Last day to Stream Sweet Land the Musical Oct. 22nd!

Fourteen years ago Sweet Land the Musical was an idea in my head. Within those 14 years, I got the rights from Ali Selim (screenwriter & filmmaker) and Will Weaver (original short story writer). I wrote the first draft; I had a casual reading at my home. Next, I brought on Laurie Flanagin Hegge. Laurie & I brought Dina Maccabee (composer), Robert Elhai (orchestrator) on to our team. Before anyone, I asked Ann Michels (Inge) to help bring this immigrant woman’s story to the stage. Workshops followed (five in all) Buffalo Gal Productions, Nautilus, and History Theatre all helped to bring Sweet Land to fruition for its premiere at the History Theatre in 2017. Thank you to those who saw the live production at History Theatre, our MN Tour, Taproot Theater in Seattle, Anoka Ramsey, and those of you that took the time to watch Sweet Land streamed Oct. 9 – 22, supporting the arts and History Theatre in these days of Covid 19! It was always my mission to bring Inge’s story to remind everyone where we came from, why we are here in America. My Grandfather, Franz Hakala was a driving force for me, having immigrated to America from Finland when he was 5 years old. My co-creators, cast, and patrons have shared their family’s journeys with us. Hearing the effect Sweet Land has on reminding people of their heritage is the most important aspect of this show. There are so many stories to tell, to write, to remember. This is the last day of streaming Sweet Land (Oct. 22nd). Sincere thanks to all who know how important this project is to me and my creative partners. I leave you with the opening lyrics…










NYC Blogger review!


Sweet Land, the musical (St. Paul, MN)

Stories of America have been mined for musical gold many times.  In Sweet Land, the musical, that gold takes on a hue of wheat.  The setting is Park Rapids, Minnesota.  A married couple is packing up the remains of a farm home.  Lars’ grandmother had died two years earlier.  Mementos from the past such as a photograph and a letter dated July, 1920 are the catalyst to a trip back in time.

Olaf Torvik (Robert Berdahl) was farming his land alone.  He was introduced to Inge Altenberg (Ann Michels) through relatives back in Europe.  From a written letter, she came to America at his asking carrying a gramophone and speaking not a word of English.  After landing here, she jumps on a train to the middle of the country for a new life.

This musical had its world premier in 2017.  The History Theatre is streaming that production this month.  The timing is ideal.  As our nation clashes over immigration policy, the themes of this show resonate loudly.  Sweet Land is a sweet little show that takes time to reveal goodness and grace within people.  Sweet Land also addresses hardship and conflict before healing.

A violinist is center stage as the jittery strings underscore tension.  World War I is over.  In 1917, Germans represented the largest single ethnic group in Minnesota.  German Americans were evaluated for their patriotic attitudes supported by a network of spies from the newly created Minnesota Commission of Public Safety.  Into this world arrives Inge, a German.

Olaf and Inge had agreed to marry but the church cannot sanction such a union.  The priest does not know her and she has no references.  Even the Judge will not marry them, saying “Why did she leave Germany?  She is not one of us.”  While all of this sounds like dour melodrama, there is a lightness to the storytelling which keeps the show in the zone of entertaining and heartwarming.  The struggles are real but our ability to consider them is refreshingly pleasant.  Both actors have great chemistry in addition to fully formed characterizations.  The whole cast and the musicians were additive to enjoying this piece.

The book was written by Perrin Post and Laurie Flanigan Hegge.  Words create vivid imagery such as “tired, bedraggled, covered in dust.”  The characters and situations are often humorous.  When Olaf shoots a pheasant, he tries to hand it over to Inge.  “You shoot, you pluck,” she retorts.  My favorite outburst written into the book was the “Nein” speech.

The plentiful songs in Sweet Land were written by Laurie Flanigan Hegge (lyrics) and Dina Maccabee (music).  There are nice nods to music and expressions from the period.  I thought I heard a few flashes of the scores for Thoroughly Modern Millie and Brokeback Mountainburied in there.  The dissonant tones of the score were very effective.

This musical was directed by Perrin Post.  For a small scale show, many transitions were particularly fluid such as a kitchen scene evolving into a porch scene.  The technical elements, particularly the lighting (Mike Grogan) and sound effects (C Andrew Mayer), were noticeably excellent.  The neighbor’s tractor ride can only be described as Green Acres realness with overalls instead of a suit and tie.

Quite a few themes emerge from this small tale of two people and the rural farming community that surrounds them.  What does it mean to really care about your fellow citizens?  What assumptions do we make about people based upon their race or background?  Is it properly called apple pie or is it really strudel?

The vilification of immigrants and also those who seem different than us remains a core American value, sadly.  Sometimes it is therapeutic to step back and listen.  People on both sides of a war might not simply be blind followers of their governments or political parties.  The search for personal happiness and fulfillment is deftly explored in Sweet Land, the musical.  Let’s hope America can find its way there too.

Sweet Land, the musical is streaming through October 22, 2020 from History Theatre at Home.  You can choose the level of your ticket price.

Northern Lights & Sweet Land!

LAKESHORE REGIONAL NEWS: Door County, Kewaunee County, Manitowoc County, and Sheboygan County

Warren Gerds/Critic at Large: Door County theater alum part of ambitious ‘Sweet Land’


Laurie Flanigan Hegge

by: Warren Gerds, Contact me at Watch for my on-air Critic at Large editions every Sunday morning during the 6-7:30 broadcast on WFRV-TV, Channel 5.Posted: Oct 9, 2020 / 12:01 AM CDT / Updated: Oct 8, 2020 / 04:33 PM CDT

Laurie Flanigan Hegge at her workspace at home. (Jon Hegge)

GREEN BAYWis. (WFRV) – Book and lyrics.

The story and the words in a musical.

That’s what Laurie Flanigan Hegge does.

She is a special kind of wordsmith.

Three times she has been associated in that role for shows of Northern Sky Theater of Door County – “Loose Lips Sink Ships,” “See Jane Vote” and “Boxcar.”

Each of those musicals has a bit more grip than usual for Northern Sky shows.

Having a lot more grip is “Sweet Land,” about which Laurie Flanigan Hegge contacted me because that musical will be available online today, Oct. 9, to Oct. 22.

“I know you and your readership are familiar with my work at Northern Sky, and might be excited to see this project,” she wrote by email. “Bonus: My hubby Jon Hegge, another Northern Sky and Door Shakespeare alum, is in this show!”

Laurie Flannigan Hegge provides a perspective on the world of writing original musicals in the Midwest for two theater companies.

Also in this piece, I will give my reviewer’s take on “Sweet Land.”

For “Loose Lips Sink Ships” (2001) Laurie Flanigan Hegge teamed with Jacinda Duffin to co-write the book and lyrics and composer James Kaplan to tell the story of the lives and loves surrounding the shipyards of Sturgeon Bay, Wisconsin, during World War II.

For “See Jane Vote” (2006), Laurie Flanigan Hegge teamed with composer James Kaplan to turn back the clock to 1913 for the story of a woman’s pursuit of the right to vote (still seven years away by federal law) in the Wisconsin town of Liberty Grove.

For “Boxcar” (2018), Laurie Flannigan Hegge teamed with composer James Valcq for the tale of a boy and two hobos in the tough times of the 1930s in Wisconsin. The musical “says something about people who came before us who had to get by,” my review said at the time.

James Valcq and Laurie Flanigan Hegge at premiere of “Boxcar.” (Northern Sky Theater)

By 2018, Laurie Flanigan Hegge had already been part of “Sweet Land,” presented by History Theatre of Saint Paul, Minnesota. The world premiere was in 2017. For History Theatre, Laurie Flanigan Hegge’s other collaborations are “Dirty Business,” “Hormel Girls” and “20 Days to Find a Wife.”

“Sweet Land” has resurfaced because of the coronavirus COVID-19. Like so many companies, History Theatre is looking for new avenues to remain valid. Thus, online showings of “Sweet Land.” Info:

“With our industry closed down, this is one of the only ways that audiences can see our work and support the artists and the theaters they love,” Laurie Flannigan Hegge writes.


Looking at “Sweet Land” separately.

It is a story of love with fascinating snags.

Action starts with a flashback. On a farm in Minnesota, a man of today envisions his grandparents in 1920. Through a whisp of theater, the man becomes his grandfather of Scandinavian heritage, Olaf Torvik.

Olaf is a bachelor farmer. Arriving is his bride, Inge Altenberg, who has kept house for Olaf’s parents back home in Norway.

Snag: Inge is German, and the just-ended World War I leaves deep bitterness toward Germans.

Olaf is asked, “German! What are you thinking?” Olaf has a bachelor’s answer: “I’m thinking I need a wife.”

Inge (Ann Michels) and Olaf (Robert Berdahl) early on. (History Theatre)

Snag: Even though they have just met, Olaf and Inge intend to marry, and they go to the church. The pastor says, “She is not one of us.” The marriage must wait.

Snag: A possibility is a civil ceremony. The judge echoes the pastor. The marriage must wait.

Snag: Inge wants to move in with Olaf. Olaf says no because of propriety. Inge explodes and unleashes a barrage of anger, in German, that translates to her calling Olaf a coward.

And so the story gains traction. Ahead is fun – a baseball game, a dance and the zesty neighbors, Frandsen and his wife Brownie. Also ahead is an impending SNAG – a foreclosure.

“Sweet Land” is a window on complexities that engulfed a past generation. Losses of loved ones in the war are part of the difficulties.

Flashes of elevated artistry stand out in the production. A discordant violin infuses tension in some scenes. A dance sequence starts as a variant square dance that flows into a kind of folk dance with accordion that flows into an artful duo dance with cello. Later, Inge will dance barefoot in a form of impressionistic ballet. A scene with an auctioneer feeds on his rhythm, with the crowd creating an a cappella angst.

As the always-optimistic Inge, Ann Michels covers the waterfront in characterization – loving, teasing, aching, mocking, challenging and more. And the rest of the company fills the bill, with musicians doubling in acting roles.

A joyous Inga. (History Theatre)

Cast (*-Actors Equity Association)

Inge Altenberg – Ann Michels*

Lars Torvik, Olaf Torvik – Robert Berdahl*

Neighbor, Alvin Frandsen – Jon Andrew Hegge*

Neighbor, Brownie Frandsen – Tinia Moulder*

Neighbor, Pastor Sorenson – Michael Gruber*

Gail Torvik, Esther Larson, Olaf’s Mother – Norah Long*

Neighbor, Station Agent, Judge, Harold – James Ramlet

Neighbor, Amundson, Clerk, Auctioneer, guitar – Matt Riehle

Neighbor, Nelson, piano, accordion – Jason Hansen

Neighbor, Anna, violin – Colleen Bertsch

Neighbor, Larson, cello – Randall Davidson

Neighbor, bass – Josh Ackerley

Neighbor, Train Conductor, woodwinds, guitar – Dylan Younger

Running time: Two hours, 40 minutes

Creative: Playwright/director – Perrin Post; playwright/lyricist – Laurie Flanigan Hegge; composer – Dina Maccabee; choreographer – Joe Chavala; musical arranger – Robert Elhai


An overall impression is “Sweet Land” is a tapestry. Like so many musicals, it makes the story in combination with music, movement and human expressive nuance all the denser. A weakness may be the resolution of the problem in the story is akin to “It’s a Wonderful Life,” but the piece has many riches.


What Northern Sky Theater of Door County and History Theatre of Minnesota do are kind of/sort of in the same ballpark.

“Sweet Land” is longer by twice what Northern Sky Theater presents, and its tone is more dramatic by twice, too. But both are populist theater.

Taking an opportunity, I asked Laurie Flanigan Hegge questions by email, and her responses are illuminating.

Why “Sweet Land”? Is it from you? From someone else’s idea? Either way, what motivated it?

My collaborator Perrin Post originated this project. She fell in love with the movie and got the rights from filmmaker Ali Selim, who wrote and directed the film, and author Will Weaver, who wrote the short story “A Gravestone Made of Wheat,” which inspired the film. Perrin brought me into the project. We talk about that in this conversation if you want more about the origin story:

How is working on a musical for History Theatre the same as/different than for Northern Sky Theater?

Here’s something different: This was my first time working on an adaptation, and so from that perspective it was different than anything I’ve done for Northern Sky. “Sweet Land” was in process for a while before it was decided that it would premiere at the History Theatre. But still, there were a lot of similarities, because there were actors attached to the project from the beginning, like the lead, Ann Michels, and much like my experience writing for a specific company at Northern Sky, we wrote this with Ann in mind. “Sweet Land” went through a long development process, which included two workshops before History Theatre became attached, and two wonderful workshops with History Theatre after they became attached, as well as a Rough Cuts workshop with Nautilus Music-Theater in St. Paul. Perrin directed the History Theatre production, and the upcoming stream was captured with three cameras, so it’s a really quality recording. It’s fitting that it should have premiered at the History Theatre, which is now my artistic home much like Northern Sky was my artistic home for many wonderful years.

Writing for the summer stage at Northern Sky means there are certain limitations. It must be one act, for example, and you’re writing with a company of actors in mind. There are similar limitations when writing an adaptation; a lot of decisions were made for us because we agreed to keep certain aspects of the story when we secured the rights. The interesting thing is, that can be very freeing. I love the Northern Sky audience. Writing specifically for the Northern Sky audience requires a handle of what will tickle kids and grandparents at the same time. I like to write for the Northern Sky audience with my heart on my sleeve, because that’s what (co-founder) Fred Alley did, and I learned so much from him. I think that’s probably why I was so attracted to “Sweet Land.” The story is all about heart, about love and loss and fear and faith, and finally: hope. Northern Sky taught me that there’s nothing corny about having a heart, and it taught me about what it means to be part of a community, which is a big theme in “Sweet Land.”

Working at Northern Sky also ingrained in me a sense of play. That translates to an invitation to never take myself too seriously – and I like it when my characters don’t take themselves too seriously, either. One of the delightful things in “Sweet Land” is that the musicians on stage become animals in a barn at one point. Anything is possible when you are having fun and feel you have permission to play. Speaking of musicians on stage, perhaps that’s the biggest influence Northern Sky has had on me. I love seeing actors on stage with a guitar in their hands. I’m sure Perrin had the idea to have the musicians be fully incorporated into the acting ensemble before I ever joined the “Sweet Land” team, and that’s probably one of the biggest things that attracted me to the project. We did it all the time at Northern Sky back in the day, and it’s so fun. The “Sweet Land” orchestra double as ensemble members. No small feat when you hear the score.

I was really happy to be part of an all-women writing team on this project. Dina Maccabee’s score is extraordinary. Dina has no relationship to Northern Sky, yet I think the Northern Sky audience will immediately connect with her. You can find out more about Dina at Robert Elhai orchestrated. Robert was Tony-nominated for his orchestrations for Broadway’s “The Lion King” and orchestrates blockbuster Hollywood movies – check out his IMDB if you want your jaw to drop – and he’s an amazing composer in his own right. He was my collaborator on a recent History Theatre commission, “Dirty Business.”

Jon Hegge as the happy-go-lucky Frandsen. (History Theatre)

Anything you would like to add, please do.

One thread through all of this is my husband, Jon Hegge, who I’ve been lucky to collaborate with since my first workshop of “Loose Lips Sink Ships” at Northern Sky in 2000. Our daughter wasn’t 2 yet when he appeared onstage with me in my next Northern Sky play, “See Jane Vote,” and he just directed “Boxcar” for me in 2018 at Northern Sky. We work together a lot in the Twin Cities. He was recently in “Dirty Business” and plays Frandsen in “Sweet Land,” the role Alan Cumming plays in the movie. He’s my secret weapon – the first one to read a lyric and the most reliable barometer as to whether anyone else should read it or whether I should go back to my desk for a little while.


For Immediate Release 

Contact: In-Fin Tuan, 651-292-4328  

History Theatre at Home streaming Sweet Land, the Musical Experience the poignant, lyrical celebration of land, love online  

SAINT PAUL, MN (July 14, 2020) – History Theatre at Home is proud to present Sweet Land, the musical from the writing team of Perrin Post (book), Laurie Flanigan Hegge (lyrics and book), and Dina Maccabee (music). This moving new musical will be available to stream online October 9-22. For details, visit 

The musical is based upon the the movie “Sweet Land,” a beloved indie feature by filmmaker Ali Selim, which was in turn inspired by A Gravestone Made of Wheat, a short story by award-winning Minnesota author Will Weaver. The musical’s touching love story follows Inge Altenberg, a German immigrant who, in the wake of WW I, arrives in Minnesota to marry a Norwegian bachelor, sight unseen, and is ostracized by the community. The critically acclaimed musical has been called “…a thoroughly human story of enduring love…,” “…a beautiful story of love, community, and connection to the land…,” and “…a heart-warming and heart-winning piece of musical theater.” 

“The story of Sweet Land belongs to all of us,” said Hegge. “Our ancestries may be different, but each of us has a story about where, how, and why our families came to be. Many of our families were considered ‘other’ at some point. We want to believe we are loving and accepting when welcoming outsiders into our communities. The truth is, we often fall short.”

“In 1917, Germans represented the single largest ethnic group in Minnesota. With the outbreak of World War I, the environment towards German Americans turned deeply hostile. Suddenly, loyalties were questioned, civil liberties suspended. A network of spies informed the newly-formed Minnesota Commission of Public Safety on the ‘patriotic attitudes’ of recent immigrants. Fear was institutionalized. This is the world that Inge stepped into when she arrived at Olaf Torvik’s farm.”

This stream is a closed-captioned recording of the innovative 2017 world premiere production directed by Perrin Post with musical direction by Jason Hansen and choreography by Joe Chvala at the History Theatre in St. Paul, Minnesota. The production stars Ann Michels as Inge Altenberg and features an ensemble cast of thirteen actors and musicians. 

Post is also known for her work as Artistic Director and Producer with Buffalo Gal Productions, where she created such hits as Broadway’s Legendary Ladies, Monsters, Witches & Freaks, and Vixens. Hegge’s work includes her WWII spy musical Dirty Business, a collaboration with Robert Elhai which premiered at History Theatre in 2019, as well as Hormel Girls and 20 Days to Find a Wife at History Theatre and Loose Lips Sink Ships, See Jane Vote and Boxcar at Northern Sky Theater in Door County. She serves as the Twin Cities Regional Representative for the Dramatists Guild. Composer and violinist Maccabee has been an Artist-in-Residence at Headland Center for the Arts in Sausalito, CA and Byrdcliffe Colony in Woodstock, NY. Her most recent instrumental album, Land So Sweet, was created as a companion piece to Sweet Land, the Musical and features Dina on fiddle in collaboration with multi-instrumentalist and Sweet Land film composer Mark Orton. (Available for download at The musical’s score was orchestrated by Robert Elhai, a prolific, award-winning orchestrator for film and stage who was Tony-nominated for his orchestrations for Broadway’s The Lion King ( 

The movie Sweet Land was recently named by Forbes as one of “Amazon Prime’s Top 250 Best Free Movies to Watch in Lockdown, According to Rotten Tomatoes” and stars Elizabeth Reaser, Tim Guinee, Lois Smith, Alan Cumming, Alex Kingston, Paul Sand, John Heard, Tim Guinee, Ned Beatty, Patrick Heusinger, and features Twin Cities actors Stephen Pelinski, Raye Birk, Stephen D’Ambrose, Stephen Yoakam, Patrick Coyle, Barbara Kingsley, Wayne A. Evenson, and Kirsten Frantzich. 

Selim’s film about Scandinavian immigrant farmers reminded Post of the stories she had heard from her Finnish grandparents. Post (who also directs the musical) recalls being so touched by the movie that she wrote a note to Selim, who shared it with Weaver. “I still don’t know why they chose me except that I was passionate about it and really cared about this simple and quiet story.”

“Inge and Olaf’s union was more than a piece of paper—it was more about the love in their hearts. When she arrives in Park Rapids, Inge doesn’t speak English, but this musical gives us the opportunity to hear her thoughts. A musical will stop, take a moment in time and elaborate, and give us a brilliant opportunity to really listen to the story,” shares Ann Michels, who plays Inge. Maccabee’s lush and haunting music helps to transform the sweeping fields of Southern Minnesota farm country into a reflective symbol for memory, family and history. 

In addition to Ann Michels, the cast includes Robert Berdahl, Tinia Moulder, Jon Andrew Hegge, Michael Gruber, Norah Long, James Ramlet, Matt Riehle and musicians fully integrated into the acting ensemble: Colleen Bertsch, Randall Davidson, Josh Ackerley, Jason Hansen (music direction) and Dylan Younger. Design team includes Paula Post (costumes), Erica Zaffarano (set), Mike Grogan (lighting), C. Andrew Mayer (sound), and Lee Christiansen (properties), Robert Elhai (orchestrations) and Joe Chvala(choreography). 

Sweet Land the musical premiered April 29-May 28, 2017 at History Theatre. 

For more information, visit

About History Theatre

Since 1978, History Theatre has been one of the nation’s most prolific incubators of original plays. In recent years, History Theatre has staged new works by Jeffrey Hatcher, Lee Blessing, Melanie Marnich, Craig Wright, Kim Hines, Dorie Baizley, John Olive, Kira Obolensky, and more. From the celebratory Wellstone! to the dark, complex Piece of the Rope about Minnesota’s first public execution and the hilarious Glensheen: The Musical about an infamous Minnesota murder, History Theatre has moved Minnesotans to rediscover, relive, and respect every piece of their history. A fourtime IVEY Award-winning theater, History Theatre has produced brave, entertaining explorations of all the histories that make up our diverse community. Each year History Theatre produces a season filled with excellent plays and musicals while developing new scripts through workshops and staged readings. More than 200,000 students have connected with history through matinee performances and theatre arts residencies led by History Theatre actors and teaching artists.  


Sweet Land, the Musical  

Creative Team 

Perrin Post 


Perrin is also the Artistic Director & Producer of Buffalo Gal Productions since 1996. Buffalo Gal’s shows have been produced at The Loring Playhouse, Ordway, Bryant Lake Bowl, and John Hassler Theater. Sweet Land productions include The History Theatre premiere, Minnesota Tour, Theatre L’Homme Dieu, Anoka Ramsey College and Taproot Theatre in Seattle, Washington. Her upcoming writing projects include Big Island and Eloise & Me workshops; plus two more musicals in the research stage.  

Laurie Flanigan Hegge  


History Theatre Premieres: Dirty Business, Sweet Land, the Musical, 20 Days to Find a Wife Hormel Girls, and Tales Along the Minnesota Trail. Other work includes Loose Lips Sink Ships, See Jane Vote and Boxcar for Northern Sky Theater in Door County, WI. As an actor she most recently appeared onscreen in the critically acclaimed Zoom production of Diary of Anne Frank at Park Square Theatre, and on stage at History Theater in Buddy: The Buddy Holly Story, Radio Man, and Baby Case. Laurie is the Twin Cities Regional Rep for the Dramatists Guild of America and serves as Artistic Associate at History Theatre. 

Dina Maccabee  


Dina is a composer, songwriter, and violinist/violist who works in variety of styles, from traditional music to contemporary experimental composition. She was a founding member of Real Vocal String Quartet and company composer for Berkeley’s Just Theater, and she has performed internationally with Julia Holter, Vienna Teng, Feist, and many others. Current projects include her songwriting duo Ramon & Jessica’s original, staged a cappella musical storybook for children based on text by Gertrude Stein, and a solo performance project of songs for viola, voice, and electronics.  

Joe Chvala  


Joe is the founder and artistic director of the highly-acclaimed percussive Dance Company, the Flying Foot Forum. He has directed, choreographed, and been commissioned to create new works for a variety of venues including the Guthrie Theater, Walker Art Center, Ordway Center, Minnesota Opera, Children’s Theatre Company, History Theatre and  Park Square Theatre. He has received both the Ivey and Sage awards for theater and dance as well as numerous awards, fellowships and grants from the National Endowment for the Arts, the Minnesota State Arts Board, Target and the McKnight Foundation.  

Robert Elhai  


Robert arranged Chan Poling’s music for History Theatre’s Glensheen, and Lord Gordon Gordon. Most recently he composed the music for History Theatre’s production of Dirty Business, Nautilus Music Theater’s production of Twisted Apples and Theater Latte Da’s C. He has arranged the music for many projects around the world (collecting a Tony Award nomination for his work on The Lion King) including over 150 film scores by A-list composers such as Elliot Goldenthal (the Oscar-winning score to Frida), Michael Kamen (Band of Brothers), Brian Tyler (The Fast and Furious movies) and Klaus Badelt (Pirates of the Caribbean). 

Ron Peluso 


Now in his 25th season as Artistic Director, Ron has commissioned over 90 playwrights and composers and produced more than 70 original works, including the popular Sisters of Swing and Beyond the Rainbow. He has alsocommissioned and directed Jeffrey Hatcher’scritically acclaimed scripts A Piece of the Rope and Tyrone & Ralph. He commissioned The Incredible Season of Ronnie Rabinovitz fromEric Simonson after directing his Broadway-hitplay Lombardi in 2012. He has directed over 175professional productions with such companiesas Florida Stage, Riverside Theatre, PennsylvaniaOpera Theater, Mixed Blood Theatre, OldCreamery Theatre, and the Minnesota Opera.Ron holds an M.F.A. in Directing from theUniversity of Minnesota.