Those types of starring in Northern Sky Theatre’s 2015 creation of “Lumberjacks in Love” are, from left, Jeffrey Herbst, Eva Nimmer, Doug Mancheski, Craig McClelland and Chase Stoeger.
FISH CREEK, Wis. – “Lumberjacks in Love” can be much fun as the title sounds.+
The nice music comedy from 1996 is playing through Oct. 17 at Door Community Auditorium due to the fact autumn production of Northern Sky Theater.
It’s a kick.
Creative: Book and words – Fred Alley; songs – James Kaplan; story – Fred Alley and James Kaplan; manager – Jeffrey Herbst; music director – Alissa Rhode; co-choreographers – Pam Kriger and Jeffrey Herbst; scenic fashion designer – Stuart Dawson; outfit fashion designer – Dawna Gregory; lighting and sound design – David Alley; props designer – Kathleen Rock; stage supervisors – Neen Rock and Lisa Chaney Mion; music plans – Colin Welford.
Cast: Dirty Bob – Doug Mancheski; Slim – Jeffrey Herbst; Muskrat – Craig McClelland; Moonlight – Chase Stoeger; The Kid – Eva Nimmer; Rosemary Rogers – Molly Rhode.
“Lumberjacks in Love” – Bob, Slim, Muskrat, Moon
“Shanty Boys” – Slim, Moon, Muskrat, Bob
“Winds of day” – child
“Buncha Naked Lumberjacks” – Slim as well as the Fellas
“I Think I’m in Love with the Kid” – Moon
“Little Ebony Rain Cloud” – Muskrat, Slim, Bob
“I Only Have some Time” – child
“Someday I Will Be Clean” – Bob while the Fellas
“Bachelor’s Prayer” – Slim
“we Only Have somewhat Time” (Reprise) – child
“It is Enough for Me” – Moon and child
“Winds of day” (Reprise) – Kid
“Minimal Dress” – Bob
“Stupid Stupid Love” – Rosemary
“Shanty into the Pines” – Slim, Bob and Moon
“Happy Lumberjack” – Muskrat and also the Fellas
“It Would Be adequate for Me” (Reprise) – Moon and Kid
“Lumberjacks in Love” (Finale) – Company
Running time: 90 moments, no intermission
Here is the 8th creation of “Lumberjacks in Love” by the organization and first-time its becoming provided indoors versus on organization’s summertime house of Peninsula State Park Amphitheater. Besides the obvious distinction of setting, the show’s set is enhanced. The setting is still pine woods, however now they’ve been artistic (stately and awing) interpretations of the genuine things. The overall performance space is a playful accept the inner of a lumberjack bunkhouse in the turn associated with 20th century, including bunk-beds, wood flooring (faux) and accoutrements (things) of manly-man woodsmen whom labor mightily out-of-reach of women.
The story is mostly about an error. Minnesota Slim and Dirty Bob had a crazy night in Hurley plus in their particular haze of booze an ad was answered for a mail-order bride. Now word has come this woman is going to arrive. Compounding that – which is solely Shakespearean – is a case of mistaken identity. The little one through the camp which all lumberjacks think is some guy but is truly a woman decides to dress as a lady for once and pass herself down since the mail-order bride because breezes of love have actually started to strike within this lady.
On top, the program is mostly about a lot of bumpus clown-men which cut down trees and sing and dance with one another (there’s a money toss for who’s to-be the lady dance partner) and commemorate their supreme “man cave.” In fact, it is a cleverly put together creation like so many of Northern Sky Theater’s.
In “Lumberjacks crazy, ” designers James Kaplan plus the iconic Fred Alley hit a rhythm. Around an imaginative tale, they wound gorgeous and fun-loving songs. The creativity shines, still.
Some material is irresistibly funny. Take “Buncha Nude Lumberjacks.” Dressed up in boots and lengthy johns, a lumberjack is recounting their nightmare about their impending wedding ceremony. He’s in the altar. He’s nude. His intended is nude. Everybody’s naked. And therefore’s one number.
After that there’s a dime-romance novelist who may have faked every little thing, including becoming an eager bride, and cynically unleashes “Stupid Stupid Love” that she thinks is an ironclad idea. Truly the only metal inside it is irony.
The cast of the present production taps into the enduring spirit associated with the show. There’s plenty for every performer to dig into – musicianship, comedic byplay and motion, nuance of sound and gesture, tongue-and-cheek of this tale and, essentially, the soul of the piece. If that is just too lofty for your needs, go back to my initial idea, which I will explore much more now with this:
+ My lead (opening paragraph) from my review in the Green Bay Press-Gazette of June 21, 1996, of this premiere performance was identical. There are perspectives available.