Quote of the Day: Anyone Can Whistle by Arthur Laurents and Stephen Sondheim is a 1964 musical comedy that takes aim at many targets. Originally debuting on Broadway 19 weeks after John F. Kennedy’s presidential assassination, the show proved polarizing for audience members and critics alike and closed after just 12 previews and 9 performances. Despite its brief run, this absurdist musical has received frequent concert stagings in the years since, mainly because of its rich score. Songs such as “There Won’t Be Trumpets” and “Everybody Says Don’t” foreshadowed the Sondheim renaissance of the 1970’s, as the musical brilliance of those songs closely resemble those found in shows such as Company, A Little Night Music, and Sweeney Todd. While Anyone Can Whistle may not have been as popular as its contemporaries (Hello, Dolly! Funny Girl) back in the day, its fresh and individualistic style continues to impact and inspire musical theatre aficionados. Dramaturgical Notes by Assistant Director Luke Peterson in the playbill for Anyone Can Whistle, presented by the Minneapolis Musical Theatre, in their usual brilliant fashion! 

The above notes explain it best. I recognized some of the songs, and heard strains of the aforementioned songs, but this was my first time experiencing Anyone Can Whistle. It’s clearly social satire, holding up harmful stereotypes about people with mental health concerns, racism, romance, gender expectations and assumptions. 

The tagline for Minneapolis Musical Theatre is Rare Musicals. Well Done. I’ve enjoyed several productions by them and had this concert style performance on my radar for this Fall. Other shows that I’ve enjoyed are Be More Chill, Daddy Long Legs (performed at the historic Hill House in St. Paul, I still think about that one), and Othello, the Remix. They always have strong performances, excellent singers/actors, and interesting staging. Although Anyone Can Whistle is done concert style, not a full on production, there was plenty of movement, action and reaction, even a few exits and entrances. All the characters were clearly defined. The actors wore costumes appropriate for their characters. Marcie Panian acted as the narrator, offering a bit of commentary along with the stage directions, and joined in the chorus for some of the songs. The leads were Hope Quinn who played Fay Apple, her vocals soaring to the rafters, and William Lucas who played J. Bowden Hapgood. The two of them together were stellar.

Max Wojtanowicz directed this marvelous production. The rest of the ensemble were Timothy Kelly, Benjamin Kruse, Aliyah Lamb, Alice McGlave, Quintin Michael, Mary Palazzolo (who brought out so much humor as Mayoress Cora Hoover Hooper!), Mitra M. Sadeghpour, Andrew Schufman, Caitlin Sparks, and Marty Swaden. This wonderful ensemble was accompanied by a live band on stage, directed by Walter Tambor on piano, Charles Block on bass, Caitlin Lucic on percussion, and Katrina Mundinger on all the woodwinds! She was impressive. The music was exceptional. They made Sondheim look easy and fun! 

Anyone Can Whistle ran only two weekends, and I was out of the state for the first weekend. So, this review comes a little after the fact, but worth the ink, just the same. Minneapolis Musical Theatre is one to follow. They do excellent work – Rare Musicals. Well Done – and only about two per year. Next up is a Halloween Sing (Scream) Along on October 29, and in April, the Twin Cities premiere of Grumpy Old Men, the Musical, which is sure to be a hoot and will delight Midwest audiences! Follow Minneapolis Musical Theatre on socials, or get on their mailing list!

Go. Create. Inspire!

Journaling Prompt: Is there a common skill that you struggle with (whistling, snapping your fingers, rolling your tongue)? Do you like social satire writing or plays? How do you show compassion in this divided world?