Michael and Tony: How the Theater That Brought Them Together Continues to Help Them Grow

When Michael Gruber and Tony Vierling met up with me for a late morning coffee at Groundswell in Saint Paul, I expected our conversation would center mostly around their relationship and Chanhassen Dinner Theatre’s current production of Jersey Boys. We talked at length about their partnership (two alpha males who only fight when they’re trying too hard to be considerate), and delved deep into so much more, including Chanhassen Dinner Theatre’s (CDT) Diversity, Equity, and Inclusion (DEI) initiatives.

Gruber and Vierling both have long histories in theater. Gruber spent over 20 years living and performing in New York City where he performed in multiple Broadway shows. Vierling began acting professionally when he was twelve. His resume includes over 45 CDT productions, a couple National Tours, and more.

The two met while performing in the 2007 CDT production of Easter Parade. “They decided to cast the lead [for Easter Parade] out of the New York because they thought it was going to be a big deal,” says Vierling, “[Michael] got cast and I was in the ensemble.” 

What began as a professional relationship became a friendship and then one night Gruber took Vierling out to dinner and said what might be one of the most romantic things I’ve heard outside of a romance novel:

“I’m beginning to feel covetous of you.”

Gruber did not date people he was in shows with, so when Vierling was cast in the Guthrie’s production of 1776 he took it as fate. He left Easter Parade so they could give romance a chance.

Sixteen years later the two are married and have a beautiful home in Minneapolis. They have performed in many of the same productions, which allows them the unique experience of connecting artistically and professionally in addition to their romance. 

Their career highlights were often their co-starring roles. Holiday Inn and Singing in the Rain are two of their favorite productions. “I did six productions of Singing in the Rain,” says Gruber, “The last production I got to do with Tony at the Ordway. It was so meaningful to finish that chapter of my life with him.”

CDT has a special place in the pair’s hearts since it is the setting to their meet cute, but their fondness for the theater runs deeper than that. CDT offers a stability and package of benefits that is rare in the industry. Among other things “we’re the only theater in the United States to have language in our contract to protect reproductive rights and transgender healthcare,” says Vierling.

This unique benefits package reflects the values that CDT is holistically integrating in its organization – both behind the scenes and in front of the curtain. CDT’s DEI council has introduced the option for cast members to include their pronouns in their bios and makes sure that non-binary and trans actors are in the dressing room where they are the most comfortable.

“We’ve seen a lot of representation showing up on stage with genderfluidity and body size and shape and age and more BIPOC performers,” says Vierling, “It makes it a great place to work.” 

“What’s amazing is…it’s making the product better,” says Gruber. Gruber points out casting choices in Footlooseand The Prom, specifically highlighting Lynnea Doublette and Maya Richardson as his character’s wife and daughter in Footloose. “They’re trying to bring these stories and this diversity to the stage in a smart, intelligent way that enhances the storytelling.”

There have been obstacles, beginning with the notorious cancellation of Cinderella. “They had cast Cinderella before the pandemic,” explains Vierling, “It was a primarily white cast and [after the pandemic and George Floyd] they said let’s come back with something else and let’s cast it in a different way.”

“The blowback was really intense,” says Gruber. Inflammatory coverage from networks like the Daily News and FOX led to calls and emails which, in turn, led to CDT upgrading its security. 

Safe spaces sometimes earn eyerolls these days, but Gruber and Vierling – both of whom have been out for most of their lives – have found that the environment fostered at CDT has made them more comfortable with themselves. Additionally, young actors have inspired the pair to rethink how vocal they are about their identities. Gruber mentions Sayer, a trans actor from Next to Normal who is vocal about his identity. “If he can be up there living his authentic life, then so can I at 58 years old.” 

“It could change a kid’s life,” says Vierling, “A kid could see us and say: I want that. I want to be happy I want to be married. I want to have a career. I want to have a place where I can be myself.”

The current production of Jersey Boys, a jukebox musical about The Four Seasons, might not immediately scream DEI, but CDT hopes that by continuing to offer standard musical theater choices, their patrons will give productions like The Prom a chance as well. 

“Jersey Boys is the best juke box musical,” says Vierling, “Even if you didn’t grow up with the music you’ve heard it in a million places. We’re kind of small players, but it’s fun to be a part of and the four guys are so good.”

“The venue is so intimate,” says Gruber, explaining that they had tried to capture an Arthur Miller aesthetic for this production. 

“In our theater the people are bigger and the frame is smaller,” says Vierling.

“It helps the actors become the forefront.”

The pair are being literal, but it feels like the metaphor to go out on. 

Michael Gruber and Tony Vierling found each other in this intimate theater in Chanhassen in 2007. Years later they have built a life together and this theater, which spotlights its actors in a way that only a small venue can, has given them the space to not only find themselves, but to encourage others to do the same.