Taproot Theatre – Seattle Times!

SWEET LAND, THE MUSICAL
“Taproot’s well-cast, engaging chamber musical is more than a celebration of Midwestern acreage and hardy farm folk; it contextualizes its entertaining romance within the xenophobia that can erupt in small communities toward a newcomer who is, as one of the songs proclaims, ‘not one of us.’” The Seattle Times

Seattle Gay News review!

Taproot Theatre’s summer musical Sweet Land a compelling and warm-hearted immigrant story

by Miryam Gordon – SGN A&E Writer

SWEET LAND
TAPROOT THEATRE
Through August 18

Taproot Theatre has a summer tradition of choosing a musical to perform. This year, they’ve found a new musical, a show that’s only been performed once before, so Sweet Land will be completely new to everyone in Seattle-land. An immigrant tale told by book writer Perrin Post, book and lyric writer Laurie Flanigan Hegge and composer Dina Maccabee, the story is based on a small, independent film by Ali Selim, made in 2005.

The immigrant is Inge Altenberg. It’s 1920 and she has traveled from Norway to meet and marry the farmer son, Olaf (Tyler Todd Kimmel), of her Norwegian employers. All the couple has ahead of time are grainy photos of each other. The plucky Inge, played with verve and heart by the lovely Mollie Corcoran, has the strength of mind and conviction to travel all the way to the middle of Minnesota, not knowing the prejudice she will face immediately.

It turns out that she is not Norwegian, but German. It’s just after World War I and the small town inhabitants, particularly the pastor (Hugh Hastings) and the town clerk, refuse to marry Inge and Olaf, leaving her without a home while she somehow persuades the town that she’s a good person.

Olaf’s friends, Alvin (Chris Shea) and Brownie (April Poland), take her in, even with eight children and one on the way. But that many kids drives Inge so crazy she adamantly insists on staying at Olaf’s while he sleeps in the barn. This could derail all their plans, though, if anyone finds out and deems the couple ‘immoral.’ Of course, it can’t remain a secret all that long.

The journey of this couple through tears and laughter is a sweet one. The talented cast does justice to the material. However, the story is a bit frustrating, mostly because from our vantage point in 2018, the ignorance toward a random, happens-to-be-German person and the imposition of moral values that ‘everyone knows’ are right don’t sit well with most Seattlites these days. But that is not to say that it still does not happen routinely to anyone who has moved to any new community – even if it is a ‘white’ person into a ‘white’ community.

The energetic performance by Corcoran can’t help but propel the story forward. Kimmel provides a more subtle, but also strong, support as the taciturn Olaf finally (FINALLY!) warms up to his bride-to-be. Shea and Poland are a lovely complement to the leads.

The music of this show is quite challenging. There are a lot of minor keys and very odd harmonies called for. That adds piquancy to the songs, but also adds a lot of work for the singers. The four-person band provides sophisticated accompaniment. Perhaps the acoustics of the staging impede some of the musical supports to the actors – but here’s hoping the cast can keep working to master the complications and meld a bit more. At opening night the harmonic blend wasn’t fully ready.

Some of the songs highlight the humor, such as ‘Ducky,’ when Inge is taught that 1920’s slang phrase and ‘Baseball Rag.’ ‘Land So Sweet’ is the intro and extro music that brackets the story, though some lyrics could use a bit more tart-ening up. There are some nice moments of choreography (by Katy Tabb) and the usual adept set (Mark Lund), costumes (Kelly McDonald) and direction (Karen Lund).

This isn’t a rousing musical extravaganza. It’s a small story, but it has a lot of strands that harken to the immigrant story of this country and the work we can all do to open our hearts to others and give everyone a chance to contribute what they are able. And that’s a pretty sweet message.

For more information, go to http://www.taproottheatre.org or call 206-781-9707.

Teen Tix – Seattle Review!

The Human Behind the Label

Review of Sweet Land at Taproot Theatre Company, written by TeenTix Press Corps Member Emily B.!

DANCEMUSICTHEATER BY TEENTIX | JULY 20, 2018 | 12:25 PM

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Hugh Hastings, Michael Winters, Pam Nolte, Molli Corcoran, Tyler Todd Kimmel, Daniel Stoltenberg, April Poland and Chris Shea in Sweet Land, the Musical at Taproot Theatre. Photo by Erik Stuhaug.

The battle cry “Us versus them,”and the brutal labeling accompanying it, is all too familiar today. One might not expect a seemingly simple historical fiction musical to offer a relevant response, yet Taproot Theatre’s Sweet Land does just that with touching, convicting, and joyful power.

Sweet Land tells the story of a young German woman, Inge Altenburg, who travels to Minnesota to marry a man she’s never met, Norwegian Olaf Torvik. But with World War I a recent and painful memory, Olaf’s community condemns the match, delaying the marriage. The events of this waiting period–the challenges faced, relationships built, and lives changed—are the heart of the musical’s story.

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Molli Corcoran and Tyler Todd Kimmel in Sweet Land, the Musical at Taproot Theatre. Photo by Erik Stuhaug.

The piece is a tour de force for Molli Corcoran (Inge) and Tyler Todd Kimmel (Olaf), who carry the story with moving, grounded brilliance. Corcoran’s vocal versatility and acting ability are immediately evident in her introductory song, which clearly establishes both her talent and Inge’s character (kudos to composer Dina Maccabee and lyricist Laurie Flanigan Hegge for the soaring work of storytelling that is the score). The tough, loving, courageous “mail-order bride” Inge is unafraid to be the voice of reason and to act in defiance of “what people will think.” Her “strength, power, and grace” are some of the first things to strike her fiancé. Olaf is a man of few words—yet Kimmel skillfully creates the character through his striking physicality and presence. Long before he has spoken, the audience knows Olaf well, and, in moments when the stage is full of movement and sound, it is the still, shy farmer who draws the audience’s eye. While waiting for the outside approval the community requires before allowing their marriage, Inge and Olaf come to understand and love one another. Their blossoming relationship—conveyed as much through wordless glances and softening physicality as through words—is a joy to watch.

Brownie and Alvin Frandsen (played by April Poland and Chris Shea,respectively) offer contrasting and complementary enthusiasm, loquaciousness, and levity as they alone support—and are ultimately supported alone by—Inge and Olaf. Notable among the many less supportive members of the community (played by a small but versatile ensemble) is Hugh Hastings as Pastor Sorensen, the minister who refuses to marry Inge and Olaf and who plays a large role in turning the community against the couple. Hastings and the writers of the musical’s book, Perrin Post and Laurie Flanigan Hegge,make this character (who could easily become the stereotypical uber-conservative villain) refreshingly believable, complex, and ultimately redeemable.

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April Poland, Michael Winters, Molli Corcoran, Tyler Todd Kimmel and Chris Shea in Sweet Land, the Musical at Taproot Theatre. Photo by Erik Stuhaug.

A meaningful simplicity pervades the musical: seamless pedestrian choreography by Katy Tabb consistently creates the world of Sweet Land and advances its story. Many unassuming moments are imbued with moving significance by director Karen Lund and her skilled company of actors.

The story of an ancestor immigrating to America to start a new life is a familiar piece of family history for many Americans—but in the context of today’s headlines, an immigrant story bears additional, emotionally charged, potentially divisive significance. The musical connects thoughts on immigrants past and present, as the town’s sudden harsh suspicion of Inge as the foreign “other” is painfully familiar.

But as the play progresses, one forgets that it is an “immigrant story,” as audiences recognize themselves in its portrayal  of universal human experiences: difficulty communicating, making mistakes, dealing with conflict, giving and facing judgement, courage, defiance, sacrifice, love, and acceptance. And maybe that’s the point: when one strips away the labels slapped on the unfamiliar ones, or on the ones who think or act differently, what is left are humans who are not so different after all. Sweet Land is a powerful challenge to see each other not as ‘us and them,’ but first and foremost as fellow humans, and to treat each other accordingly with respect, empathy, and love.

Seattle Times review for Sweet Land!

Taproot Theatre’s summer musical Sweet Land a compelling and warm-hearted immigrant story

by Miryam Gordon – SGN A&E Writer

SWEET LAND
TAPROOT THEATRE
Through August 18

Taproot Theatre has a summer tradition of choosing a musical to perform. This year, they’ve found a new musical, a show that’s only been performed once before, so Sweet Land will be completely new to everyone in Seattle-land. An immigrant tale told by book writer Perrin Post, book and lyric writer Laurie Flanigan Hegge and composer Dina Maccabee, the story is based on a small, independent film by Ali Selim, made in 2005.

The immigrant is Inge Altenberg. It’s 1920 and she has traveled from Norway to meet and marry the farmer son, Olaf (Tyler Todd Kimmel), of her Norwegian employers. All the couple has ahead of time are grainy photos of each other. The plucky Inge, played with verve and heart by the lovely Mollie Corcoran, has the strength of mind and conviction to travel all the way to the middle of Minnesota, not knowing the prejudice she will face immediately.

It turns out that she is not Norwegian, but German. It’s just after World War I and the small town inhabitants, particularly the pastor (Hugh Hastings) and the town clerk, refuse to marry Inge and Olaf, leaving her without a home while she somehow persuades the town that she’s a good person.

Olaf’s friends, Alvin (Chris Shea) and Brownie (April Poland), take her in, even with eight children and one on the way. But that many kids drives Inge so crazy she adamantly insists on staying at Olaf’s while he sleeps in the barn. This could derail all their plans, though, if anyone finds out and deems the couple ‘immoral.’ Of course, it can’t remain a secret all that long.

The journey of this couple through tears and laughter is a sweet one. The talented cast does justice to the material. However, the story is a bit frustrating, mostly because from our vantage point in 2018, the ignorance toward a random, happens-to-be-German person and the imposition of moral values that ‘everyone knows’ are right don’t sit well with most Seattlites these days. But that is not to say that it still does not happen routinely to anyone who has moved to any new community – even if it is a ‘white’ person into a ‘white’ community.

The energetic performance by Corcoran can’t help but propel the story forward. Kimmel provides a more subtle, but also strong, support as the taciturn Olaf finally (FINALLY!) warms up to his bride-to-be. Shea and Poland are a lovely complement to the leads.

The music of this show is quite challenging. There are a lot of minor keys and very odd harmonies called for. That adds piquancy to the songs, but also adds a lot of work for the singers. The four-person band provides sophisticated accompaniment. Perhaps the acoustics of the staging impede some of the musical supports to the actors – but here’s hoping the cast can keep working to master the complications and meld a bit more. At opening night the harmonic blend wasn’t fully ready.

Some of the songs highlight the humor, such as ‘Ducky,’ when Inge is taught that 1920’s slang phrase and ‘Baseball Rag.’ ‘Land So Sweet’ is the intro and extro music that brackets the story, though some lyrics could use a bit more tart-ening up. There are some nice moments of choreography (by Katy Tabb) and the usual adept set (Mark Lund), costumes (Kelly McDonald) and direction (Karen Lund).

This isn’t a rousing musical extravaganza. It’s a small story, but it has a lot of strands that harken to the immigrant story of this country and the work we can all do to open our hearts to others and give everyone a chance to contribute what they are able. And that’s a pretty sweet message.

For more information, go to http://www.taproottheatre.org or call 206-781-9707.