Talkin’ Broadway

Sweet Land is one of the finest original works to appear on any Twin Cities stage over the past several seasons.

Sweet Land, the Musical is an occasion for cheers. This new musical is based on the same-named 2005 film, which in turn was based on Will Weaver's short story "A Gravestone Made of Wheat." Perrin Post and Laurie Flanigan Hegge adapted the story for the stage, with Flanigan Hegge writing lyrics for songs composed by Dina Maccabee. The result is a beautiful work of musical theater. The book is literate, rich in warmth and humor, and creates fully formed characters who speak in the voice of their place and time. Maccabee's lovely folk-flavored music captures the essence of rural life in 1920 Minnesota, with rising swells that convey the deep emotions at the heart of the story. The current world premiere production mounted by History Theatre could hardly be improved upon.

Director/Choreographer:

Co-author Perrin Post also serves as the show's director, and she brings just the right blend of love story and history lesson, wisely giving the edge to the former. She seamlessly transitions between scenes and fluidly moves the ensemble in and out of the story. Of the cast of thirteen, six members of the ensemble also appear as the show's orchestra. As called for, they step away from their instruments or carry their instruments with them, playing small roles or joining a choral or dance piece as one of Olaf's neighbors. The effect of this is to meld the music and the on-stage community together, making the music an organic part of the story. The choreography, by Joe Chvala, is graceful but simple, drawing on the folk and social dancing of the play's era, which like the music, makes it an authentic part of the tale, rather than an added-on entertainment.

Actors:

With a beautiful, full voice, Ann Michels is wonderful as Inge, who has a strong-willed determination to make her life amidst strangers in a new land work. She is also very funny, flying into fits of German when agitated or teasing Olaf's prudish resistance to her incursion in his home ("You Took a Bath"), and she pours her heart into the resolute statement of the life she has claimed in "Call Me Inge Torvik." She is also beautiful to behold, making Olaf's contained desire for her easy to believe. As Olaf, handsome and deep voiced Robert Berdahl is ideally cast. He portrays the shy, awkward bachelor with droll humor, his passions deeply contained, but revealed as he watches Frandsen taking a photo of Inge ("The Photograph") and in a stirring duet with Inge, "Ducks Dream," that finally gives voice to his feelings. The pair also offers a lovely double soliloquy, "When We Are Married," each imagining what their lives will be like when they finally tie the marriage knot.

Jon Andrew Hegge is spirited as Alvin Frandsen, especially so in the lighthearted song "Ducky," which puts Inge at ease in her new surroundings. Tinia Moulder is delightful as Brownie, pivoting between her roles as empathetic friend to Inge, playful wife to Frandsen, and hectoring mother to her brood of children. Moulder and Hegge deliver the goods together in "Bigger Better Faster," explaining the American pursuit of progress to Inge. Michael Gruber is convincingly stern as Pastor Sorensen, who struggles between what is right and what is good, and James Ramlet uses his booming voice effectively as the unyielding judge and as a banker trying to repossess the Frandsen farm. Norah Long sings beautifully, as always, and brings her warm presence to small roles of an opinionated Park Rapids neighbor; Olaf's mother, extolling Inge's virtues; and, in the framing scenes, Lars' wife Gail.

All of the ensemble members play their roles and their instruments in perfect harmony, with special mention to Matt Riehle as a farm auctioneer who makes "The Auction" a thrilling ensemble number. Other ensemble pieces—the opening "Land So Sweet," the jubilant "Baseball Rag," the second act opener "Summer," and the call to work together as neighbors, "Threshing Time"—are all delivered with great voice and spirit.

Sets/lights/costumes:

The physical production is spare, but effectively creates the farm, church, and town spaces. Mike Grogan's beautiful lighting design creates the changing northern Minnesota sky, and Erica Zaffarano's sound design brings sounds of nature to the settings. A large-wheeled conveyance charmingly represents Frandsen's automobile and tractor. Paula Post's costumes are well suited for the rustic Park Rapids setting.

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Broadway World Review, Seattle,WA

Sweet Land at Taproot Theatre is a sweet treat of a show. Full of humor, wit, challenges, and struggles, the story of Inge Altenberg and Olaf Torvik becomes an everyman's story. The path to the American dream is paved with suspicion and hardship for immigrants both past and present. Their trials and travails parallel the stories of so many others. In the end, we find that their differences are much smaller than our commonalities. Communities can unite or divide. It is up to each person to decide where and with whom they will stand.

Sweet Land is a quiet, little story that simply tells the truth. What is it like to leave everything you've known and start over? What is like to be an outsider, to be called different? What is it like when you don't understand the language and traditions of your new home? What is it like when people who don't know you fear you? What is it like to constantly live with uncertainty? What is it like to work hard day after day for a life you might not even be allowed to have? These are the things that face Inge in her new homeland.

While tackling these heavy subject, Sweet Land also serves up a healthy portion of humor. Between Inge learning to speak English and Inge and Olaf learning about each other, there are plenty of reasons to laugh. Olaf's friend admits that he was worried about Olaf agreeing to marry someone without even seeing a photo. But upon meeting Inge at the train station, he pronounces her "Ducky" and proceeds to sing about it. Perhaps even funnier is Inge's insistence that Olaf shouldn't worry that she took a bath at his house since only the farm animals were there to witness it. She takes to music to tell the animals all about it.

Molli Corcoran (Inge Altenberg) has you in her corner from the first moment. Her bright eyes fill with sadness, dance with delight, and implore you for understanding. Her voice is bright and powerful and terribly missed in songs in which she does not sing. Tyler Todd Kimmel (Olaf Torvik) has a wonderful transformation on stage. He is quiet, almost brooding, a person full of worries without a lot of outward affection. Kimmel manages to portray this in such a way that reminds you that people are complicated and worthy of much more than your initial reaction. April Poland (Marta "Brownie" Frandsen) is simply delightful. She combines ease with fortitude letting you know at once that Minnesota farm wives are a plucky bunch. Hugh Hastings (Pastor Sorenson) has the unenviable task of playing the pastor who repeatedly blocks the marriage of Inge and Olaf. He provides a constant reminder of how little thoughts and prayers really help those who are in dire situations.

A small ensemble of four (piano, reeds, violin, and bass) provides the music in the show. Quite often they sound bigger than their size, but mostly the music of the show is understated. Songs often begin or end a capella. However, one song Barn Dance is a full-on, heel-tapping good time elevated even more by the choreography of Katy Tabb. Despite the small stage, the couples whirl about in patterns that remind us how much of the Old World has grown roots in the New World.

The beauty of the show is revealed in Inge's openness in the face of closed minds. Her nervousness about marrying a man she has never met turns out to be the least of her problems. Her unwavering spirit threads its way throughout the show. Her hard work and perseverance win not only Olaf's love but the respect of the community. Through sheer force of will, she makes her new homeland into the sweet land of her dreams.