Minnesota Fringe Festival 2010

Robert Elhai and Nautilus Music-Theater presents
UNTOLD LIES
by Jim Payne and Robert Elhai

“The hills call to me, reminding me
of all the roads I don’t yet know,
all the songs I haven’t sung...”

Presented as a work-in-progress, UNTOLD LIES is a music-theater adaptation of a deceptively-simple tale from Sherwood Anderson’s short story collection Winesburg, Ohio, published in 1919. It tells the story of two farmhands, Ray Pearson and his younger friend Hal Winters. During an afternoon of chores, Hal reveals a personal crisis, forcing Ray to confront the choices he has made in his own life. Rooted in midwest musical Americana, the characters in UNTOLD LIES navigate operatically between the passions of the individual and the pressures of the community. The production features Nautilus performers Gary Briggle, Joseph Papke, and Norah Long, with a libretto by writer Jim Payne and music by composer Robert Elhai, both of whom contributed to Nautilus’ award-winning production of Sister Stories last year. Nautilus' artistic director Ben Krywosz provides staging, with music direction by Jerry Rubino.

In the Star Tribune, critic William Randall Beard says: “It’s hard to imagine a more deeply affecting work than Nautilus Music-Theatre’s Untold Lies, directed by Ben Krywosz. The music by Robert Elhai and libretto by Jim Payne perfectly capture the quiet despair of Sherwood Anderson’s wonderful novel of interrelated short stories, ‘Winesburg, Ohio’. The musical idiom is hearty Americana, with the simplicity of folk music and an operatic richness and complexity, with Gary Briggle as a man who feels cheated of life’s possibilities, Norah Long as his shrewish wife and Joseph Papke as a young man about to follow in his path.”

In the Pioneer Press, critic Rob Hubbard says: "Sherwood Anderson's 1919 novel-in-short-stories, 'Winesburg, Ohio', is built around the inner lives of multiple characters. With little action or dialogue, its potential for operatic adaptation may seem limited, but composer Robert Elhai and librettist Jim Payne confront the challenge admirably in this one-act opera. Their folk-flavored score is served well by the wide-ranging vocal and dramatic skills of Gary Briggle, who portrays a farmhand torn between passion for life and consuming regret. Norah Long and Joseph Papke support him well as his wife and co-worker, the three weaving harmonies as lovely as the rural landscape paintings behind them."

GARY BRIGGLE
Role: ("Ray Pearson")

Gary has performed with Nautilus in many Rough Cuts programs (including excerpts from Death in Venice, The Juliet Letters, Wings, The Frogs, Of Mice and Men, and others), as well as full productions of A Water Bird Talk and Into the Woods. He is a popular and versatile singer-actor, director and educator with over 30 years experience in all music-theater genres. Locally, he has performed at The Guthrie, The Ordway Center, Minnesota Opera, The Childrens Theater Company, Theatre de la Jeune Lune, Frank Theater, Walker Art Center, Minnesota Dance Theater, Playwrights Center, VocalEssence, The St. Paul Chamber Orchestra, Chanhassan Dinner Theatres, The Prairie Home Companion. Nationally, he has appeared with Arizona Theatre Company, Virginia Opera, Dayton Opera, Lyric Opera Cleveland, Opera Omaha, Anchorage Opera, Memphis Opera, Nevada Opera and The Artist Series of Sarasota. He is a favorite artist with Skylight Opera Theater in Milwaukee and frequently directs for Sacramento Opera.

JOSEPH PAPKE
Role: ("Hal Winters")

Joseph is an actor, dialect coach, and arts educator from the Twin Cities, and Untold Lies marks his Nautilus debut. As an actor and dialect coach, his professional credits include Penumbra Theatre, Park Square Theatre, Mixed Blood Theatre, Actors Theatre of MN, Illusion Theatre, Jon Hassler Theatre, Dudley Riggs, Walking Shadow Theatre Company, Paul Bunyan Playhouse, and The Children’s Theatre Company. As an educator, he has taught theater skills at the Guthrie Theater, Youth Performance Company, the University of MN, Macalester College, Normandale Community College, and public schools in Faribault, Edina, and Minneapolis. Joseph studied improv at Dudley Riggs’ Brave New Workshop and ComedySportz, and earned his MFA in Classical Acting from The Shakespeare Theatre Company’s Academy for Classical Acting at George Washington University.

NORAH LONG
Role: ("Minnie Pearson")

Norah has performed with Nautilus since 1995, appearing in Orpheus and Euridice, The Last Five Years, Goblin Market, Into the Woods, Lamentations, and numerous Rough Cuts programs and Composer-Librettist studios. She recently portrayed Kristine in Dollhouse at the Guthrie Theater. In September, she will open the New Chanhassen Dinner Theatres' production of I Do! I Do! She also recently released her first solo CD, View from Violet Hill, a tribute to her family's legacy of music and faith, available on iTunes and CD Baby (www.cdbaby.com/norahlong). When not onstage, she is a Lead Teaching Artist for Upstream Arts, using creative arts programming throughout the metro area to nurture the social and communication skills of adults and youth with disabilities. She also sings each weekend at St. Philip the Deacon Lutheran Church. You can find more information at www.norahlong.com, or by joining Norah's Facebook Page at www.facebook.com/norahlong.news.

JIM PAYNE
Role: (Writer)

Jim has written a number of works for Nautilus, serving as the librettist for Looking Glass Lake (created with composer Leslie Ball), which was presented as part of Nautilus' production of Sister Stories last year. He was also the lyricist for the song cycle Stations of the Heart (created with composer George Maurer for vocalist Ann Michels in Nautilus’ Rough Cuts series), which was presented last year by Theatre Latte Da as part of its Latte Dark series. Jim is an alumnus of the Nautilus Composer-Librettist Studio. He serves or has served on numerous nonprofit arts boards, including Nautilus, the Rose Ensemble, the Eye of the Storm Theatre, and Springboard for the Arts, for which he served as president. In another life, Jim has been an environmental lawyer for more than thirty years and is a principal and co-founder of the Environmental Law Group in Minneapolis.

ROBERT ELHAI
Role: (Composer)

Robert has worked with Nautilus since 1997, and recently composed Persephone’s Sister (created with writer Dominic Orlando), which was presented as part of Nautilus' production of Sister Stories last year. He is an alumnus of the Nautilus Composer-Librettist Studio, and has written and arranged music for many Rough Cuts over the years, including texts by Leonard Cohen and Suzi Lori-Parks. A Tony and Drama Desk nominee for his orchestrations and arrangements for the Broadway production of The Lion King, he has contributed orchestrations to some 100 film scores, such as the Oscar-winning score for Frida, The Young Victoria, 2012, Public Enemies, Stardust, The Sixth Sense, and Pirates of the Carribean. His arrangements for Metallica's Grammy Award-winning S&M made good use of his doctorate in composition from Yale University.

BEN KRYWOSZ
Role: (Stage Director)

Ben serves as Artistic Director of Nautilus Music-Theater, which began as a program of the Minnesota Opera in 1986 before spinning off as a separate company in 1992. His premieres with Nautilus include Sister Stories, Loss Of Breath, I Am Anne Frank, Meditations On Arion, Hearts On Fire, Dante’s View, Without Colors, Fly Away All, the revised version of Snow Leopard, and many others -- as well as innovative productions of such works as Alice Unwrapped, Orpheus and Euridice, The Diary of Adam and Eve, John and Jen, Carousel, Man of La Mancha, A Water Bird Talk, From the Diary of Virginia Woolf, The Last Five Years, Goblin Market, and Into the Woods. He also produces the company’s Rough Cuts program, manages the Wesley Balk Opera/Music-Theater Institute for singer-actors and directors, and directs the Nautilus Composer-Librettist Studio. He recently directed Skylark Opera’s production of Bitter Sweet, and Lawrence University’s production of Candide.

JERRY RUBINO
Role: (Music Director)

Jerry has served as music director for Nautilus productions (Carousel, Man of La Mancha, Lamentations) and numerous Rou gh Cuts programs and classes. He is also on the staff of the Wesley Balk Opera/Music-Theater Institute. Jerry worked for twenty-three seasons with the Dale Warland Singers, as associate conductor, director of special projects and music education, pianist, singer and arranger. His conducting and teaching credits include honors choirs in Australia, Taiwan, Hawaii, and Europe, the Los Angeles Master Chorale, the California State Summer Arts Workshops, and the University of Minnesota Jazz Festival. He was named an editor for the Voices of Distinction series with Hal Leonard in 2005 and is editing a new Christmas choral collection for Oxford University Press titled An American Christmas. He currently serves as Minister of Music at Spirit of Hope United Methodist Church in Golden Valley, Minnesota, is the artistic director of VOICE 360 and is the Assistant Conductor of the St. Paul Chamber Orchestra Chorale.

ALLYSON DITCHEY
Role: (Assistant Director)

Allyson participated in Nautilus' 2009 Wesley Balk Opera/Music-Theater Institute as a stage director. She received a B.A. in music from Humboldt State University in 2003 and a M.M. in Vocal Performance from Washington University in Saint Louis in 2007, performing in Tartuffe (Flipote) and The Aspern Papers (Tina) and serving as assistant director for Susannah and Lizzie Borden. Since graduating, she has continued to perform, as well as work as a freelance stage manager, stage director, and assistant stage director for local Saint Louis opera companies. Allyson co-wrote (with collaborator William Lenihan), directed, and produced a one-act music-theater piece Family Dynamics: The Funeral, which premiered in Saint Louis in October 2009, and was produced by Humboldt Light Opera Company in Northern California this past May.

ELIZABETH BELL
Role: (Violin)
Elizabeth played in Nautilus’ productions of Goblin Market and Into the Woods, as well as a number of Rough Cuts programs. She is a founding member of the Bel Canto Quartet, and has performed throughout the United States and Europe as a soloist and chamber musician. Adding to her career as a classical violinist, Liz has also performed for the Ice Capades (brr!), the circus (phew!) and onstage with Rod Stewart (hubba, hubba!). More recently, she performed in the Ordway Center for the Performing Arts productions of Yankee Doodle Dandy, White Christmas, The Color Purple, and Singin' in the Rain. When not playing music, Liz can be found getting dirt under her nails while working on her special-blend recipe for compost.

ANDY VAALER
Role: (Accordion)

Andy performs with Nautilus for the first time in Untold Lies. He lives in Minneapolis and plays music as much as possible. He made his stage debut as a dust-bowl accordionist in The Grapes of Wrath at Old Dominion University in 1997. His theatrical zenith occurred in 2009 when he co-wrote the annual musical for Kenwood Elementary School, and played in the pit orchestra. Andy plays accordion regularly at St. John's Episcopal Church in Minneapolis, and is occasionally seen with Al's Garage, a local rock and roll band. On warmer nights he may be found playing outside Lucia's for tips. He works as a physician by day, specializing in lung diseases, critical care, and sleep medicine.

BOB WALSER
Role: (Guitar)
Bob makes his debut with Nautilus in Untold Lies. As a musician, scholar and educator, his musical career spans decades and continents. In the early 1980s he made his living as a shantyman (!) at Mystic Seaport, one of the largest maritime museums in the USA. Since then he has presented Folklore In Action folk music and dance programs as an artist-in-residence in schools across the USA, and performed as a singer, dance leader and dance musician from Maine to California and overseas. As a scholar, Bob earned his Ph.D. in ethnomusicology at the University of London, School of Oriental and African Studies. His research in Folk Music and Music Education has been published in the Folk Song Journal (UK) and publications by World Music Press. In addition, he has three CDs for The Old and New Tradition label to his credit as well as guest appearances on another dozen recordings in the US, France and England.

User reviews

The New "Best of" for my 2010 Fringe
by Florence Brammer Follow this reviewer
Rating 5 kitties
This gorgeous, moving and beautifully done show addresses -- within its brief 55 minutes -- a lot of Life's Big Questions such as hope, love, dreams, regret, disappointment and responsibility. The music, the performances, the direction, the staging -- everything was just wonderful. It was characterized as a "work in progress" (though it sure didn't feel that way); if that's true, I can't WAIT to see it again.

I'm on the fence
by maryfaith fox Follow this reviewer
Rating 3 kitties
I might give this a 4, but not quite. Fine voices and orchestration, very balanced and professional. The program made it clear that not much happens in a Sherwood Anderson story but in that case why not flesh out the female character, or tell 2 stories in the time slot? The big aria went on so long I nearly fell asleep. The concept has possibilities and the performers indisputable talent. The corn was very tasty - thanks.

undescribable boredom
by Juanita Garciagodoy Follow this reviewer
Rating 0 kitties
Man, what a dull show! If my husband weren't so polite, I would have crawled over the next 3 people to get out and do something worthwhile with my time.
Cliche ridden and repetitious and unimaginative. Waste of precious Fringe time.

Revealed Truths
by Derek Phillips Follow this reviewer
Rating 3 kitties
Full Disclosure: I attended this show because (1) I know a member of the pit orchestra - who’s opinion I highly respect - who was both challenged by and enamored with the score, (2) I’m also performing in the Fringe Festival and have access to a Rush Pass (I got in for free), and (3) I was able to get out of the dressing room at the Southern Theater, stash gear in the car, and make it to Mixed Blood Theater in time. As a dance artist who doesn’t attend many music events, I was delightfully surprised by this piece.

Arriving last-minute, I didn’t pre-read the program. I had no background on the production and only at the end realized it was a work-in-progress based on a short story. I was immediately struck by the sparse simplicity and openness of the set - in particular the beautiful (watercolor?) landscapes that served as backdrop and added depth to the small stage. That simplicity and openness was reflected the staging; nothing was complex or hidden from view. The performer’s blocking felt somewhat stilted to me, but as a dancer, I’m accustomed to watching movement on stage. The singers’ voices were all strong, rich, clear and full of emotion. I had no difficulty understanding the lyrics that were so important to the story. The singers and the orchestra were well balanced. I appreciated the fact there was very little amplification, which may have added to the clarity.

I describe the entire production as subtly and delicately layered. The music and lyrics gently fold back on themselves to uncover the intricacies and conflicts of the characters and their pasts. I was fully engaged during the entire performance, always waiting for another small detailed to be revealed. It was a very intriguing way to tell a story.

I certainly recommend seeing the show. I intend to keep Nautilus’ future productions in my radar.

Impressive Adaptation. Gorgeous Music
by Patrick Budde Follow this reviewer
Rating 4 kitties
Developing a new musical is very hard. Especially when adapting a dense psychological story into a musical. Fortunately, Nautilus has been developing new works for 16 years. That each role was perfectly cast helps, too. Accompanied by beautiful Americana orchestration that perfectly captured the Midwestern Autumn that it strove for, the actors' voices filled in the voids where the sometimes underdeveloped script fell short.

The performance could have benefited with more time, as the climactic shift in the protagonist came a little too quickly at the end. One song in particular dragged on for too long, using up time that could have been used to develop some other characters a little more fully. Nonetheless, creating a beautiful, dramatic, psychological musical out of three characters is a fantastic feat for this show

thumbs up
by Chris Gennaula Follow this reviewer
Rating 4 kitties
great singing! great music and lyrics!

Pleasant Show
by Tim Voss Follow this reviewer
Rating 3 kitties
This isn't up to Nautilus's usual standard. I found the story and singing a bit weak. Seeing Mr. Briggle still on book for the third show didn't help. All that said, it was a pleasant show.

Thoroughly Enjoyable!
by lisa stitzelfeld Follow this reviewer
Rating 5 kitties
Bringing this short story to life through music and lyrics was magical. It's the kind of show that leaves you wanting to hear more. This show needs to have a life beyond the fringe.

Thank you actors - Norah, you have a beautiful voice. I could have listened to you all night long. Joseph, you were just right as happy go lucky Hal. Gary, wow! You were fantastic! It was a little distracting in the beginning that you carried the music score, that said, you were so good it was a non-issue by the end.
Thank you musicians - what can I say? You all were perfect! Great show! See you on Broadway!

Like chewing tinfoil
by Fringivitis Vulgaris Follow this reviewer
Rating 1 kitty
It wasn't clear that this was an operatic work or I wouldn't have gone. It is a rural story about an old man with a few regrets and a young rake who might settle down some day. The male lead has a rich voice but doesn't know the words. The younger male singer didn't project enough. The female lead was the most polished at stagecraft. The singers were supported by stellar musicians so it wasn't a total loss.

What Theater Should Be About
by dmn mn Follow this reviewer
Rating 5 kitties
Payne and Elhai take a morsel of a story-a mere observation, really--and craft it into a hour of riveting, transporting folk opera/theater. I found the libretto intelligent, efficient, and at its best moments, revelatory. The score was evocative and at times lyrical, and the orchestration perfectly attuned to the show's Americana sensibility.

The performers brought full presence and attention to their roles, making the show even more compelling.

A clear candidate for Best of the Fest.

(As a work-in-progress, the authors invited suggestions. Given the opportunity to exceed the 1 hour Festival limit, I would like to see the wife given a scene to tell her side of their circumstances.)

Homespun. Well done.
by August Berkshire Follow this reviewer
Rating 5 kitties
This grew on me and won me over as it progressed. A simple story, in retrospect, but well done.

Attention all fringe performers: THIS is how you enunciate and project so that everyone can clearly hear you. THIS is how you play music that doesn’t drown out what the actors are saying and singing.

They called it a “work in progress,” but other than the lead actor glancing at notes, it seemed pretty polished to me.

Wonderful music and story
by Kris Sieg Follow this reviewer
Rating 5 kitties
This was a very polished fringe piece with great singing of a difficult score. Although a few places were a little rough overall this was delightful evening with an important message about crossroads.

That's why they're called Professionals
by Jim Pounds Follow this reviewer
Rating 5 kitties
Gosh it's nice to see what seasoned professionals can do with an unfinished piece. This was beautiful. Gary Briggle was stupendous. Norah Long and Joe Papke provided wonderful support. I kept thinking why does this look so easy when I know it is anything but easy. I guess that's what buckets of talents will do for you. The music was not melodic but compelling. The musicians were great. The setting just enough to evoke a place. Well directed, simple, powerful, memorable and very satisfying. A great creative effort all around. Book? What book? Kudos!

A pleasant diversion
by Judith Martin Follow this reviewer
Rating 3 kitties
"Untold Lies" is a work in progress, and has some of that feel. The competent musicians can't hide a certain sameness in the score. Mr. Briggle was distractingly still singing from the book on the third night, and Norah Long's talent felt wasted here. It was pleasant but not riveting.

Top notch
by Claire Simonson Follow this reviewer
Rating 5 kitties
It's always a treat to see top notch performers--both the singer/actors and the orchestra--so engaged in working out a new piece. And by that I don't mean they're still learning the notes, rather that each artist is fully engaged in exploring the dimensions of this work-in-progress, and it's a treat to watch them discover a new subtlety or expand into a familiar passage. Nautilus often brings together the best local performers and the most intriguing new music-theater work, and I was glad to see their effort rewarded with a packed house and enthusiastic applause. Only 2 more chances to see this show, so book it now!

nautilus - what else do you need?
by mark browning milner Follow this reviewer
Rating 5 kitties
i have never seen a bad nautilus music theatre show, either in the fringe or elsewhere (their "man of la mancha" was revelatory), and this is no exception. i don't know if the main character was on book because of memory, material (he easily has more than the other two combined), or lack of time (perhaps he was a replacement or late addition to the cast), but i thought he transcended the limitation admirably. very well written, composed, and performed, this show is probably more folk opera than musical theatre, but utterly accessible (if the o-word is scary to you, ne'er fear). anyone serious about musical theatre should. not. miss. this. show.

Well done.
by Kenneth Hanf Follow this reviewer
Rating 4 kitties
Three very good performers/voices and an excellent ensemble of musicians. Some tonal problems but that's understandable in the first performance. Would be better if the 'lead' (Mr. Briggle) was able to sing the role without the music because I believe he would better get into character. The story line is easy to follow through the music.

Who do I rave about first?
by George Maurer Follow this reviewer
Rating 5 kitties
From Robert Elhai's mesmerizingly dramatic, autumn-textured musical score that sounds incredibly cinematic (and more than one would expect from only four instruments, thanks to expert musicianship, and no doubt to clear music-direction from the ever-nuanced Jerry Rubino); to librettist Jim Payne expert weaving of his own imagination with the imagery and emotional layers of Sherwood Anderson's characters (keeping them true to era, to emotions and in tune with ours), I found experiencing Nautilus Music-Theater's UNTOLD LIES (directed by the Ivy-awarded instincts of Ben Krywosz) to be an enriching, soulfully yearning masterpiece of music-theater in miniature. Fifty minutes flew by, and throughout it, I found myself suspended, in love with bittersweet Autumn all over again. Kudos to the love and passion that Nautilus singer-actors Gary Briggle (class and charisma!), Nora Long (her voice always transports you to a place of beauty) and Joseph Papke (intense, brooding, clear and convincing) put into pulling the thread together on this new work of music-theater. This is a work in progress, and judging from what I have seen, I eagerly await its continued progress and maturity into a broader work for the nourishment of the soul as well as for the stage.

In another universe
by David Trudeau Follow this reviewer
Rating 5 kitties
from most Fringe shows. This is very classy and serious artistic music theater of "a work in progress" that explores the nuances of fatherhood and commitment. Everyone is on book, more or less, but mainly because the score is so rich and complex. Gary Briggle - whose lies are untold - brings the house down with his huge voice as the surrogate Father Ray Pearson to hired hand Hal Winters - played adequately by Joe Papke, whose voice is less mature and developed but perfect for the role. Norah Long's commanding stage presence and voice as Minnie Pearson rounds out the show. The ensemble is just great. Nautilus music theater has become famous for works in progress with their Rough Cuts series that bring together writers, composers, singer-actors and audiences and this work in progress goes beyond that with almost full staging. I want to see it again.

Carefully Crafted
by Andy Flamm Follow this reviewer
Rating 5 kitties
Unlike many Fringe shows, this one was not silly in any way. It was a serious look (but not without humor) at one man's prospect of marriage and an older man's thoughts about how to advise his young friend. Though not a lot happens plot-wise, there are plenty of musically-rewarding moments, plus a clever ending that does a neat job of wrapping up the show. The performers, including the 4-piece onstage band, were excellent. By all means, go...just don't expect silly.

Wonderful, and not even baked yet
by Daniel Barnes Follow this reviewer
Rating 5 kitties
As American as the corn on the cob you had for dinner, this new show of new music for an old story is spare and profound and powerful. The songs are beautifully complex and the singers and musicians are well up to their demands. Gary Briggle is especially impressive in the lead role's emotional journey. Don't let the "work-in-progress" label scare you, this show is a gem!

Stellar Opera-Musical
by Laura Hoyt Follow this reviewer
Rating 5 kitties
Although I can't be certain this early in the Fringe, I suspect this will be the best sung piece in the Fringe this year. The music and lyrics are rich and compelling as we watch the journey of man wondering if he's made the right choices in life. The performers sing beautifully. There is nothing silly or trite about this piece. I recommend getting your tickets now, because this one's likely to be sold out before the end of it's run.

A Quality Production
by Tom Wahlrobe Follow this reviewer
Rating 5 kitties
Top quality music and libretto. A popular short story turned into thoughtful and engaging entertainment. Some opening night kinks to be ironed out, but an event well worth the time and money.

Flawed, but good music
by Dave Larson Follow this reviewer
Rating 3 kitties
If you're a musical fan, this show would be good to see shows 3, 4 or 5. There are two out of 3 very good singers, although Mr. Briggle was singing from the book on the first night, which sucked a lot of the energy out of his performance. Once he learns the songs, and the show gets another run through this will be worth seeing for musical fans. Nora Long has a limited role, but she's delightful as always. Joseph Papke was servicable, but he has a weak voice with some pitch problems. The musicians were very good.

Terrific!
by Tom Gau Follow this reviewer
Rating 5 kitties
Nautilus never fails! Another wonderful show from one of my favorite theater companies. An outstanding cast and crew delivers a high-quality performance. The music and singing were wonderful. My compliments to the composer and the lyricist. Keep up the great work, Nautilus.

...and they had free corn-on-the-cob after the show!