etsby. In the rehearsal room assisting Giannetti are stage manager Joe Black, assistant director Dani Krivinchuk, assistant stage managers Leita Stei and Will Rosin, intimacy director Callie Aho, and music consultant Tori Sweeney.

With this incredible cast and artistic team in place, Giannetti is excited to present this fresh adaptation of LITTLE WOMEN to the audiences of Lyric Arts. “I hope audiences will come to the show excited to meet these new updated March sisters of the 21st century and leave afterwards having fallen in love with their charms and foibles all over again.” 

Kate Hamill’s LITTLE WOMEN centers around Jo March who isn't what you call your typical prim and proper Victorian lady. She's rebellious, opinionated, and certainly isn't afraid to speak her mind. As she and her sisters grow up in the middle of the Civil War, they strive to be brave, intelligent, and imaginative young women. But the world around them has other plans. While Jo aspires to become a great American novelist, her sisters—Beth, Meg, and Amy—also tend to their private dreams while juggling society's expectations of them. Based on Louisa May Alcott’s famous coming-of-age story, this new adaptation by Kate Hamill is filled with the heart, spunk, and beautiful imperfection that makes the March sisters and their story such a timeless classic.

LITTLE WOMEN is the penultimate show in a season full of heart-warming classics, intriguing thrillers, and joy-filled musicals, which included titles like THE 39 STEPS, IT’S A WONDERFUL LIFE, THE MOUSETRAP, and SMOKEY JOE’S CAFE. Single tickets for LITTLE WOMEN and the rest of the 21–22 Season can be purchased by calling the box office at 763.422.1838 or by going to www.lyricarts.org/tickets. More information about LITTLE WOMEN and the rest of the Lyric Arts Season can be found at www.lyricarts.org 

When Mike Stoller was introduced to his soon-to-be writing partner at seventeen, he noticed two things about Jerry Leiber: the first was his eyes—one was blue, one was brown. When Stoller opened the door the greet Leiber that hot Los Angeles afternoon, he stared in amazement prodding his mother to finally asked, “Aren’t you going to invite him in?”

The second thing that he noticed about his future partner—also seventeen—was the notebook Leiber carried in his hands. “He had lyrics written in it,” said Stoller in a 1990 Rolling Stones interview. “I looked at it, and I said, ‘These aren’t songs, these are blues.’ Because he would have a line of lyric and ditto marks, then a rhyming line. These were twelve-bar blues progressions. I said, ‘I like blues.’ And we started writing.” The two started writing that afternoon and never stopped. 

Leiber, the son of Jewish immigrants from Poland, grew up on the edge of a predominantly Black neighborhood in Baltimore where he was exposed at a young age to jazz and rhythm and blues. Stoller, who grew up in Queens, New York, was first introduced to jazz and blues while away at an interracial summer camp. Both families relocated to the Los Angeles in the 1940s, and fate threw together the young men in 1950.

In the years that followed, Leiber and Stoller created a songwriting dynasty that outlasted marriages, friendships, and the continuous evolution of the music genre the helped to create: Rock & Roll. The list of hits that the duo wrote throughout the 50s and 60s for their all-star clients reads like music history; from “Jailhouse Rock” and “Love Me” for Elvis Presley, “There Goes my Baby,” “Yakity Yak,” “Charlie Brown” and “On Broadway " for The Coasters, “Stand by Me” for Ben E. King, and “Hound Dog,” a hit for both Elvis and Big Mama Thorton. But the most important impact on the musical genre of Rock & Roll was their ability to take “the sensual and spiritual intimacies of urban Black culture that fueled the birth of Rock & Roll” and inject it into mainstream white America, at a time where the music was often as segregated as the country. 

Both Leiber and Stoller grew up in and around Black neighborhoods, which was unusual for post-World War II America. Although their close ties with Black culture did not change the fact that Leiber and Stoller were two white men, their Jewish background meant they had felt a more personal and deeper understanding of the prejudice that stalked the Black performers for whom they were writing. “They wrote songs as if they were Black,” said Charlie Thomas, a member of the Drifters, “[Leiber and Stoller] were just like brothers to us. There was real prejudice back then, but these guys didn’t believe in it… they did the best that any producers ever could do for a Black group back in those days.” While Leiber and Stoller could never truly know Black culture better than those actually in the community, the parallels between the anti-semitism they faced and the racism they saw first-hand when writing and partnering with many Black performers allowed the group to serve as a sort of bridge connecting the sound of Black America to the mainly white-listening audience of the most well-known record houses. 

The birth of Rock & Roll in the 1950s represented a time when white teenagers started to see Black performers in a new light, and Leiber and Stoller were instrumental in that change. Although white teenagers were not the initial target audience for groups like The Coasters and Ben E. King, their music flooded homes, radio stations, and television reaching a larger audience than was ever imagined. With this came a Black perspective on societal justice, a viewpoint that may have not been presented before to white audiences in such an easily-accessible way. Leiber and Stoller’s privilege and status that was afforded to them by the color of their skin in addition their continued allyship helped bring many Black artists of the 50s and 60s to the forefront. 

With a career that expanded well into the 1980s, Leiber and Stoller both saw the creation of and helped implement the ever-fluid genre of Rock & Roll. In 1985, they were inducted into the Songwriters Hall of Fame and in 1987, they were inducted into the Rock and Roll Hall of Fame. In 1995, SMOKEY JOE’S CAFE premiered on Broadway and was nominated for seven Tony awards that same year. With over 2,000 performances when the show closed in January of 2000, SMOKEY JOE’S CAFE holds the record as the longest-running revue on Broadway. As for Leiber and Stoller, only one-half of the renowned duo is still around. Sadly in August 2011, Leiber passed away from cardio-pulmonary failure at the age of 78. Stoller just turned 89 on March 13, 2022 and is said to still be very much alive* and still writing and enjoying music to this day. 

SMOKEY JOE’S CAFE: THE MUSIC OF LEIBER AND STOLLER performs at Lyric Arts from April 8–May 8! Tickets can be purchased by going online at www.lyricarts.org or by calling the box office at 763.422.1838

*Mike Stoller “survived” an internet death hoax in early March of 2022. His representatives confirmed that Stoller was not dead saying “He joins the long list of celebrities who have been victimized by this hoax. He's still alive and well, stop believing what you see on the internet.” 

This Thursday, we start our final weekend of Agatha Christie’s THE MOUSETRAP. As the best-selling show so far this season, we’ve been lucky to have a variety of reviewers in the house during the run of this show. We’ve rounded up the reviews for you to take a look at what people were saying about this snowy whodunnit!

We always love having Jill Schafer from Cherry and Spoon in the house, especially when we we can introduce her to a show she’s never seen before. In her review of THE MOUSETRAP, she said “Craig Johnson directs the play with delicious tension and suspense, and also some humor to release that tension, whilst keeping all of the complex puzzle pieces moving and eventually falling into place."

You can read her entire blog post here: THE MOUSETRAP CHERRY & SPOON REVIEW

Arty Dorman of Talkin’ Broadway joined us again for THE MOUSETRAP and said, "[THE MOUSETRAP] is up there at the top of the class, and Lyric Arts has done an excellent job of bringing it once more to life…When all is said and done, and the villain revealed, The Mousetrap is great entertainment, racking up another strong win for Lyric Arts."

You can read his entire article here: THE MOUSETRAP TALKIN’ BROADWAY REVIEW

Erika Skarohlid of Lettered in Theatre said, “THE MOUSETRAP is entertaining, fabulously choreographed accusations, and includes a bone-chilling scream that you will think about for weeks.”

You can read her full blog post here: THE MOUSETRAP LETTERED IN THEATRE REVIEW.

Rob Dunkleberger from The Stages of MN gave us one of our favorite pull-quotes for this show saying "Miriam Monasch who plays Mrs. Boyle, possibly the most contrary and judgmental old biddy in the England, plays it so perfectly that you get a little thrill every time someone upsets her.” Read Rob’s review her: The Mousetrap is a Cunning Cozy Thriller That Lives Up to it’s Classic Status at Lyric Arts

This show we were thrilled to welcome Jared Fessler from BroadwayWorld.com to the Main Street Stage. In his review he said. “I was so impressed with the talented cast who delivered their lines and portrayed their characters so well that you forget they are "acting." It was just like watching a murder mystery movie. I sat there trying to guess myself who the murderer was with thrill and anxiety!” Read Jared’s full review here: BROADWAYWORLD.COM REVIEW OF THE MOUSETRAP

And of course, we were so lucky to have our show featured in the Star Tribune by Chris Hewitt. He gave a fascinating look at the history behind this show and it’s definitely worth the time to read! You can read his article here: AGATHA CHRISTIE'S THE MOUSETRAP STILL SNARES AUDIENCES 70 YEARS LATER

THE MOUSETRAP is back for one final weekend at Lyric Arts before we close on March 20! You can learn more about the show and purchase tickets by going to www.lyricarts.org/mousetrap or call the box office at 763.422.1838

Ticket availability is very limited and we recommend looking for seats on Thursday or Saturday. Sunday’s show is currently sold out.

ANOKA, MN (3/8/22) — On this International Women’s Day, Lyric Arts is honored to recognize Artistic and Executive Director Laura Tahja Johnson for her 18 years of service to the organization, in addition to celebrating her 50th birthday this March. It feels appropriate to celebrate these two large milestones in March, which is Women’s History Month. Lyric Arts is proud that such a large part of their history has been with Tahja Johnson at the helm, growing the organization from humble beginnings to its current reputation as a mainstay in the Twin Cities theater community. 

Tahja Johnson grew up in the Duluth area where her love for the arts was apparent. “I was always a performing kid. I started tap ballet and jazz at the age of five and was involved in many plays and musicals through out junior high, high school, and college and worked as a professional vocalist, choreographer, and director.” Tahja Johnson says. She attended University of Duluth-Minnesota where she earned a Bachelor’s degree in English with a minor in Mathematics, but spent much of her time in the theater department where her love for the performing arts grew quickly. After graduation Tahja Johnson spent time in London, but soon returned back to the area where she hosted a popular Duluth morning radio program. When life brought her and her husband, Tony Johnson, to the Twin Cities, Tahja Johnson began work in promotions and marketing for a corporate broadcasting company, a job at which she excelled but never felt quite "right.”

It would seem, however, that the universe had other plans for Tahja Johnson, because in 2004, she was laid off. When asked about her time in the corporate world, Tahja Johnson is very candid. “Corporate America wasn’t a good fit for me…and I wasn’t happy. My involuntary departure was the best thing that could happened for me,” she says. In the midst of a disappointing job search, serendipity stepped in when a friend told Tahja Johnson about a small theater company in Anoka that was hiring. Tahja Johnson drove her resume up to the theater, and although they were almost done with the hiring process, founder and previous executive director Lin Schmidt saw something special. Tahja Johnson submitted her resume on a Thursday, interviewed with the organization the following Tuesday, and that Friday was offered the job. Lyric Arts and Tahja Johnson had finally found each other. “Lin was a great believer in serendipity, and that the universe was working for the good of Lyric Arts,” says Tahja Johnson. “She kind of felt like I came at the right time.”

In her early years at Lyric Arts, Tahja Johnson worked closely with co-founders Lin Schmidt and Phil Bologna, slowly taking on more and more responsibility and helping to grow Lyric Arts, both in size and reputation. “I've always been a person who’s wanted a home,” Tahja Johnson says, “a place where I can devote myself to making things better and doing good things for the world." When it came time for Lyric Arts’ original executive director to retire, Tahja Johnson was the obvious choice. Tahja Johnson stepped into the role of Artistic and Executive Director in 2012 and since then has propelled Lyric Arts to a highly-respected position in the Twin Cities art scene.

Over the last eighteen years, Laura Tahja Johnson has worked tirelessly to create Lyric Arts as its known today: a bright star in the Twin Cities theater community that brings high-quality, immersive, and thought-provoking theater to the suburbs. When asked to reflect on the last eighteen years, Tahja Johnson says “Lyric Arts was a fantastic community theater and I came in at a really big moment of change and growth.” Through her leadership, Tahja Johnson helped guide the theater company from its humble roots to its current professional reputation. But her thoughts aren’t only to the past. “Eighteen years from now, I’ll be 68,” Tahja Johnson says, “I want to leave an organization that that is strong and sustainable while nurturing a new generation of artists, increasing diversity among both artists and the stories we tell.”

With March being Women’s History Month, it feels only appropriate that Tahja Johnson would celebrate her 18th year with the organization in addition to her 50th birthday. Leadership in the arts has for many years been a field dominated by men. However, Lyric Arts, along with many other companies around the country, hope to change that. Tahja Johnson is one of the longest-serving female Artistic Directors in the Twin Cities. She says, “Many women, myself included, bring a certain level of compassion to what we do which I think is especially important in the arts.” With a staff made up of 75% female-identifying employees, and Tahja Johnson at the helm, Lyric Arts works diligently to ensure that space is made for telling stories that include women-identifying actors, playwrights, directors, and designers. “When you look at the theater canon, it’s pretty heavily-filled with white men. But having women in leadership positions in the arts really helps to balance the scales a bit,” explains Tahja Johnson. “It trickles down. The more women of all backgrounds we have in leadership, the more women directors we see, the more women designers we see, all the way down.” The intersectionality of increasing gender parity and diversity serves as one of the core principles of Tahja Johnson’s leadership tenure for the past eighteen years and will continue well into the future.

To celebrate and honor both Tahja Johnson’s 18th year at Lyric Arts and 50th birthday, Lyric Arts is launching a fundraiser whose goal is to raise enough money renewal of the current theater’s lobby space. Lyric Arts hopes to re-carpet the space, put in new lighting, and replace the current lobby production photos. The fundraiser was launched by the Board of Directors, headed by president Jeff Danovsky, and will conclude at the end of March. 

It is clear that Lyric Arts has been shaped and molded by the strong leadership hand of Laura Tahja Johnson. As the organization celebrates Tahja Johnson’s two big milestones, it also celebrates the incredible history of Lyric Arts and the women leaders who have led the organization to such great heights. To learn more about the fundraising efforts and to celebrate Laura’s birthday and tenure at Lyric Arts, please go to www.lyricarts.org/donate and help Lyric Arts give cheers to 18 years!

Lyric Arts is continuing its stellar 2021-2022 season lineup by announcing the talent-packed cast of SMOKEY JOE’S CAFE: THE SONGS OF LEIBER AND STOLLER. This musical review brings to life some of the most iconic songs of the 50s and 60s, with a whole new twist! With such hits as Hound Dog, On Broadway, Yakkity Yak, and many more, this high-energy musical revue will leave you dancing in the aisles. 

Lyric Arts is thrilled to welcome Vanessa Brooke Agnes to the director’s table as she takes on her first production with Lyric Arts! “As someone who grew up in a suburban neighborhood north of the Twin Cities metro, I am overjoyed to make my Lyric Arts debut directing Smokey Joe’s Cafe! Music can be healing and these are such fun and iconic tunes to dig into,” says Agnes. Although Agnes is a new face to Lyric Arts, she is not new to the Twin Cities Theater Scene. In 2020, Agnes founded Dark Muse Performing Arts, a Black woman owned arts organization whose mission is to unapologetically amplify BIPOC & Queer voices and heal through bold storytelling. Lyric Arts is excited and honored to have Agnes join the team of SMOKEY JOE’S CAFE! 

This ensemble-based cast is a pleasant combination of new and returning faces to the Main Street Stage. Made up of 16 actors, this show features 39 songs by the dynamic songwriting duo, Jerry Lieber and Mike Stoller. Included in this triple-threat cast is new comers Samantha Buckley, Camryn Buelow, Michael Burton, Chris Owusu, Abilene Olson, Antonia Perez, and Eric Romero. Returning to the Main Street Stage to round out the ensemble is Curtis Burton (PUMPBOYS & DINETTES, DRIVING MISS DAISY), Brandon Cayetano (LEGALLY BLONDE), Audrey Johnson (BRIGHT STAR, SILENT SKY, URINETOWN), Bradley Johnson ([TITLE OF SHOW]), Alexhannah Joson (LEGALLY BLONDE), Uchenna Korus (HAIRSPRAY), Jaclyn McDonald (ANYTHING GOES, LEGALLY BLONDE) Martinoa Mayotte (SHREK), and Marley Ritchie (HAIRSPRAY). “We made the decision to expand the original company to 16 to include more brilliant vocalists and fierce dancers, freeing ourselves from the initial casting and gender roles,” Agnes comments on casting. “Our team is also passionate about intentionally increasing the visibility of queer relationships onstage. I’m looking forward to working with these actors to define who each character is and their relationships to one another - the evening is a reunion of old friends navigating the emotions and life experiences of adulthood.”

Director Vanessa Brooke Agnes is breathing new life into Broadway’s longest running revue by setting the purposefully location-ambivalent revue in a local dive bar in 1990’s New York City. When asked about her director vision, Agnes says “With no dialogue to play with, the storytelling is a bit more open to interpretation than other scripts. We’re excited to modernize this classic show slightly, by lifting it into the 1990s —a decade of unique and specific musical genres, fashion styles and more.“ Helping see through Agnes’ vision is Demetrius McClendon as choreographer and Ross Edward Bell as music director. In addition to McClendon and Bell, the artist staff includes Kate Peters as stage manager, Sadie Ward as scenic designer, Michaela Lochen as properties designer, Caitlin Quinn as costume designer, Jake Otto as lighting designer, Julie Zumsteg as sound designer, Dallas Williams as assistant stage manager, Emily Ludewig as production crew, Sam Goettsche as Assistant Stage Manager, Ethan Stokes as Follow Spot Operator, and Anna Murphy as rehearsal and performance accompanist. 

Told entirely through song, this show centers around the music of Jerry Leiber and Mike Stoller, two of the biggest songwriters in rock 'n' roll history. Their songs provide the baseline for this electrifying musical revue of the songs the shaped the American soundscape in the 1950s. SMOKEY JOE'S CAFE: THE MUSIC OF LEIBER AND STOLLER is the Grammy® Award-winning and Tony Award®-nominated musical that throws together show-stopping hits like On Broadway, Stand by Me, Jailhouse Rock, Hound Dog, Love Potion No. 9, Spanish Harlem, Yakety Yak and Charlie Brown, while celebrating the humor, passion, and heartbreak of everyday life. 

SMOKEY JOE’S CAFE: THE SONGS OF LIEBER AND STOLLER is the fifth show in a season full of heart-warming classics, intriguing thrillers, and joy-filled musicals, including titles like THE MOUSETRAP, LITTLE WOMEN, and SOMETHING ROTTEN! Single tickets for SMOKEY JOE’S CAFE and the rest of the 21–22 Season can be purchased by calling the box office at 763.422.1838 or by going to www.lyricarts.org/tickets. More information about SMOKEY JOE’S CAFE and the rest of the Lyric Arts Season can be found at www.lyricarts.org 

Agatha Christie was known at “the queen of mystery” for her skill to pen some of the world’s most famous mystery titles including Murder on the Orient Express, And Then There Were None, and of course THE MOUSETRAP. However, on a cold December evening in 1926, Agatha Christie created her most puzzling case yet: the mystery of her own disappearance. 

By 1926, Christie was already a household name. She was in her late 30s and her recently published The Murder of Roger Ackroyd was flying off the shelves. However, her meteoric rise to fame concealed a tumultuous home life. Although from the outside, Christie was living a comfortable and idilic lifestyle, recent tragedy and emotional hardship was testing her resolve. 

Earlier that year, Agatha Christie’s mother—with whom she was extremely close to—passed away. In addition to this loss, Christie discovered that her husband of over a decade had been having an affair. In August of 1926, Colonel Archie Christie had asked Agatha for a divorce, claiming he had fallen in love with his mistress, Nancy Neele. For all her success, Christie’s life was slowly crumbling around her and the pressure on the writer was too much. She soon feel into a stubborn writer’s block and deep depression. 

On the evening of Friday, December 4, 1926, Christie kissed her daughter Rosalind goodnight and informed their nurse maid she would not be back for the evening. Taking a small attaché case, she got into her car and drove off. She would not be seen again for eleven days. 

What happened next could have been pulled straight out of an Agatha Christie “whodunnit.” The disappearance of the author, who was already well-known and respected, launched one of the largest manhunts in history. More than one thousand police officers were tasked to the case, in addition to somewhere between 10,000 and 15,000 civilians. Soon after she went missing, her car was found perched precariously on the edge of a chalk quarry. The New York Times reported, "The novelist’s car was found abandoned near Guildford on the edge of a chalk pit, the front wheels actually overhanging the edge. The car evidently had run away, and only a thick hedge-growth prevented it from plunging into the pit.” Inside was the attaché case, a fur coat, and Christie’s driver’s license. But the author was nowhere to be found. 

Headlines around the globe chronicled the search for the beloved writer, and when the search proved fruitless, police turned to some unconventional methods. For the first time in history, airplanes were used to look for Christie, but even more unique was the use of mediums and fellow detective novelists to help solve this case. Sir Arthur Conan Doyle, creator of Sherlock Holmes, and Dorothy L. Sayers, author of the Lord Peter Wimsey series, were drawn into the search. Their specialist knowledge, it was hoped, would help find the missing writer. Doyle, an avid believer in the occult, brought one of Christie’s gloves to a famous medium hoping for a divine answer, but none came. Another group of mediums gathered at the quarry to hold a seance. They claimed that Christie had met a grim fate. Was is suicide? Murder? An accident? No one knew and there was no body to prove a theory. 

On December 11, a week after Christie’s disappearance, the police were baffled. No witness had seen the writer and no body had been recovered. But a break in the case came when three letters that were left by Christie came to light. The first was to her secretary containing scheduling details, another to her brother-in-law claiming she was going to a spa in Yorkshire for “rest and treatment” and a third to her husband, who refused to divulge what she had written. It is alleged that he burned the letter before police could seize it, claiming it said nothing about her whereabouts. 

The search continued as Agatha Christie’s name and face were plastered over newspapers throughout England and beyond. So when a banjo player at the Hydro in Harrogate Hotel and Spa named Bob Tappin noticed a startling resemblance between a guest and the missing writer, he alerted police. In turn, they tipped off her husband, Colonel Christie, who came to collect Agatha immediately. However, Agatha was in no hurry to leave. In fact she kept him waiting in the hotel lobby while she changed into her evening gown to travel home. It was reported that Colonel Christie was “welcomed by her with a stony stare.” 

Although Christie was found safe in Harrogate, the circumstances surrounding her disappearance were so strange that they raised more questions than answers. Christie herself was unable to provide any clues to what had happened. She remembered nothing. It was left to the police to piece together what might have taken place. They came to the conclusion that Agatha Christie had left home and travelled to London, crashing her car en route. She had then boarded a train to Harrogate. On arriving at the spa town, she checked into the Swan Hydro—now the Old Swan Hotel—with almost no luggage. However, the most bizarre detail in this case is that Christie checked in to the hotel under the name of Theresa Neele, the same surname as her husband’s mistress…

To this day, no one knows exactly what happened during those eleven days the world’s most well-known mystery writer went missing. Some say that it was a publicity stunt to promote her latest book, although Christie and those around her vehemently denied it. Her secretary is quoted saying “It is ridiculous. Mrs. Christie is quite too much a lady for that.” Another theory is that Christie used this stunt to bring her husbands philandering to the public eye, and thus, giving her the evidence needed to file for a divorce. However, the connection between her pseudonym used at the hotel and her husband’s mistress wasn’t disclosed until years later. 

Most historians believe that Agatha Christie suffered an enormous mental breakdown on the night she disappeared. It is speculated that when Agatha Christie left her home on December 4, she intended to never return. In her darkest moment, she decided to drive her car off the side of the road and into the quarry, thus ending her life. However, by miraculous intervention of a hedge, her car came to a halt at the quarry’s edge, causing Christie to hit her head on the steering wheel but walk away from the accident with her life. Between the accident and the severe mental and emotional stress Christie was facing, this caused her to go into what psychologists refer to as a ‘fugue’ state. According to the Diagnostic and Statistical Manual of Mental Disorders, “a dissociative fugue, formerly called a fugue state or psychogenic fugue is a rare psychiatric abnormality characterized by reversible amnesia for one's own personal identity, including the memories, personality, and other identifying characteristics of individuality. The state can last days, months or longer. Dissociative fugue usually involves unplanned travel or wandering and is sometimes accompanied by the establishment of a new identity.”

Up until her death, Christie only spoke about the incident publicly once with an interview with the Daily Mail in 1928 admitting she had suicidal thoughts while driving past the quarry earlier that evening, but took no action because her only child, Rosalind, was in the car with her. Other than that, she never spoke of the incident publicly and omitted the affair entirely from her autobiography stating “There is no need to dwell on it.” 

Luckily for Dame Agatha Christie, her disappearance catalyzed a change in her life giving her the courage to leave her cheating husband. She divorced him in 1928 and later married the distinguished archaeologist Sir Max Mallowan. Christie went on to write multiple novels, short stories and plays including THE MOUSETRAP. Although no one will ever know exactly what happened during those eleven days when the world was trying to solve the case of Agatha Christie’s disappearance, it is clear the Queen of Mystery—whether intentional or not—wrote one of her greatest mysteries outside of her novels.