Broadway tour of "The Notebook" at Ordway Center for Performing Arts

It took twenty years for the popular 2004 tear-jerker The Notebook, based on the Nicholas Sparks novel, to become a Broadway musical, and now the national tour is playing at the Ordway Center in St. Paul for two weeks. And on opening night, Mr. Sparks himself was there to watch his story told musically, along with producer Kevin McCollum, who used to work at the Ordway. I don't think I've ever read the book, and haven't seen the movie in at least a decade, so I went into the musical without any real attachment to the source material. I found it to be well-adapted, with a clever and effective overlapping of the three timelines in the story, exploring relevant themes of memory, time, relationships, dementia, and family, with an easy to listen to and emotionally true score by singer/songwriter Ingrid Michaelson. It's also the rare Broadway musical that's less than two a half hours long, and feels just the right length, not overstaying its welcome. See it in lovely downtown St. Paul, already decked out for the holidays in twinkling lights, through November 30.

"The Resistable Rise of Arturo Ui" by Frank Theatre at the Ivy Building for the Arts

Frank Theatre's production of Bertolt Brecht's 1941 play The Resistible Rise of Arturo Ui has been selling out for the last three weekends, with no tickets currently available for their final weekend. Turns out people are hungry for a three-hour play satirizing Chicago gangsters / 1930s Germany / 21st century America. In this 2017 adaptation by Chicago playwright Bruce Norris, the comparisons to our current political situation are not subtle, as fictional gangster Arturo Ui slowly gains control over the city of Chicago through its economic, political, and judicial systems in a way that's terrifyingly familiar. Frank Theatre, and its Artistic Director Wendy Knox, are experts at interpreting Brecht, and at holding up a mirror to our present moment, and this play may be the most timely and relevant one yet.

"My Fair Lady" by Theater Latte Da at the Ritz Theater

My Fair Lady is a classic musical that stands the test of time, and doesn't feel dated due to its evergreen themes of class and gender dynamics, especially with more attention given to Eliza's perspective in recent years. It may seem like an odd choice for Theater Latte Da, that usually choses more rare or edgy works. But like last year's Cinderella, they put their own unique spin on a beloved classic that isn't drastically different, but makes it feel fresh and modern. Everything about this production is perfectly loverly - a superstar local cast, luscious costumes, ingenious set design, and a gorgeous rendering of the beloved score with just two pianos and 11 human voices. It's playing through the end of the year so you really have no excuse not to see this yummy production of a classic that deserves the title.

"Kiss of the Spiderwoman" by Teatro del Pueblo at the Southern Theater

The 1993 Tony-winning best musical Kiss of the Spider Woman, with music and lyrics by Kander and Ebb (Chicago, Cabaret) and book by playwright Terrance McNally, was just made into a movie starring Jennifer Lopez. What's better than seeing an acclaimed musical on the screen? Seeing it live on stage! And now finally I had the opportunity to see this rarely done musical, thanks to Teatro del Pueblo. I don't know if the timing with the movie was intentional or coincidental, but this story of two men imprisoned by a fascist regime, one of them escaping into the fantasy world of his beloved movies, couldn't come at a better time. Featuring a talented cast and impressive design in the gorgeous Southern Theater, this is a rare opportunity to see Kiss of the Spider Woman live on stage as it was meant to be, and "celebrate Latine voices, queer identity, and the power of resilience!" Continuing through November 23 only.

"Natasha, Pierre, and the Great Comet of 1812" at Theatre Elision

I saw the 12-time Tony nominated (and 2-time winning) Broadway musical Natasha, Pierre, and the Great Comet of 1812, based on one small section of Tolstoy's epic novel War and Peace with music, book, and lyrics by Dave Malloy, in March of 2017. Just two months later, I witnessed the debut of a promising new #TCTheater company called Theatre Elision. Now, in a full circle moment, Elision (which has since become one of my favorite theater companies, filling the much-needed niche of small cast, one act, rarely done musicals, often with mostly female creative teams and/or casts) is producing the regional premiere of Great Comet, and it's stunning. In those intervening years I have also seen multiple productions of Elision's take on Dave Malloy's one act song cycle Ghost Quartet, and that familiarity with his work, along with Elision's all-star local cast and their intimate immersive staging, meant that I loved this show much more than the Broadway version, and even more than I expected to in the months of buildup. They have virtually sold out the entire run, which is unprecedented for Elision. For eight-plus years they have been an underrated hidden gem of #TCTheater, but that ends with this show. The larger community is finally discovering what I've known for a long time, that Theatre Elision produces work you just cannot see elsewhere, that's musically and aesthetically gorgeous, in an intimate setting. Great Comet continues through November 22, and if you can beg, borrow, or steal your way into the show - do it! Follow them on social media for potential available tickets, or contact the box office to get on the waitlist.

"Souvenir" at Gremlin Theatre

Florence Foster Jenkins was a wealthy woman in early 20th Century America who decided she wanted to sing, so she started performing recitals of classical music. And she didn't let the fact that she couldn't sing stop her! She became a bit of a phenomenon, in a The Producers "so bad it's good" kind of way. But the play Souvenir, which premiered off and then on Broadway about 20 years ago, doesn't treat her as the butt of the joke. It's actually kind of inspiring and heart-warming as it tells the story of someone who performed for the love of it, and didn't care what anyone thought. Music isn't about perfection, theater isn't about perfection, art isn't about perfection. And it isn't reserved for the select few; we're all artists, even if it's just for ourselves. Florence sums it up in this quote: "People may say I can't sing, but no one can ever say I didn't sing." She did the thing. Gremlin Theatre's production of Souvenir is excellently done; the cast and creative team stay true to Florence's spirit of love for the art, although they are objectively more talented (continuing through November 30).

"The Last Yiddish Speaker" at Six Points Theater

The new play The Last Yiddish Speaker by Deborah Zoe Lauer had a rolling world premiere just last year, and now Six Points Theater is bringing us the regional premiere. And I'm so glad they are because it's an urgent, necessary play. It feels like a warning call, like a very possible look into our future if this country, this world, keeps going in the direction it's going. The direction of fear, hate, otherism, nationalism, and division. The play is brilliantly written and expertly executed by the cast and creative team at Six Points, for a gripping 90+ minutes that's unsettling and disturbing and eerily familiar. Go see The Last Yiddish Speaker, a prime example of art holding up a mirror to the world, playing at Highland Park Community Center through November 9.

Playlabs 2025 at the Playwrights' Center

Every fall, The Playwrights' Center hosts Playlabs, a festival of new plays with free readings over two weeks. Of course, this is in addition to the work that they do year-round supporting thousand of playwrights in various ways. I attended Playlabs every year from 2016 to 2019, as well as many other readings. But for whatever reason, I'd only been back to that beloved old church in South Minneapolis once since the pandemic. This summer, they moved into their brand new home at University and Raymond in St. Paul, with more space to support playwrights, and now they're hosting their first Playlabs in this gorgeous new space. I attended just one of the readings of the festival, but it made me realize how much I've missed The Playwrights' Center. We are so lucky to have this treasure in our community, and are invited to be part of the process of developing new plays, which we need so much right now! Because a play isn't a play without an audience, when playwrights get to see and hear how audiences react to their work. Now that I've been back, I vow to become a PWC regular again! Their monthly Ruth Easton New Play Series begins in December and continues through the spring, but for right how, you can attend readings and other events in this celebration of new plays through November 1, and/or watch any of the plays virtually after the festival's conclusion.

"Dracula" by Collide Theatrical Dance Company at Luminary Arts Center

Just in time for spooky season, Collide Theatrical Dance Company is debuting a new original dance musical based on the original Dracula novel by Bram Stoker. In 2016 they did a version of Dracula set in the modern world, but this is a wholly new production that interprets the novel through the character of Mina, best friend of one of Dracula's victims Lucy. The story is told through voiceover, in which we hear Mina's thoughts and experiences (voiced by Becca Hart), but primarily through dance. A fantastic troupe of ten dancers, performing to recorded tracks of a couple dozen perfectly chosen pop songs, make this iconic story feel new and fun and thrilling. I attended their first preview performance, but the show is already very smooth and polished. Dracula continues Thursdays through Sundays until November 9, including Halloween night, and is a great way to get into the spirit of the season.

"Primary Trust" at the Guthrie Theater

According to American Theatre magazine, the two most produced plays in America this season are Come From Away, which the Guthrie is producing next summer, and the 2024 Pulitzer Prize-winning play Primary Trust, currently playing in the proscenium theater. I'm so glad that these two pieces will have the most productions this season, because both are such beautiful stories of connection, kindness, generosity, and community. It seems obvious from the fact that they're so popular that we are craving these kinds of stories right now, when the real world feels so harsh, ugly, fearful, and divisive. Stories of people coming together to help each other, either on the grand scale of thousands of strangers unexpectedly landing in a small town on 9/11, in need of food and shelter, or on the smaller scale of one lost and scared person searching for home. I didn't really know much about Primary Trust, by NYC-based playwright Eboni Booth, before I saw it, but I absolutely fell in love with it. It's so sweet, so tender, so achingly raw, so hopeful about humanity in a time when we need that. And it's also funny and brilliantly written. There's really nothing better than a piece of art that makes me laugh, cry, and think deep thoughts, and this play does it expertly and effortlessly. I'm sure the other 20 productions of this play around the country this season are good, but I really can't imagine they have a better cast, better direction, or better design than the one at our own Guthrie Theater (continuing through November 16).

"Magic Girl" by Emily Michaels King at Red Eye Theater

One year after multi-hyphenate #TCTheater artist Emily Michaels King's stunning solo piece Star Keeper, which I called "her greatest work yet," she returns to her 2019 Minnesota Fringe show Magic Girl, the show that she says "started it all." In some ways Magic Girl is a more innocent show than Star Keeper; she merely alludes to the childhood trauma that the latter show dives deep into. But we still see the bright bubbly child learn to hide her light in response to the darkness of the world, until she comes back again at the end. The show is funny, heart-breaking, relatable, and joyful, and will make you want to hug your inner child. As with all of Emily's work, the show is very thoughtfully constructed, very detailed, very carefully choreographed not just in the movement and dance but also in the structure of the show, including sound and lights (the former by Emily herself, the latter by Karin Olsen). The night I attended, there was a technical issue that stopped the show for several minutes near its conclusion, but when it resolved, she very gracefully brought us back to where we were and picked up where she left off. As an audience member, you feel safe in her hands, as she is in ours. Emily is truly a one-of-a-kind performer, so raw and vulnerable and honest and fearless. There's really no one like her. Just three more performances remain at Red Eye Theater!

"White Rabbit Red Rabbit" at Lyric Arts

White Rabbit Red Rabbit is a theatrical experiment unlike anything I've ever seen. The conceit of the show, written by Iranian playwright Nassim Soleimanpour, is that it's meant to be performed by a different actor every time, with no rehearsal or even read-through of the script, and no director. Just an actor, reading the playwright's words, and doing what he asks of them. Theater is always this ephemeral experience that can never be repeated exactly, but that's never been more true than in White Rabbit Red Rabbit. For Lyric Arts regional premiere, they've enlisted a veritable Who's Who of diverse talent in #TCTheater, each performing one night only, and they'll never be able to perform the show again. It's truly a one and done kind of thing. I can't think of much that's more exciting and adventurous (this season's buzz word) than that. I did not know what to expect walking into Lyric Arts' Main Street theater with my popcorn, but I did expect it to be fun and unique. It definitely was, but I was not expecting to be so moved by this ridiculously silly yet deeply profound exploration of art, theater, connection, time, and humanity. The experiment continues through November 2, and you may choose to see it more than once, as I did. Pick your favorite from the list of talented performers, or maybe the date that works best in your schedule - you really can't go wrong with any of them. Note: Lyric Arts offers $20 rush tickets to every show.