tag:blogger.com,1999:blog-26206962519647830752024-03-18T15:52:42.730-05:00Cherry and Spoontheatrical musings in Minnesota and beyondjillhttp://www.blogger.com/profile/08784434511625578490noreply@blogger.comBlogger2493125tag:blogger.com,1999:blog-2620696251964783075.post-25929139433401563992024-03-18T15:30:00.004-05:002024-03-18T15:52:10.612-05:00"A Unique Assignment" at History Theatre<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMyUAAI4aS3xrIOF3Z09GrQOhUhOgfcp6cb9jg2980uWlve8GKkFOVJ_q0PjyxtQ2dZ1nduN_BFkXfsJkgr_JLpwvcf2jF-EVR4hhmOyIQxSz3hjeqIjkpsNO1o9DCIyPG4Lfi2kffS1Gq16-pj4qON5XNRXoXiHct5PhzV-c_NQEnAqb8TY6n6H28VIk/s2457/unique.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="2457" data-original-width="1551" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMyUAAI4aS3xrIOF3Z09GrQOhUhOgfcp6cb9jg2980uWlve8GKkFOVJ_q0PjyxtQ2dZ1nduN_BFkXfsJkgr_JLpwvcf2jF-EVR4hhmOyIQxSz3hjeqIjkpsNO1o9DCIyPG4Lfi2kffS1Gq16-pj4qON5XNRXoXiHct5PhzV-c_NQEnAqb8TY6n6H28VIk/s320/unique.jpg" width="202" /></a></div>Yesterday was a special day at History Theatre. Not only did I learn about an important chapter in American history with which I was previously not very familiar, told in a compelling, well-constructed, beautifully designed and acted play, but the people who lived that history were actually there! That's one of the great things about History Theatre - they make history relevant, tangible, and real in addition to entertaining. <i><a href="https://www.historytheatre.com/2023-2024/unique-assignment" target="_blank">A Unique Assignment</a></i> was written by one of my favorite local playwrights, Harrison David Rivers, based on two auto-biographies: <i><a href="https://www.amazon.com/Three-Years-Mississippi-Civil-Rights/dp/1496821068/" target="_blank">Three Years in Mississippi</a></i> by James Meredith, the first Black student at the University of Mississippi, for which President Kennedy sent in troops to protect him and keep the peace, and <a href="James Meredith and the Ole Miss Riot" target="_blank"><i>James Meredith and the Ole Miss Riot</i></a> by Henry Gallagher, a young soldier from Minnesota who was put in charge of Meredith's security detail. This may sound like a dry history lesson, but in the hands of this talented playwright, cast, and creative team, it is anything but. It's an inspiring story that's clearly and succinctly told with much humanity, emotion, and even humor. The message of standing up for equality and justice and against bigotry, hatred, and ignorance is beautifully delivered, and tragically still incredibly relevant in 2024. For these reasons and more, <a href="https://www.historytheatre.com/2023-2024/unique-assignment" target="_blank">I highly recommend seeing <i>A Unique Assignment</i> at History Theatre in downtown St. Paul before it closes April 7</a>.<span><a name='more'></a></span><div><br /></div><div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDsiiyVCkrwARDIzzlhoccu9Se4LgkxRyBj31UNSAq2FhNGUk87Vwsrsd0YYinkSBxPBoOLd30QV82CjXh532CmuzWOHMzu_pAR48MZDTXMhfWozLixkGHOusdKTMVsYcRGF5o99YYW75hJKt1ALEKM39T2ezt0lNhaqZz5d79LX_jNH0DSG_f9ClYl3c/s2400/UNIQ0180-Enhanced-NR.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="2400" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDsiiyVCkrwARDIzzlhoccu9Se4LgkxRyBj31UNSAq2FhNGUk87Vwsrsd0YYinkSBxPBoOLd30QV82CjXh532CmuzWOHMzu_pAR48MZDTXMhfWozLixkGHOusdKTMVsYcRGF5o99YYW75hJKt1ALEKM39T2ezt0lNhaqZz5d79LX_jNH0DSG_f9ClYl3c/s320/UNIQ0180-Enhanced-NR.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">the two Hanks: Pearce Bunting and Kevin Fanshaw<br />(photo by Rick Spaulding)</td></tr></tbody></table>At the post-show discussion on the day I attended, Harrison David Rivers modestly said that he didn't have to start from scratch to write this play, and had a lot of great material to work with. But I would argue that having to adapt two full-length books into one less than two-hour play might make the task even more difficult. How do you parse all of that information, and two different perspectives, into one cohesive narrative? I don't know how, but he's done it. The play begins with Henry (aka Hank) narrating the story as a 73-year-old, trading off the narration with his 23-year-old self living the story, acting out the scenes described. He's stationed at an army base in New Jersey in the fall of 1962, and suddenly finds himself on the way to Oxford Mississippi without a map (literally and figuratively), in charge of a unit whose only goal is to keep James safe so that he can attend classes and study like any other student. Once we make it to Mississippi, James takes over the narration, and we see things from his point of view, in his noble mission to end segregation and make life better not just for himself but for all African Americans. From that point on we seamlessly switch back and forth between the two perspectives, until we get to the successful end of this story - the racist protests and threats have died down, James is safe in his role of student at Ole Miss, and Hank and his unit leave and move on to their next assignment - and the two men reflect on this chapter in their life with the wisdom of age.</div><div><br /></div><div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvuKuTf-KwfIA1s9_Y5kg1Jiv0p98lqSZOJB5Wojz7ZGFOpIQ6WGNY9yzJWEiDIj_1MyLfX7eNeGZMVxYxYRbq6AIBNFXCooJQn0cEi9I7JXRBH5eljHUcauImXXqxywvS-T3dgc-oVbSxF-ggsBfWq1yUMm0R0jS-1tMMDrbDPld-WVoo9fEuBbmYbdI/s2400/UNIQ1171-Enhanced-NR.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="2400" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvuKuTf-KwfIA1s9_Y5kg1Jiv0p98lqSZOJB5Wojz7ZGFOpIQ6WGNY9yzJWEiDIj_1MyLfX7eNeGZMVxYxYRbq6AIBNFXCooJQn0cEi9I7JXRBH5eljHUcauImXXqxywvS-T3dgc-oVbSxF-ggsBfWq1yUMm0R0jS-1tMMDrbDPld-WVoo9fEuBbmYbdI/s320/UNIQ1171-Enhanced-NR.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">young Hank (Kevin Fanshaw) meets James (James A. Williams)<br />while the older Hank (Pearce Bunting) looks on (photo by Rick Spaulding)</td></tr></tbody></table>This play is so well constructed, the narrative flowing smoothly from one episode to the next, with each man's personal reflections and motivations seamlessly woven in. The two versions of Hank allow us to see the inner thoughts through the older Hank, as the younger Hank lives it and keeps his cool (or tries to). The two actors embodying Hank are so great in bringing him to life, and letting us see his humanity as he's doing his duty as a soldier. I absolutely believe in a world in which Kevin Fanshaw grows up to be Pearce Bunting, as they portray two versions of the same character. While this play could easily have a cast of six or eight actors, with the number of characters portrayed, there are only four, with James A. Williams and Kevin Brown, Jr. playing all of the other characters (with Pearce occasionally stepping into a role). As an audience member pointed out in the talkback, it's an interesting exercise when Black actors play characters of varying races, including White characters, making us think about and question our biases, which is always a good thing. James A. Williams also portrays James Meredith, and the combination of this real Civil Rights leader's words, as filtered through Harrison David Rivers and spoken by J Dub (as he's affectionately known) is tremendously affecting and inspirational.</div><div><br /></div><div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGSIBxGOAkQETv2XIoVKTpK4-v5MLdCEvsJ1ExFI2sL4OUI1QsoSiPXIiJwuKBhjegG0gQ3_MzOaF1Ci6NqIC-EkztQVy3cBYDWwYA2AL2Y_TBwWWqOMUSUeWhMs_WabjU-WYntQOkbGjTOACkMviKvtW8Nw7u34WqOMq-D1_VsNGH6w9HyHQCkc8tjtc/s2400/UNIQ1030-Enhanced-NR.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="2400" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGSIBxGOAkQETv2XIoVKTpK4-v5MLdCEvsJ1ExFI2sL4OUI1QsoSiPXIiJwuKBhjegG0gQ3_MzOaF1Ci6NqIC-EkztQVy3cBYDWwYA2AL2Y_TBwWWqOMUSUeWhMs_WabjU-WYntQOkbGjTOACkMviKvtW8Nw7u34WqOMq-D1_VsNGH6w9HyHQCkc8tjtc/s320/UNIQ1030-Enhanced-NR.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Hank (Kevin Fanshaw) with fellow soldiers (Kevin Brown, Jr.<br />and James A. Williams, photo by Rick Spaulding)</td></tr></tbody></table>History Theatre's Artistic Director Richard D. Thompson directs this fantastic script with a deft hand, the transitions from scene to scene, from memory to present, clear and smooth. The story moves with great momentum and suspense, moments of fear and drama well mixed with occasional humor (the running joke about needing a map, the inexperienced smokers). All elements of design aid in the storytelling. The modern and linear steel gray set with just a few boxes used as furniture really make it feel like the memory play that it is, the story playing out on an almost bare canvas. The back wall of the theater is hung with long narrow gray panels, used for occasional projections. Lighting changes help to move us from character to character, setting to setting. The sound design builds the tension, but is perhaps most effective in the silence that accompanies most of James' monologues (because when J Dub speaks, that's all the music you need). The costume design also helps in the storytelling; the two Hanks pretty stable in their respective uniforms of comfy cardigan and army greens, while the two ensemble members don different jackets and uniform pieces to portray the different characters, James in his sharply tailored suit. (Scenic design by Ursula K Bowden, video design by Kathy Maxwell, lighting design by Kurt Jung, sound design by Katharine Horowitz, and costume design by Kirby Moore.)</div><div><br /></div><div>I was lucky enough to attend on a day when there was a post-show discussion with not only the director, playwright, and cast of the play, but also Henry Gallagher (a graduate of <a href="https://www.csbsju.edu/" target="_blank">my alma mater CSB/SJU</a>) and the wife of James Meredith (at 90, he was unable to travel from his beloved state of Mississippi). It was so incredible to be in the same room with these history makers after just hearing their inspirational story. It's now more than 60 years after the events of this play took place, and sadly some people still seem to be living back there, or worse yet, want us to return to those terrifying days. But this play gives me hope that if individuals continue to do the right thing, to stand up for their own rights and those of others, we'll make it through. <a href="https://www.historytheatre.com/2023-2024/unique-assignment" target="_blank">This story</a> shows us that social change is hard, and doesn't come easily, but it is possible and maybe even inevitable.</div>jillhttp://www.blogger.com/profile/07664672492793582621noreply@blogger.comtag:blogger.com,1999:blog-2620696251964783075.post-80354788976923221692024-03-17T12:18:00.001-05:002024-03-17T12:18:40.017-05:00"Love and Other Things that Ruined My Life" by Brave New Workshop at Dudley Riggs Theatre<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimD9U6b12a2R9LO_1P_Qnf0aQasSHu0UuuRUdwHxdsHL5iNsyZP4B0HZAAU6g5BBk1Yqk0hKNj5Onwp6aXcjaQZ0-8w9Ma2EfRT9ZPepbrjDJMERbjEzkGEmH3JGUoWAUOReLLKJNWw-Yb5pAHYjpgSCTI_gWlFJ6sHYnNDv56V-OQl23xqAOFs8wpXeo/s1080/bnwlov.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1080" data-original-width="1080" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimD9U6b12a2R9LO_1P_Qnf0aQasSHu0UuuRUdwHxdsHL5iNsyZP4B0HZAAU6g5BBk1Yqk0hKNj5Onwp6aXcjaQZ0-8w9Ma2EfRT9ZPepbrjDJMERbjEzkGEmH3JGUoWAUOReLLKJNWw-Yb5pAHYjpgSCTI_gWlFJ6sHYnNDv56V-OQl23xqAOFs8wpXeo/s320/bnwlov.jpg" width="320" /></a></div>Valentine's Day may be over, but <i><a href="https://bravenewworkshop.org/love-and-other-things-that-ruined-my-life/" target="_blank">Love and Other Things that Ruined My Life</a></i> is timeless! Brave New Workshop's new sketch comedy show, which opened Valentine's Day weekend, pokes fun at love, relationships, breakups, and all things related (and not related). Unlike that four-letter word love, the longest running comedy theater in the country never lets you down with their silly, smart, relevant, and sometimes just plain goofy sketches performed by a fantastically funny cast. <a href="https://bravenewworkshop.org/love-and-other-things-that-ruined-my-life/" target="_blank">This show plays through May 18</a>, after which they'll be bringing back their all-improv show <i><a href="http://www.cherryandspoon.com/2023/06/its-not-heat-its-stupidity-by-brave-new.html" target="_blank">It's Not the Heat It's the Stupidity</a></i> this summer, featuring a rotating cast of local improvisors.<span><a name='more'></a></span><div><br /></div><div>The cast of this show includes all familiar faces to BNW regulars, which means they're all experienced at this specific kind of funny, and work together very well. The night I attended, regular cast member Doug Neithercott was out so Director/co-creator/host Caleb McEwen filled in for him, and you'd never know he wasn't part of the regular cast, except for when he's playing "Doug." He's joined by Lauren Anderson (a 20-year BNW vet who can crack me up just by listing names of Minnesota State Parks), Denzel Belin, Isabella Dunsieth, and Katy McEwen. And yes, Katy and Caleb are married (for 30 years, as comes out in this love-themed show), which creates some fun unplanned humor when Caleb performs as Doug. They're accompanied as always by Jon Pumper on keys, creating a constant soundscape and occasionally becoming part of the show (including a very funny song about a sensitive pianist). Matthew Vichlach runs the lights, sound, and video, with some fun lighting effects and video gags.</div><div><div><br /></div><div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEim71sUaZfKQMPLUXm4haQdNdPXOjrmhXIG33UOTgcApWuLbTXxronym4afMEQwbLQoOdn2rWFHFqf2lIA9vH5P2JPrmsu554PgUDxtKCg3Fk0OGw7OSaOhxaC63OhD5zOVT7HfwE54JPqTlQwDpe9vwto8Xte54Dt8u2oXRTelM05johMaeQKwJXiBI24/s2048/bnwlove.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1365" data-original-width="2048" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEim71sUaZfKQMPLUXm4haQdNdPXOjrmhXIG33UOTgcApWuLbTXxronym4afMEQwbLQoOdn2rWFHFqf2lIA9vH5P2JPrmsu554PgUDxtKCg3Fk0OGw7OSaOhxaC63OhD5zOVT7HfwE54JPqTlQwDpe9vwto8Xte54Dt8u2oXRTelM05johMaeQKwJXiBI24/s320/bnwlove.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Isabella Dunsieth, Lauren Anderson, Denzel Belin,<br />Doug Neithercott, and Katy McEwan (photo courtesy of BNW)</td></tr></tbody></table>The show begins with a song, as per usual. Here they sing about love being "the worst thing that ever happened to me," with each performer getting a little bit personal in their relationship to love. The intro song is followed by about a dozen or so sketches, some funnier than others depending on personal taste. My favorites were the game show spoof, in which a couple from Chanhassen gives each other hilariously personal and revealing clues to guess a word or phrase; an appeal to math in finding love (with some fun audience interaction); a CMT show about a Chicks-like trio called The Maxon Chixons singing about being cheated on (but maybe we can just move on in a healthy way); an improvised mixtape of love songs based on audience prompts (although I do wish our audience was a bit more clever and not so obvious, but the cast makes the best of it); and an exploration of interracial dating in which two couples and their Chilis waitress speak in rhyme and unison, like one long rap scene that was beautifully executed. The show ends where it began - with a song, now about how "love was the best thing that ever happened to me." But don't think it's a happy ending, the lyrics were so bizarre that even though I love a good singalong, I just couldn't bring myself to sing that!</div><div><br /></div><div>On Friday and Saturday nights, the hour-and-forty-five-minute show (including intermission in which to enjoy the specialty cocktails) is followed by an improv session. The performers change out of the BNW uniform (black pants and solid color tops) to their street clothes, signifying their loosening up (although the scripted show is pretty loose too, if more controlled). They run through a couple of improv games based on audience prompts, and show off a different comedy muscle than the ones utilized in the main show.</div></div><div><br /></div><div>Whenever I see a BNW show, there are always several groups in the audience - family, or friends, or coworkers (that are cooler than mine). <a href="https://bravenewworkshop.org/groups/" target="_blank">They offer discounts for groups</a> of 8 or more (an even bigger discount for 20 or more), and with the table seating and fun concessions, this seems like a great option for a fun and unique group outing.</div><div><br /></div><div>If you're in need of a laugh, head to the Dudley Riggs Theatre on Hennepin Avenue in downtown Minneapolis (now a part of <a href="https://hennepintheatretrust.org/" target="_blank">Hennepin Theatre Trust</a>) to experience the very funny and relatable <i><a href="https://bravenewworkshop.org/love-and-other-things-that-ruined-my-life/" target="_blank">Love and Other Things that Ruined My Life</a></i>.</div>jillhttp://www.blogger.com/profile/07664672492793582621noreply@blogger.comtag:blogger.com,1999:blog-2620696251964783075.post-38502347623019462912024-03-16T13:25:00.006-05:002024-03-16T13:33:29.557-05:00"The Most Spectacularly Lamentable Trial of Miz Martha Washington" at Mixed Blood Theatre<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7OXFqXZHFtLuVHx5Zy0S_vF3itQ3Xy9-u_OwDUz1NUWi1F0iDuPKoaxUdO4xeLvI_yKjJ4AXzk0v3m4SYyPocUmNO-YP_4fxRL5nNxWI_Q34gi_2pUoqr_WIk9CWdtaHCkbEkv3DIj9uvbhE8p1dbuQ6-5YXvq8n4ypNxv3ddfmZAv-MIkSF_u-aJX-o/s2421/miz.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="2421" data-original-width="1603" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7OXFqXZHFtLuVHx5Zy0S_vF3itQ3Xy9-u_OwDUz1NUWi1F0iDuPKoaxUdO4xeLvI_yKjJ4AXzk0v3m4SYyPocUmNO-YP_4fxRL5nNxWI_Q34gi_2pUoqr_WIk9CWdtaHCkbEkv3DIj9uvbhE8p1dbuQ6-5YXvq8n4ypNxv3ddfmZAv-MIkSF_u-aJX-o/s320/miz.jpg" width="212" /></a></div>It's been almost two years since Mixed Blood Theatre produced a mainstage play; <i><a href="https://mixedblood.com/events-at-mixed-blood/" target="_blank">The Most Spectacularly Lamentable Trial of Miz Martha Washington</a></i> is the first play since the departure of founding Artistic Director Jack Reuler, the first under new Artistic Director Mark Valdez. To which I say: welcome back Mixed Blood! This kind of risk-taking envelope-pushing social commentary, with a focus on accessibility and diversity of voices and stories, is much needed in our community. While their last play, an original called <i><a href="http://www.cherryandspoon.com/2022/04/imagine-us-without-racism-at-mixed.html" target="_blank">imagine a u.s. without racism</a></i>, was an inspirational fairy tale that encouraged audiences to do just that, <i>The Trial</i> (as I'll refer to it) is a brutal look at the racism upon which this country was built. Specifically through "the mother of America," Martha Washington. Written by James Ijames, recent Pulitzer Prize winner and Tony nominee for his play <i>Fat Ham</i>, <i>The Trial</i> is an ingenious mix of storytelling styles, using fantasy, music, and pop culture in this wild exploration of history and present. The cast and creative team do an incredible job of navigating this tricky script and challenging themes, for a wholly successful, entertaining, and thought-provoking work. <a href="https://mixedblood.com/events-at-mixed-blood/" target="_blank">See it in the old brick firehouse that is Mixed Blood Theatre in the Cedar-Riverside neighborhood of Minneapolis now through the end of the month</a>.<span><a name='more'></a></span><div><br /></div><div>The play takes place on Christmas Eve in 1800 (hence the traditional Christmas music played pre-show) at the home of Martha Washington. Her husband, the first president of the United States, had died a few years earlier, and specified in his will that his slaves would be freed upon the event of his wife's death. She's in ill health and is cared for by one of these slaves, her half-sister Ann (these complicated family relationships an ugly part of our history). Ann seems to genuinely care for Martha, and the other slaves agree that she wasn't unkind, but still, they can't help but look forward to her death which will result in their freedom. The play then takes a turn and becomes a weird fever dream, from a game show to dance break to a slave auction (Martha the one on the market) to visits from other founding mothers and fathers, to an actual trial. It's wildly imaginative and hauntingly disturbing as it shines a neon light on the darkest part of the history of this country.</div><div><br /></div><div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyrkCyo3BQcExaQj1_JrrUgBHDSqRD0WHMYfrFrkOEIWUpxkpqK0nVY7fzNctpkIvvyGwQ6EtqAE5pesffFtYM5o6zJHsxVt4tqEIMG38pmIYEYe7p4460FwbwXZjkmxzxC9dbf97Q5EsnIJAeencWZUpREolXi1d-ynBwwMJVp2hq-pVr-qg81wuzMks/s3600/16a79ca2-12c0-2680-7f6c-8957ddd79b41.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3600" data-original-width="3600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyrkCyo3BQcExaQj1_JrrUgBHDSqRD0WHMYfrFrkOEIWUpxkpqK0nVY7fzNctpkIvvyGwQ6EtqAE5pesffFtYM5o6zJHsxVt4tqEIMG38pmIYEYe7p4460FwbwXZjkmxzxC9dbf97Q5EsnIJAeencWZUpREolXi1d-ynBwwMJVp2hq-pVr-qg81wuzMks/w320-h320/16a79ca2-12c0-2680-7f6c-8957ddd79b41.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Martha Washington (Karen Weise-Thompson) and her<br />dear departed husband (Mikell Sapp, photo by Rich Ryan)</td></tr></tbody></table>This play travels across years, genres, and locations, but if you let go of reality and just go with it, it's easy to follow along thanks to the clear direction by Pirrone Yousefzadeh (<a href="https://pwcenter.org/staff-board/pirronne-yousefzadeh" target="_blank">Interim Associate Artistic Director at the Playwrights' Center</a>). The almost manic storytelling could veer into too much, but it never does in this production. That's also thanks to the incredible cast, who expertly walk that fine line of satire and humanity. It's a joy to follow the always hilarious Karen Wiese-Thompson as Martha on her reluctant journey as she goes from curiously compliant to outraged, the lessons never quite sinking in. Monica E. Scott in particular brings a grave humanity to her role as Ann, but also gets to play a little. Domino D'Lorian plays Ann's son (and possibly Martha's grandson) as a sweet little boy, until he's not. Rounding out the seven-person ensemble are Darius Dotch, Tolu Ekisola, Valencia Proctor, and Mikell Sapp playing the other slaves and so many other fantastical characters, each one more outrageous than the last, that it's hard to believe it's only the four of them. </div><div><br /></div><div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqF5lVVPgMRsGbVKPv-tqkfwVlfrzAwMcT6anTbod1U3-Cn62-_gyanGARVUllrriZF8iS0D44fFJpUlm-GyEftnqlTBkUs3Y1kY9oth6YirBUM11nt3oHc9XQEtSZG6FpBCBbMIiyWzXZf1Qfngp-BjuiDASGKsd3msvhK5QiS-BuZbEvAk_N53wVCuA/s3600/ecb4b810-6969-71ee-4d83-0d911592f2bf.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2311" data-original-width="3600" height="205" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqF5lVVPgMRsGbVKPv-tqkfwVlfrzAwMcT6anTbod1U3-Cn62-_gyanGARVUllrriZF8iS0D44fFJpUlm-GyEftnqlTBkUs3Y1kY9oth6YirBUM11nt3oHc9XQEtSZG6FpBCBbMIiyWzXZf1Qfngp-BjuiDASGKsd3msvhK5QiS-BuZbEvAk_N53wVCuA/s320/ecb4b810-6969-71ee-4d83-0d911592f2bf.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">photo by Rich Ryan</td></tr></tbody></table>The fantastical storytelling is aided by the design. The set is very realistic, the rough-hewn kitchen with a large hearth on one side, Martha's elegant bedroom on the other, separated by a hallway with several steps. But there's more to it than meets the eye, with hidden compartments and see-through walls. The sound design covers the gamut from period music to pop songs and modern sound effects, for a mash-up of centuries. The costumes go from muted period clothing to colorful costumes added on top of them to create a multitude of bold characters fully embodied by the cast. (Scenic design by Matt Lefebvre, costume/makeup/wig design by Zamora Simmons, lighting design by Karin Olson, sound design by Theo Langason.)</div><div><br /></div><div>This play is a skewering examination of our founding fathers and mothers, as it should be. We cannot put them on a pedestal, as so many seem to do these days. Because even though they did many great things, they were also humans who made mistakes, were short-sighted, and ignored the needs of many. An unflinching look at our complicated history helps us understand where are, and how we can continue to make things better for more and more people. And to do it with wild imagination, outrageous humor, fantastical design, and brilliant artistry, as this play does, makes for a very entertaining history lesson.</div>jillhttp://www.blogger.com/profile/07664672492793582621noreply@blogger.comtag:blogger.com,1999:blog-2620696251964783075.post-54878759768297919722024-03-14T16:56:00.008-05:002024-03-14T16:59:37.930-05:00"Hairspray" on tour at the Ordway Center<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6wjm1IqyBI1Lybx8ofqSPGv41tnYYPVQwQjOtzk3XlC_hBubF0fwH6Qad26Lf7orHphAWaNCulvZTXHgf3rUOmec3QXFKDmFFhyphenhyphengM-i35rEjb4etSVI5BwO8H0GaCQBz6LWhoANgYdhBLj7XULkjdH-rlM4_clkgZNyYTv4J6MyvF4DM53W4rwdhtqGQ/s2489/hairspray.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="2489" data-original-width="1570" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6wjm1IqyBI1Lybx8ofqSPGv41tnYYPVQwQjOtzk3XlC_hBubF0fwH6Qad26Lf7orHphAWaNCulvZTXHgf3rUOmec3QXFKDmFFhyphenhyphengM-i35rEjb4etSVI5BwO8H0GaCQBz6LWhoANgYdhBLj7XULkjdH-rlM4_clkgZNyYTv4J6MyvF4DM53W4rwdhtqGQ/s320/hairspray.jpg" width="202" /></a></div>20 years after premiering on Broadway and winning eight Tonys, <a href="https://hairspraytour.com/" target="_blank"><i>Hairspray</i> is back on tour</a>, and it's as fun, infectious, and inspirational as ever! The tour stopped at the Orpheum in Minneapolis last year, but I missed it, so I hadn't seen a production since <a href="http://www.cherryandspoon.com/2015/08/hairspray-at-artistry-formerly-known-as.html" target="_blank">2015 at Artistry</a>. It's one of my faves (I saw the tour twice in the mid-aughts, as well as the <a href="http://www.cherryandspoon.com/2011/12/hairspray-at-chanhassen-dinner-theatres.html" target="_blank">Chanhassen's production in 2011</a>), so it was more than time for another visit to this big-haired and big-hearted version of 1960s Baltimore. <a href="https://ordway.org/events/hairspray/" target="_blank">Thankfully the Ordway is hosting this super fun and high energy tour for one short week</a> and there are limited tickets still available through Sunday, so head to downtown St. Paul to watch the nicest kids in town dance and sing about anti-bullying, inclusion, and integration.<span><a name='more'></a></span><div><br /></div><div>At this point I'm sure everyone's seen some version of <i>Hairspray</i>, whether <a href="https://en.wikipedia.org/wiki/Hairspray_(1988_film)" target="_blank">the original movie</a>, <a href="https://en.wikipedia.org/wiki/Hairspray_(musical)" target="_blank">the musical based on the movie</a>, or the <a href="https://en.wikipedia.org/wiki/Hairspray_(2007_film)" target="_blank">movie based on the musical based on the movie</a>. Normally this would be a recipe for disaster, but this story is so rich and music-filled that each iteration works. Despite not looking like the prim and proper skinny girls on her favorite TV show, <i>The Corny Collins Show</i> (think <i>American Bandstand</i>), Tracy wins a spot on the show and begins to dance on TV. She can't understand why her "colored" friends can't be on the show, so she arranges a protest and is promptly thrown in jail. But she gets out, continues towards her goal, wins the boy of her dreams, and achieves racial harmony through dance.*<br /><br /><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBkiiJ6uunX7CUwJIdvXQJARPC_LytNEfMGRwtiujrH-I7BMsUSLeHURiJVkMmY67nUSNS_wBoOt8xbV2jy8Pv3gZp_excixz4vLkq1BEZ2VLa1WUrn1o4p0D1NGBRpkAqKtvSCF8Ha11Wth13ZCLVtRktpVX_KtN1iJ4raOrzlgpSA8fzou3rN7mwMnk/s6507/04-Big-Blonde-and-Beautiful-Nov-23.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4340" data-original-width="6507" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBkiiJ6uunX7CUwJIdvXQJARPC_LytNEfMGRwtiujrH-I7BMsUSLeHURiJVkMmY67nUSNS_wBoOt8xbV2jy8Pv3gZp_excixz4vLkq1BEZ2VLa1WUrn1o4p0D1NGBRpkAqKtvSCF8Ha11Wth13ZCLVtRktpVX_KtN1iJ4raOrzlgpSA8fzou3rN7mwMnk/s320/04-Big-Blonde-and-Beautiful-Nov-23.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Deidre Lang as Motormouth Maybelle (photo by Jeremy Daniel)</td></tr></tbody></table>Who knew that <a href="https://en.wikipedia.org/wiki/Hairspray_(musical)" target="_blank">2002 Broadway musical</a> based on a <a href="https://en.wikipedia.org/wiki/Hairspray_(1988_film)" target="_blank">1988 movie</a> set in 1962 would still be so relevant in 2024. Tracy Turnblad is a heroine for the ages, proving that a young woman who doesn't meet society's standards of beauty can live a happy and fulfilling life, fall in love, and enact social change (all while dancing and singing!). And more than 60 years after the fictional events of the show take place, we are still traveling that road towards racial equality. Protests are still a major tool for achieving a more just world, and we've seen a lot in the last few years, bringing an even greater poignancy to the song "I Know Where I've Been." Lyrics such as "there's a road we've been traveling, lost so many on the way" and "there's a struggle that we have yet to win" mean even more today.*</div><div><br /></div><div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggeKQLaKiwwGdfHuRzZ6CqZZcHy4nAq9T9eAcYTey25cNasADrzYHpg_Nv6qYEn-N6ecuSZhyHY2R0SxdWExy9iKdzpo7UU8rykcIhjTQj_HkxPXmH2bVAaD-zhf6cnGXx3z1j72IaGfe2Ay2aOhzNmVwMr5enkvEHUaj1II_PyX_TnqQ9j3w0QT9kWwE/s7761/07-Timeless-to-Me-Nov-23.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="5176" data-original-width="7761" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggeKQLaKiwwGdfHuRzZ6CqZZcHy4nAq9T9eAcYTey25cNasADrzYHpg_Nv6qYEn-N6ecuSZhyHY2R0SxdWExy9iKdzpo7UU8rykcIhjTQj_HkxPXmH2bVAaD-zhf6cnGXx3z1j72IaGfe2Ay2aOhzNmVwMr5enkvEHUaj1II_PyX_TnqQ9j3w0QT9kWwE/s320/07-Timeless-to-Me-Nov-23.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Edna and Wilbur (Greg Kalafatas and Ralph Prentice Daniel)<br />(photo by Jeremy Daniel)</td></tr></tbody></table>This new tour uses the same scenic and costume design (by David Rockwell and William Ivey Long), and employs a new director and choreographer but based on the original (why mess with Tony-winning success?). The design is colorful and kitschy, with layers and layers of curtains and drops, some 2D Baltimore rowhouses, and a few cute little platform sets rolled out for the Turnblad house and other locations. Costumes are a bright colorful 1960s dream, the wigs higher than gravity allows. The '60 style dancing is so infectious, it's hard to sit still in ones seat, and the score is fun, fast, and endlessly singable. Don't worry, there's a chance to sing and dance post curtain call.</div><div><br /></div><div>This fantastic touring cast is led by the effervescent Caroline Eiseman, performing with boundless energy as Tracy. The other star of the show is Greg Kalafatas as Tracy's mom Edna, the heart of the show. Ralph Prentice Daniel completes this sweet and supportive family of three (the Edna/Wilbur duet "Timeless to Me" a charmer). Other highlights include Skyler Shields as a swoon-worthy Linc (his Austin Butler looks working for him in the Elvis-esque numbers), Scarlett Jacques as Tracy's adorkable bestie Penny, Josiah Rogers as a super smooth Seaweed, Kaila Simone Crowder with tons of spunk as Little Inez, Deidre Lang bringing down the house as Motormouth Maybelle, and scene stealers Micah Sauvageau and Emmanuelle Zeesman in multiple comic roles.</div><div><br /></div><div>The story moves briskly and smoothly through a few days in the lives of these endearing Baltimoreans, problems fixed in the blink of an eye. If only we could heal our divisions by singing, dancing, and laughing together. But maybe it's a start.</div><div><br /></div><div><a href="https://ordway.org/events/hairspray/" target="_blank">See <i>Hairspray</i> at the Ordway now through March 17 only</a>.</div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwqMtprsp2wqT3ApEuF1A16RFQrT7adWM6MYkocd_gJq_mfNQ_jVgPwkdkdpUBtvG2aRPnjOgnSvIF5IBzsJCoNi8IoDQlnrhmwqzjetFA9pgRIRxPrT7pyQmkfMcTmvAGBepu9ikT25rG3TJK_eOnb8IBSu3AqgFXbmOnxClda87KheizJIWKHiFScsI/s6352/01-You-Cant-Stop-the-Beat-Nov-23.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3936" data-original-width="6352" height="248" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwqMtprsp2wqT3ApEuF1A16RFQrT7adWM6MYkocd_gJq_mfNQ_jVgPwkdkdpUBtvG2aRPnjOgnSvIF5IBzsJCoNi8IoDQlnrhmwqzjetFA9pgRIRxPrT7pyQmkfMcTmvAGBepu9ikT25rG3TJK_eOnb8IBSu3AqgFXbmOnxClda87KheizJIWKHiFScsI/w400-h248/01-You-Cant-Stop-the-Beat-Nov-23.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">it's true, you <i>can't</i> stop the beat! (photo by Jeremy Daniel)</td></tr></tbody></table><br /><div><br /></div><div><div><br /></div><div>*<a href="http://www.cherryandspoon.com/2015/08/hairspray-at-artistry-formerly-known-as.html" target="_blank">Some text borrowed from my reviews of previous productions</a>.</div></div>jillhttp://www.blogger.com/profile/07664672492793582621noreply@blogger.comtag:blogger.com,1999:blog-2620696251964783075.post-10397448863949207562024-03-10T15:18:00.001-05:002024-03-10T15:33:47.653-05:00"Radiant Vermin" at Lyric Arts<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrmSPJa-4lnWpUuNV-Fun6tCbrA79aYBG-Rc9fudlO0aBTdVZDJwdKfScKmWk1C-cW1qvRbqVxKzIiTveEsRIZ4Qe1F43fZ-MPNhWB1iTIuk35QhOyqeFDAXQ_w0wofS75CiFxDxjchTGvntcK1QsniMy16jDPIQDKFx92P1-1KcK2ATuE8VSAAxrmOXs/s2484/vermin.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="2484" data-original-width="1604" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrmSPJa-4lnWpUuNV-Fun6tCbrA79aYBG-Rc9fudlO0aBTdVZDJwdKfScKmWk1C-cW1qvRbqVxKzIiTveEsRIZ4Qe1F43fZ-MPNhWB1iTIuk35QhOyqeFDAXQ_w0wofS75CiFxDxjchTGvntcK1QsniMy16jDPIQDKFx92P1-1KcK2ATuE8VSAAxrmOXs/s320/vermin.jpg" width="207" /></a></div>"We are thrilled to have you join us on this wildly dark, complex, and comedic ride... This show touches on a variety of intricate themes that include the unhoused, gentrification, myths surrounding the middle class, religious trauma, morality, and so much more. While I could try to explain further, it's better not to give too much away and just let you experience the journey." This note in the program from director Callie Aho pretty much sums up everything that can be said to someone considering seeing Lyric Arts' production of <i>Radiant Vermin</i>. The premise of the smart, funny, and super dark three-person play is so outrageous, I can't even begin to talk about it without spoiling the experience of seeing this play. But I will add that the direction, acting, and design are spot-on, so if any of the above sounds intriguing to you, I highly encourage you to <a href="https://www.lyricarts.org/radiant-vermin" target="_blank">head up to Anoka to see this play before it closes on March 24</a>.<span><a name='more'></a></span><div><br /></div><div><i>Radiant Vermin</i> was written by English playwright Philip Ridley, with whom I thought I was unfamiliar, but as it turns out I have seen one of his plays - the devastatingly beautiful <i><a href="http://www.cherryandspoon.com/2018/12/vincent-river-at-crane-theater.html" target="_blank">Vincent River</a></i>, produced about five years ago by unfortunately short-lived theater company Arrow Theater. That play features a mother grieving her gay son who was killed in a hate crime, and this play is also dark and deals with relevant themes, but is also shockingly funny. In it, married couple Jill and Ollie tell their story directly to the audience, often correcting or prompting each other. Why they're doing so will become clear later in the story, but for now we follow on their journey as they are given a fixer-upper home as part of a new government program. (Note: if someone offers to give you a house for free, just say no.) Jill is pregnant, so they scurry to renovate their new home before baby Benji arrives. But since they have to pay for the renovations themselves, they need to find creative ways to make it happen. They do, and they are thrilled with the results, until they find themselves in way over their heads (in a Macbethian sort of way).</div><div><br /></div><div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmWCKiwWqFGg4iIO4E0dPlP9R7qEg8iqsF3VdPJ8r917h86V29VQ7djt-xc3WyxGQkljCBgSqmndWCxo3MHU_jMKrgTxQPXLIR3I_n8q6VsnQcpvW0XjHMnCgcESKywlJog9cd90vMwefU8Xe5CnFoWAS5h1U7NIp8zzb0LafsJwa0zda5z9dHGXId9y0/s5963/LyricArts_RadiantVermin-3.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3975" data-original-width="5963" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmWCKiwWqFGg4iIO4E0dPlP9R7qEg8iqsF3VdPJ8r917h86V29VQ7djt-xc3WyxGQkljCBgSqmndWCxo3MHU_jMKrgTxQPXLIR3I_n8q6VsnQcpvW0XjHMnCgcESKywlJog9cd90vMwefU8Xe5CnFoWAS5h1U7NIp8zzb0LafsJwa0zda5z9dHGXId9y0/s320/LyricArts_RadiantVermin-3.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Callie Baack and Noah Hynick (photo by Molly Weibel)</td></tr></tbody></table>Directed by Callie Aho, this three-person cast really is fantastic in making the audience like these characters, despite their questionable choices. The play is well-staged, utilizing all parts of the two-level set that looks like a house under construction, unfinished walls, plastic tarps, and a movable metal staircase (scenic design by Cory Skold). New-to-me actor Callie Baack, along with Noah Hynick, who has previously appeared in a few Lyric shows, are so fun to watch in this fourth-wall breaking script, really believable as this couple just trying to make a nice home for their family. And they speak in delightful British accents, as well as voice other characters in the story, including one frenzied scene towards the end of the play in which the couple hosts a garden party and the whole neighborhood shows up - Jill/Callie and Ollie/Noah playing everyone. Rounding out the cast is Danielle Krivinchuk, who is also excellent and beautifully accented as two very different characters.<br /></div><div><br /></div><div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrsEdqHs9JBn7POUWnDBXc9yni2ZR-xXnebv8DHQ6oJckxNZIhG50LuPz5J5ra6njvZK-kz4IEnrt4fNQiXnywiUYx8DIZdCtVptp1tbIfXYiwBKHGqr5Ihhe875xp7z3vx28ZTr45tlNSqpsypOyiC0KE3_IQ5LKnXL0bHv4jdokrLa0BHyVwp55IPdk/s5403/LyricArts_RadiantVermin-2-15.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3602" data-original-width="5403" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrsEdqHs9JBn7POUWnDBXc9yni2ZR-xXnebv8DHQ6oJckxNZIhG50LuPz5J5ra6njvZK-kz4IEnrt4fNQiXnywiUYx8DIZdCtVptp1tbIfXYiwBKHGqr5Ihhe875xp7z3vx28ZTr45tlNSqpsypOyiC0KE3_IQ5LKnXL0bHv4jdokrLa0BHyVwp55IPdk/s320/LyricArts_RadiantVermin-2-15.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">the house (photo by Molly Weibel)</td></tr></tbody></table>Without giving anything away, there are some supernatural elements to the story, in which the lighting and sound design (by Shannon Elliott) play a part. Doors open and close on cue as if by magic, and there's a definite creepy feeling as unexpected things happen.</div><div><br /></div><div>There was a pretty small audience on the Saturday night performance I attended, and this show deserves as big of an audience as Lyric's well-done and popular musicals. <i>Radiant Vermin</i> is a rarely done play by a playwright not often produced in the U.S. (read more about Philip Radley in my fellow Twin Cities Theater Blogger Keith's review over at <a href="https://lifeinrevue.blogspot.com/2024/03/radiant-vermin-lyric-arts.html" target="_blank">Life in Revue</a>, as someone more familiar with his work). It asks difficult questions, like what would you do to get what you want, or provide for your family? And what happens to the people who get in the way of that? Questions about consumerism, greed, "keeping up with the Joneses," when is enough enough? Head to Anoka for a whirlwind 100 minutes (no intermission) that asks these questions in a darkly funny and entertaining way, without offering easy answers.</div>jillhttp://www.blogger.com/profile/07664672492793582621noreply@blogger.comtag:blogger.com,1999:blog-2620696251964783075.post-74566817057424548692024-03-10T08:28:00.009-05:002024-03-15T16:51:17.385-05:00"The Curious Incident of the Dog in the Night-time" at Lakeshore Players Theatre<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNlpDmRfX-06hSWBFbuztaChPQIgKCzOpNlp5bhm6n_6EicR_AmSNDCOV-BeEH8qf2UdjECKEG6whPhidPUqBlAtOm1oVqP2PAP6NW-RG9uKgKEtjckSogOJqkxImqCc_7na50AD24nbPNiPy5IBPK0NWiCs7FS6Bqfyd7ONupch70ROyC-370CbQVA3A/s3004/curious.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3004" data-original-width="2268" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNlpDmRfX-06hSWBFbuztaChPQIgKCzOpNlp5bhm6n_6EicR_AmSNDCOV-BeEH8qf2UdjECKEG6whPhidPUqBlAtOm1oVqP2PAP6NW-RG9uKgKEtjckSogOJqkxImqCc_7na50AD24nbPNiPy5IBPK0NWiCs7FS6Bqfyd7ONupch70ROyC-370CbQVA3A/s320/curious.jpg" width="242" /></a></div><p></p><p>To continue Lakeshore Players Theatre's ambitious 71st season, which began with the regional premiere of the smart, poignant, relevant play <i><a href="http://www.cherryandspoon.com/2023/08/what-constitution-means-to-me-at.html" target="_blank">What the Constitution Means to Me</a></i>, they're presenting the 2015 Tony-winning Best Play <i>The Curious Incident of the Dog in the Night-time</i>, about an autistic boy who goes in search of the truth about a dog and finds the truth about himself. It's a really lovely production of this cleverly constructed and moving play, with a strong ensemble cast and inventive design, that makes you feel all the feels. But it's only running for two weekends, so <a href="https://www.lakeshoreplayers.org/the-curious-incident-of-the-dog-in-the-night-time" target="_blank">head to charming White Bear Lake to experience this <i>Curious Incident</i> through March 17</a>. And then get ready for <a href="https://www.lakeshoreplayers.org/subscribe2024" target="_blank">the conclusion of this exciting season</a> with the rarely done solo play <i>I Am My Own Wife</i>, a for-kids production of <i>Pinocchio</i>, and the hilarious social satire musical <i>Urinetown</i>. Good things are happening out here in the suburbs.<span></span></p><a name='more'></a><p></p><p>The hero of our story (based on the 2003 novel of the same name) is 15-year old Christopher, who lives in Swindon, England, about 80 miles west of London (note: this production does not use British accents, which is a bit disconcerting at times when they use British slang, but in general does not detract from the storytelling). The titular incident is when Christopher finds his neighbor's dog murdered, stabbed with a garden fork (which is British for pitchfork). He is greatly disturbed, and vows to find out who the murderer is, even though it means leaving his comfort zone and talking to his neighbors. His mother died two years ago so he lives with his father, who tells him to drop it and not make trouble. But Christopher continues with his investigation, which leads to uncovering not only what happened to the dog, but even more pivotal truths about himself and his family. He successfully travels to London on his own, despite the overwhelming stimuli for a boy with his condition, and eventually returns home to take a special test in maths (which is British for math). Through his adventures Christopher finds that he's more capable than he thought he was, and as able to grow and learn as anyone.*</p><p></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFEAg1lACPId9vYM0qqz-baJ_dbfOkkaZWHSVP1l5NtxqqBdiM5gZzj67YN8WneylHTGk1Irs7bzF_qDbD9dwdToY-gPX-_4SSsqHfLXC5h4kcW3ZEyDiBjCmX2CHPi3dJhp_U0X0DySnmpmDPnUXOIXPPGojoAiWOLZaZPp80DdP2IJV5OIfbmKMGeEw/s5422/Sobbotka%20Photography_%20Curious%205.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3615" data-original-width="5422" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFEAg1lACPId9vYM0qqz-baJ_dbfOkkaZWHSVP1l5NtxqqBdiM5gZzj67YN8WneylHTGk1Irs7bzF_qDbD9dwdToY-gPX-_4SSsqHfLXC5h4kcW3ZEyDiBjCmX2CHPi3dJhp_U0X0DySnmpmDPnUXOIXPPGojoAiWOLZaZPp80DdP2IJV5OIfbmKMGeEw/s320/Sobbotka%20Photography_%20Curious%205.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Siobhan (Katie Rowles-Perich) and Christopher (Jackson Hoemann)<br />(photo by Sobbotka Photography)</td></tr></tbody></table>The story is told through Christopher's school counselor Siobhan reading a book he wrote about his experiences, while we see some of the scenes acted out. There's even reference to the school making his book into a play, which results in some fun fourth-wall breaking and several meta layers of storytelling.* Under the direction of Kivan Kirk, the strong 13-person cast handles this complex storytelling well, in fact they excel at it. Most of the cast remains on stage for most of the show, observing, dressed in neutral grays, donning a costume piece or two and jumping in to play a role when called upon. It has a charming "we're all in this together putting on a show" kind of feel, and also features some physicality and movement that aids in the storytelling (movement director Caitlin Sparks)<p></p><p></p>Jackson Hoemann is so good as Christopher, conveying his matter-of-fact way of seeing the world, his confusion when he encounters things he doesn't know, and his curiosity in discovering the way the world works. Katie Rowles-Perich portrays his teacher Siobhan as someone with great empathy and patience for her student, and the two have a palpable trust and connection. Dan Brabec and Kamala Stromwall are also great as Christopher's parents, neither of which are entirely likable people, but still we sense that they love Christopher and are trying to do their best to care for him.<p></p><p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCwXMXESUVIQZLTrzJ8wEBF3cVtJxon5cikz8V16FbKX7TEaOGHUOUyBjWOOMB-aPSUdEMWAK7A8-tErRTHNW3x5_HN8N_5rPUHw7Wv-kqSq1pb6XsD8J97tyaXDt4rSnQQMFjEhtnVjd8agzgNNn8ij-aKE14LwmxSfME2lJ62N0Jc5muFHIK_hmJAlk/s7304/Sobbotka%20Photography_%20Curious%201%20.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4872" data-original-width="7304" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCwXMXESUVIQZLTrzJ8wEBF3cVtJxon5cikz8V16FbKX7TEaOGHUOUyBjWOOMB-aPSUdEMWAK7A8-tErRTHNW3x5_HN8N_5rPUHw7Wv-kqSq1pb6XsD8J97tyaXDt4rSnQQMFjEhtnVjd8agzgNNn8ij-aKE14LwmxSfME2lJ62N0Jc5muFHIK_hmJAlk/s320/Sobbotka%20Photography_%20Curious%201%20.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Christopher (Jackson Hoemann) and the ensemble<br />(photo by Sobbotka Photography)</td></tr></tbody></table>The set is comprised of giant Tetris blocks, a reference to Christopher's favorite video game. I've seen <a href="http://www.cherryandspoon.com/search/label/Curious%20Incident" target="_blank">two local productions of this play, as well as the Broadway tour</a>, and I've never seen a Tetris-inspired set before. It's quite ingenious and fun, as the ensemble moves the huge pieces around and fits them together to create different locations, from home to school to train station. But they're not just simple blocks. Some have hidden compartments from which props are pulled, some of them are video screens, some of them are a sort of neon marker board, with objects and locations displayed or drawn on the screens. It's a wonderfully successful design, including lighting and sound, that represents Christopher's unique way of seeing the world, although the manipulation of these large set pieces perhaps contributes to the three-hour runtime of the play. (Scenic design by Brady Whitcomb, lighting design by Alex Clark, costume design by Meghan Kent, sound design by Born into Royalty, original composition by Torgo.)</p><p>I was impressed with Lakeshore's unique staging of this unique play. My one disappointment is that while the script calls for the explanation of a math problem post curtain call, this is the only production I've seen of this play that does not provide said math proof. Apparently there were handouts in the lobby, but I did not see them, and it was not announced in any way. Maybe only math nerds like myself care about this, but when they tell us they're doing to do something and then they don't, it's disappointing. But other than this minor quibble, this is a successful and inventive staging of <i>The Curious Incident of the Dog in the Night-time</i>, of which <a href="https://www.lakeshoreplayers.org/the-curious-incident-of-the-dog-in-the-night-time" target="_blank">only a handful of performances remain</a>!</p><p><br /><br />*<a href="http://www.cherryandspoon.com/2017/11/the-curious-incident-of-dog-in-night.html" target="_blank">Some text borrowed from what I've written about previous productions</a>.</p>jillhttp://www.blogger.com/profile/07664672492793582621noreply@blogger.comtag:blogger.com,1999:blog-2620696251964783075.post-74359577379438891842024-03-09T12:33:00.011-06:002024-03-09T17:45:13.044-06:00"Beautiful: The Carole King Musical" at Chanhassen Dinner Theatres<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtw1tt5kdUMteiR-gLD5iSZ8UI3YUbcX4RXWsN4rVYbN1ecHFRSKrjB6YdO3FmRzGrzkrI-4FEZnML5Ipzhroe08m-jwet79AWREM061CnyBskD6bOTPxxsBy-SMOs1YmTr6CRtH0hYeiwn3avX0qTlulxylsKZeorhfKR5qIdbJ5C9EJk5-0atAQ7c9s/s2452/bt.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="2452" data-original-width="1551" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtw1tt5kdUMteiR-gLD5iSZ8UI3YUbcX4RXWsN4rVYbN1ecHFRSKrjB6YdO3FmRzGrzkrI-4FEZnML5Ipzhroe08m-jwet79AWREM061CnyBskD6bOTPxxsBy-SMOs1YmTr6CRtH0hYeiwn3avX0qTlulxylsKZeorhfKR5qIdbJ5C9EJk5-0atAQ7c9s/s320/bt.jpg" width="202" /></a></div>For their third regional premiere in a row, Chanhassen Dinner Theatres (CDT) is presenting <i><a href="https://chanhassendt.com/beautiful/" target="_blank">Beautiful: The Carole King Musical</a></i>. It's interesting that it follows on the heels of their regional premiere of <i><a href="http://www.cherryandspoon.com/2023/06/jersey-boys-at-chanhassen-dinner.html" target="_blank">Jersey Boys</a></i>, because that 2006 Tony-winning bio-musical about Frankie Valli and The Four Seasons set the standard for the bio-musical and spawned a bunch more of the like, of which <i>Beautiful</i> (premiering in 2014), is one of the better ones. You can definitely see some similarity in structure between the two shows, both feature recognizable hits from the mid 20th Century, and both are really more like plays with music than musicals (most of songs are sung in context - in a studio or at a concert). As Artistic Director Michael Brindisi says, they went from the Jersey boys to the Brooklyn girl. And this first #TCTheater production is big, bold, and yes - beautiful. With an outrageously talented ensemble, super smooth transitions between the many mini scenes and songs, and unstoppable momentum that makes each act of this 2.5-hour-long musical feel like 20 minutes, <i>Beautiful</i> is not to be missed. <a href="http://www.cherryandspoon.com/2023/06/jersey-boys-at-chanhassen-dinner.html" target="_blank">It's playing through the end of September</a> so you have plenty of time to get out to the Western metro for this celebration of one of the most prolific songwriters of 20th Century American popular music.<span><a name='more'></a></span><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">"You've got to get up every morning with a smile on your face, and show the world all the love in your heart." The opening lyrics of prolific songwriter <a href="https://en.wikipedia.org/wiki/Carole_King" target="_blank">Carole King</a>'s "Beautiful" paint a pretty picture, but as we learn in the musical, her real life wasn't always pretty. Pregnant and married at 17, divorced by 26, she still managed to become one of the most successful songwriters of the 20th Century with such well-known hits as "Will You Love Me Tomorrow," "Up on the Roof," "You've Got a Friend," and "Natural Woman." <i>Beautiful - The Carole King Musical</i> tells Carole's life story as she finds her own voice, culminating in her Grammy-winning 1971 solo album <i>Tapestry</i>.* This is where the musical ends, but Carole's life and career continues to this day at 82 years young.</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVdVWGd1Ra6VhAfR-c0lnLzQ2O0ZiVRPQ4s05ayAtd_y8I-LT7y9tfEF2PuE27pB350h77k7PMZBbcHPX2laZceS-EFH_EMeQjTh0x_FxZCbhyl9aTf3hZ4wXfuyOxgWRgz3aOKaFWqKuG4jgpxzbuxQIICy-PvN6jJwRXJ2-7NwDwLZE9zskbNcAQcLA/s2048/CaroleandGerryAtPiano.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1365" data-original-width="2048" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVdVWGd1Ra6VhAfR-c0lnLzQ2O0ZiVRPQ4s05ayAtd_y8I-LT7y9tfEF2PuE27pB350h77k7PMZBbcHPX2laZceS-EFH_EMeQjTh0x_FxZCbhyl9aTf3hZ4wXfuyOxgWRgz3aOKaFWqKuG4jgpxzbuxQIICy-PvN6jJwRXJ2-7NwDwLZE9zskbNcAQcLA/s320/CaroleandGerryAtPiano.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Gerry (Shad Hanley) and Carole (Monet Sabel)<br />in the early years (photo by Dan Norman)</td></tr></tbody></table>We meet Carole sometime in the late '50s when the teenager begins writing songs at the famous "song factory" at 1650 Broadway (near the <a href="https://en.wikipedia.org/wiki/Brill_Building" target="_blank">Brill Building</a>). She marries her boyfriend and songwriting partner Gerry Goffin when she finds herself pregnant, and they score their first big hit with "Will You Love Me Tomorrow" that allows them to quit their day jobs, move to the suburbs, and write songs full time (it's a musical spanning over a decade, so things happen quickly). But Gerry has a wandering eye and a restless spirit, and makes Carole feel like she's not enough. With the support of friends and songwriting rivals Cynthia Weil and Barry Mann, she moves to L.A. with her two daughters and decides to record her own songs, resulting in <i>Tapestry</i> and a concert at Carnegie Hall (and the obligatory apology and closure with her ex). And of course, plenty of familiar songs are peppered throughout the story, over a dozen of Carole's, as well as some by Weil and Mann, each one a crowd-pleaser.*</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">For the first time in his 30+ years at CDT, Michael Brindisi is working with a co-director - his daughter Cat Brindisi. I had the pleasure of interviewing the father-daughter directing duo for the <a href="https://www.facebook.com/TwinCitiesTheaterBloggers" target="_blank">Twin Cities Theater Bloggers</a>' podcast (subscribe to "<a href="https://twincitiestheaterchat.buzzsprout.com/" target="_blank">Twin Cities Theater Chat</a>" on your favorite podcast app to be notified when that episode is released), and it sounded like they were working very well together, each bringing their own strengths (Michael in staging, Cat in working with actors). Judging by the results, it's a successful partnership indeed. The show is crisply staged, with great momentum and flow. The story covers a couple of decades on both coasts, the first act including many performances of songs both by the songwriters and the singers who made them famous, the pieces seamlessly woven together with movement and music. There is much humor, as well as emotional moments, all beautifully packaged in the soundtrack of a generation that these four featured songwriters had such a hand in shaping.</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdH-FrSC8ZgWmn6ztoGpsmbNEdyQoxQ-Vr0eSfZRxFmjDS-P7ezJJ5JkcKhFSPwnck2SCptjdCYsN2_PEqzfiQe3lLTQetE47FA79sKIujaFgXfTXCDI3oZXOZkfFnjM2uC89hB_xh4aS_IwKm4OMs-TEJdfS1VG1R_XBuLsPWbUOpziWVhSEml4cF_u4/s2048/CaroleDonBarryCynthia.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1348" data-original-width="2048" height="211" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdH-FrSC8ZgWmn6ztoGpsmbNEdyQoxQ-Vr0eSfZRxFmjDS-P7ezJJ5JkcKhFSPwnck2SCptjdCYsN2_PEqzfiQe3lLTQetE47FA79sKIujaFgXfTXCDI3oZXOZkfFnjM2uC89hB_xh4aS_IwKm4OMs-TEJdfS1VG1R_XBuLsPWbUOpziWVhSEml4cF_u4/s320/CaroleDonBarryCynthia.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">"You've Got a Friend" - Cynthia (Shinah Hey), Carole (Monet Sabel),<br />Don (Michael Gruber), and Barry (Alan Bach, photo by Dan Norman)</td></tr></tbody></table>This large ensemble cast is overflowing with talent, and the nice thing about this show is that many of them get a chance to shine. But first, this is the Carole King story, and CDT has found a gem of a Carole. NYC-based Monet Sabel is making her #TCTheater debut, but is very familiar with this show; she was a swing for the Broadway production and played the role of Carole on tour and in other regional productions. Her experience with the role is evident in her effortlessness in being Carole and singing her songs. Her voice is warm and rich, and she sings with a depth of emotions, from light-hearted and fun to gut-wrenching drama. She's surrounded by an abundance of local talent, several of them making their CDT debuts. The only thing keeping Gerry from being a completely unlikeable character, as he cheats on and belittles Carole, is Shad Hanley's charm, making it almost understandable why she doesn't kick him to the curb sooner. Shinah Hey and Alan Bach are absolutely delightful as Cynthia and Barry, with a fun chemistry and fantastically unique voices. The always great Kim Kivens is bringing her warmth and humor to the CDT stage for the first time as Carole's mom, and Michael Gruber is lovely as music publisher Don Kirshner. Every single person in the ensemble makes the most of their role(s) small or large, especially CDT fave Tony Vierling and Adam Moen with a showstopping number from The Righteous Brothers, newcomer Quinn Lorez with lush vocals as the lead singer of The Shirelles, and superstar-in-the-making John Jamison II threatening to steal the show every time he opens his mouth as the lead singer of The Drifters.</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;"><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMvwOqU_5AwixkQ_C94ikc42nwDD4wiX2nIzImWto7xMX-qZEwPGBMGfJEfdrbl24Ps0KqCf11RtzffRNzmIn3QmkubvA0ZPzvderstil88289gv0HmWACaxWW9QVPJKnemqpK4_tkHBwCCbkffPVUQ8VazLT6a6kVZeFLGciWs5n4xwOOVTFXz47-Dgs/s2048/LittleEvaHeldByEnsemble.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1701" data-original-width="2048" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMvwOqU_5AwixkQ_C94ikc42nwDD4wiX2nIzImWto7xMX-qZEwPGBMGfJEfdrbl24Ps0KqCf11RtzffRNzmIn3QmkubvA0ZPzvderstil88289gv0HmWACaxWW9QVPJKnemqpK4_tkHBwCCbkffPVUQ8VazLT6a6kVZeFLGciWs5n4xwOOVTFXz47-Dgs/s320/LittleEvaHeldByEnsemble.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Katemarie Andrews as Little Eva with the ensemble<br />(photo by Dan Norman)</td></tr></tbody></table>Even though I was sitting at a table (with my fellow TCTBers) near the back, it still felt like an intimate show that we were all experiencing together. The wide CDT stage is dominated by three circular platforms with stairs, creating a mid-Century mod feel. Period furniture is smoothly moved on and off stage as we change location, including pianos both large and small, which Monet as Carole actually plays on a few occasions. Other times it's Music Director Andy Kust on keys leading the fab ten-piece band visible above the stage, playing songs so much a part of our culture that it's difficult not to sing along. The music and the costumes take us through the '50s and '60s and into the '70s, from full skirts and bobby socks to groovy patterned sheath dresses, with wigs that match the style of the era (love it when curly girl Carole finally "lets her hair do what it wants to do"). Lighting design helps with the transitions and setting a tone, and extends from the onstage panels with different colored shapes and into the audience. I saw the show on International Women's Day, and host extraordinaire Nancy Nelson pointed out that most of the creative team is comprised of women, from co-director Cat Brindisi to scenic designer Nayna Ramey, costume designer Barb Portinga, lighting designer Sue Ellen Berger, and resident choreographer Tamara Kangas Erickson, with some smooth and sharp choreography reminiscent of girl groups and boy groups of the era.</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;"><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNL6wdXLdhS2X-P5Qb3AeJpvjb3oybj6IxKrnNHlkAF6clmWTR_r7M_sL4-cmHtcYK6ZphB4-mnjaCSpMUp3GUkvRHCy6vVPO8d0ZWJ3PsZKKzK8ZB647Xa63Luc0Etra8vJ6-gzZ0YOAT-kHHKdxUdsMQSJYmrWDWRgN6qBgBZmi8czEALqWD_2rjufo/s2048/TheDriftersSilverSuitsEnsemble.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1088" data-original-width="2048" height="170" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNL6wdXLdhS2X-P5Qb3AeJpvjb3oybj6IxKrnNHlkAF6clmWTR_r7M_sL4-cmHtcYK6ZphB4-mnjaCSpMUp3GUkvRHCy6vVPO8d0ZWJ3PsZKKzK8ZB647Xa63Luc0Etra8vJ6-gzZ0YOAT-kHHKdxUdsMQSJYmrWDWRgN6qBgBZmi8czEALqWD_2rjufo/s320/TheDriftersSilverSuitsEnsemble.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">John Jamison II and The Drifters (photo by Dan Norman)</td></tr></tbody></table>Chanhassen Dinner Theatre's regional premiere of <a href="https://chanhassendt.com/beautiful/" style="font-style: italic;" target="_blank">Beautiful: The Carole King Musical</a> is entirely satisfying not just in the fun and familiar soundtrack of the '50s, '60s, and '70s, fabulously performed by the ensemble, but also in the dynamic telling of Carole King's life and work, or at least a part of it. Head to CDT, the best dinner theater around, to see <i>Beautiful</i> this spring, summer, or into September, and then get ready for a holiday favorite - <i>White Christmas</i>.</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div><br /></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiz4yOEJpJLMbl9E25AtHE284NKBCovuuOwj99SdMIVxUM3tSAzvH5-og9f1qkZu2U5ZCnhpD1KU-zEURNB_rYr35D_ZXMRoHdmWIk_WIZcY7tgd-SRnVAO494YoM1bOhH9Fq51LDmY8CWW-AtcMiN3-x03Git5IIl1HnRrOweN4PsoWQuWo_08B211r2k/s1286/IMG_5830.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1286" data-original-width="965" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiz4yOEJpJLMbl9E25AtHE284NKBCovuuOwj99SdMIVxUM3tSAzvH5-og9f1qkZu2U5ZCnhpD1KU-zEURNB_rYr35D_ZXMRoHdmWIk_WIZcY7tgd-SRnVAO494YoM1bOhH9Fq51LDmY8CWW-AtcMiN3-x03Git5IIl1HnRrOweN4PsoWQuWo_08B211r2k/s320/IMG_5830.JPG" width="240" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="text-align: left;">With my fellow </span><a href="https://www.facebook.com/TwinCitiesTheaterBloggers" style="text-align: left;" target="_blank">Twin Cities Theater Bloggers</a><span style="text-align: left;"> at the fun photo booth in the lobby. Watch for their reviews at </span><a href="https://aislesaytwincities.wordpress.com/" style="text-align: left;" target="_blank">Aisle Say Twin Cities</a><span style="text-align: left;">, </span><a href="https://playoffthepage.com/" style="text-align: left;" target="_blank">Play Off the Page</a><span style="text-align: left;">, </span><a href="https://lifeinrevue.blogspot.com/" style="text-align: left;" target="_blank">Life in Revue</a><span style="text-align: left;">, </span><a href="https://thestagesofmn.com/" style="text-align: left;" target="_blank">The Stages of MN</a><span style="text-align: left;">, and </span><a href="https://letteredintheatre.wordpress.com/" style="text-align: left;" target="_blank">Lettered in Theatre</a><span style="text-align: left;">.</span></td></tr></tbody></table><br /> </div><div><br /></div><div><br /></div><div>*<a href="http://www.cherryandspoon.com/2015/11/beautiful-carole-king-musical-at.html" target="_blank">Some text borrowed from my review of the 2015 Broadway touring production</a>.<br /></div>jillhttp://www.blogger.com/profile/07664672492793582621noreply@blogger.comtag:blogger.com,1999:blog-2620696251964783075.post-87953255013602980142024-03-08T15:46:00.004-06:002024-03-08T15:51:00.089-06:00"Wish You Were Here" at Strike Theater<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCrbJEYc_4U89TfmC42jT-ex-wzeoyt_suFjcX0v8KofW1DzxYXZz5F9_BRRZmSXaQWMqL1PvZjbAV6sxM52GcTbefq_rtopK4KZA-FLKWG6J-K6nIoXQBYH9k7CtbW4wQWYFIPNFuhMlVBwIV9atoGbJv2U-K8PcAq8uy4BT3ytU7BjkvrXB0xBMOX7o/s2000/wish.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1000" data-original-width="2000" height="160" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCrbJEYc_4U89TfmC42jT-ex-wzeoyt_suFjcX0v8KofW1DzxYXZz5F9_BRRZmSXaQWMqL1PvZjbAV6sxM52GcTbefq_rtopK4KZA-FLKWG6J-K6nIoXQBYH9k7CtbW4wQWYFIPNFuhMlVBwIV9atoGbJv2U-K8PcAq8uy4BT3ytU7BjkvrXB0xBMOX7o/s320/wish.jpg" width="320" /></a></div>For one weekend only, Strike Theater is bringing back their improvised dramedy show <i><a href="http://www.cherryandspoon.com/2023/03/wish-you-were-here-at-strike-theater.html" target="_blank">Wish You Were Here</a></i>, in which a talented cast of improvisors explore the ideas of grief and loss as a normal part of life. But not in too heavy or sad of a way. It's still very funny and a little goofy, but with a tinge of melancholy and nostalgia as this group of pretend (but maybe also real) friends mourn the pretend death of one of their group. There are only two more performances, so <a href="https://www.facebook.com/events/293407673763788/293407680430454/" target="_blank">head to Strike in Northeast Minneapolis tonight or tomorrow night for this bittersweet, funny, and original show</a>. Visit their website for info on all of the comedy, storytelling, and spoken word shows and classes they offer, and mark your calendars for the return of <a href="http://www.cherryandspoon.com/search/label/Great%20Improvised%20Bake%20Off" target="_blank">my favorite Strike Theater show</a> - <i><a href="The Great Strike Theater Improvised Bake Off" target="_blank">The Great Strike Theater Improvised Bake Off</a></i> - on April 21 (yes, they actually bake live in front of you!).<span><a name='more'></a></span><div><br /></div><div><div>At each one of the three performances, a different member of the nine-person troupe "dies" (coincidentally I saw the same deceased <a href="http://www.cherryandspoon.com/2023/03/wish-you-were-here-at-strike-theater.html" target="_blank">as I did last year</a> - the always funny Madde Gibba). The show opens with this person solo onstage in a scene from the past. In the next scene, a group of friends (Rita Boersma, Molly Chase, Shanan Custer, Eric Heiberg, Katy Kessler, and Javier Morillo at the show I attended, but the rotating cast also includes Duck Washington and Sam Landman) gather for her memorial. We then alternate between scenes of the past, the deceased paired with a different member of the group, and the memorial in the present. It's partly just normal funny friend party chatter, and also partly reminiscing about the friend they miss (who in this show had a weird obsession with people looking her in the eyes while she ate, and talking about the sadness of Christmas). We never really find out how she died, or how exactly these people are related, but the sense of love and loss is evident.*</div><div><br /></div><div>This incredible troupe of improvisors all seem so natural, with nothing forced or fake, like we're just eavesdropping on a real group of friends as they talk about their friend, the past, and their current lives. Mike Fotis directs the piece and controls the lighting and projections, deciding when scenes should end and the next one, sometimes with a prompt, begins* (with great melancholy music played between scenes). The show is about an hour long and goes by way too fast; I wanted to spend more time with this oddly endearing group of people, and the characters and relationships that were developed live from scratch right in front of us.</div></div><div><br /></div><div><a href="https://www.eventbrite.com/e/wish-you-were-here-tickets-845094629787" target="_blank">Click here to purchase $15 tickets to the show this Friday or Saturday night</a>, or just show up for a night of laughter with a touch of sadness, like life.</div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhepZ6Qr4o9YxE3U-FFneSh4XuwNgFTUDYGrtleS9cXf0XSveCfJrkjAFqa6NSFuOmLOFUv-UdVUVBIJTBdFJDXX8b_dsKyhT_HK_xSIQH5_eAm0X4Ju1MdWblvG_Y8q0NpeHbTxhL7nJ1lHJ8XR3Ip6Pm9xRHs2LOTc4GtS0L2RgbR1n_22XWNy7gianU/s4032/wish2.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3024" data-original-width="4032" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhepZ6Qr4o9YxE3U-FFneSh4XuwNgFTUDYGrtleS9cXf0XSveCfJrkjAFqa6NSFuOmLOFUv-UdVUVBIJTBdFJDXX8b_dsKyhT_HK_xSIQH5_eAm0X4Ju1MdWblvG_Y8q0NpeHbTxhL7nJ1lHJ8XR3Ip6Pm9xRHs2LOTc4GtS0L2RgbR1n_22XWNy7gianU/s320/wish2.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">photo by Mike Fotis</td></tr></tbody></table><br /><div><br /></div><div><br /></div><div>*<a href="http://www.cherryandspoon.com/2023/03/wish-you-were-here-at-strike-theater.html" target="_blank">Some text borrowed from my review of last year's show</a>.</div>jillhttp://www.blogger.com/profile/07664672492793582621noreply@blogger.comtag:blogger.com,1999:blog-2620696251964783075.post-4613233993661325652024-03-06T18:18:00.010-06:002024-03-06T18:20:49.831-06:00Musical Mondays at LUSH, March 2024<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHspdFYVoOv2g6kUeUQoI9NZ_2HaC-sg1XxdzgiNutef48VVqFGr0dSPhLm_1gcQsEdpDRarX9qprwmRTjA_al13HQ0iNXD14dl4DjUP4CXuaDkWAz2AxwKda6KpEBc7kWX3oYlEGap0CBkiu7ueBmYsF6NQLu2He5Q0jGXt-Ia1HYmZrjdc1bYboVYjk/s960/mm%20(1).jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="960" data-original-width="960" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHspdFYVoOv2g6kUeUQoI9NZ_2HaC-sg1XxdzgiNutef48VVqFGr0dSPhLm_1gcQsEdpDRarX9qprwmRTjA_al13HQ0iNXD14dl4DjUP4CXuaDkWAz2AxwKda6KpEBc7kWX3oYlEGap0CBkiu7ueBmYsF6NQLu2He5Q0jGXt-Ia1HYmZrjdc1bYboVYjk/w200-h200/mm%20(1).jpg" width="200" /></a></div>This is your regular reminder that if you're not at LUSH Louge & Theater on the first Monday of the month, you're missing some fabulous music-theater entertainment! Earlier this week Max Wojtanowicz hosted the 94th Musical Mondays, featuring some super talented local singer/actor/performers. The good news is that if you missed it, you can catch the next one on April 1 (no foolin'). Just follow them on <a href="https://www.facebook.com/MusicalMondaysAtLUSH" target="_blank">Facebook</a> or <a href="https://www.instagram.com/musicalmondaysatlush/" target="_blank">Instagram</a> for all the deets. <span><a name='more'></a></span><p></p><p>The talented five-person cast performed solos, duets, and group numbers (accompanied by Bob Kelly on keys, Kyle Baker on bass, and Beth Varela on drums). The fun part of Musical Mondays is that they get to choose what they want to sing, which allows us to get to know them a little, and typically see them perform something they might not otherwise be able to. (The other fun part of Musical Mondays is the people watching - the audience is chock full of #TCTheater artists, which warms the heart at how supportive this community seems to be.)</p><p>Here are March's artists, as well as where you can next see them:</p><p></p><ul style="text-align: left;"><li>Annika Isbell - she's wide open (somebody please cast her, she was so fantastic in <i><a href="http://www.cherryandspoon.com/2024/01/crazy-for-you-at-artistry.html" target="_blank">Crazy for You</a></i> at Artistry!)</li><li>Bradley Johnson - with The Forge Series (more on that a bit later)</li><li>Maggie Mae Sulentic - set building for Coachella?!</li><li>Lisa Vogel - in <a href="https://artistrymn.org/thesoundofmusic" target="_blank"><i>Sound of Music</i> at Artistry</a> (directed by Max), opening in April</li><li>Kyle Weiler - directing <a href="https://mnopera.org/season/2023-2024/double-bill/" target="_blank">a pair of one-act operas with Minnesota Opera</a> March 9-23 (<a href="https://twincitiestheaterchat.buzzsprout.com/2150807/14629305-s2e18-mainstage-director-choreographer-dancer-kyle-weiler" target="_blank">listen to my fellow blogger Keith's interview with him on our podcast Twin Cities Theater Chat</a> - available wherever you get your podcasts)</li></ul><p></p><p>And here's the songlist (posted by Musical Mondays on their social media after the show):</p><p></p><ul style="text-align: left;"><li>If You Knew My Story (Bright Star) - all</li><li>The Streets of Dublin (A Man of No Importance) - Kyle</li><li>On My Way (Violet) - Annika</li><li>Anytime (by William Finn) - Bradley</li><li>You Matter To Me (Waitress) - Kyle and Annika </li><li>What More Do I Need (Saturday Night) - Lisa</li><li>Maria (West Side Story) - Maggie</li><li>Who I’d Be (Shrek) - Lisa, Kyle, and Bradley</li><li>What is This Feeling (Wicked) - Maggie and Annika</li><li>The Life I Never Led (Sister Act) - Lisa</li><li>When The Booth Goes Bright (Amelie) - Kyle</li><li>The Man That Got Away (A Star Is Born) - Maggie</li><li>Sexy (Mean Girls) - Annika</li><li>No Time At All (Pippin) - Bradley</li><li>What I Did For Love (A Chorus Line) - all</li></ul><p></p><p>For your suggested $5 donation (which goes directly to the artists), you are entered for a chance to win tickets to a show in town, and lately they've been giving away at least a half dozen pairs of tickets, if not more! Another cool feature is a preview of an upcoming performance, which this month was <a href="https://www.instagram.com/the.forge.series" target="_blank">The Forge Series</a>. I hadn't heard of them before and it sounds super cool - readings of new works of music-theater by local artists. They performed a song from the upcoming <i>The Myth and the Mountain</i>, which they'll be doing at <a href="https://www.illusiontheater.org/the-myth-of-the-mountain" target="_blank">Illusion Theater's space at Center for the Performing Arts on Monday March 11</a>. Color me intrigued.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2iOerB-uM_hAPSo0pyv_lEzvSEHScp2RkWPacNtDhZ5RQgXDYaOGSSFRuK3zMSoEyihFdIM4yG8ELJOEetmgr-KS7RjLbo6aLB8LysPc8LVfXdZ6Ine4vVd0MTMPY5rc0SUGK56qnaPZGwXPwuRfCOsgYJotZBMQa_UB93_z3ebDjlsaSYeF5A6a-Kyo/s3002/IMG_5799.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3002" data-original-width="2562" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2iOerB-uM_hAPSo0pyv_lEzvSEHScp2RkWPacNtDhZ5RQgXDYaOGSSFRuK3zMSoEyihFdIM4yG8ELJOEetmgr-KS7RjLbo6aLB8LysPc8LVfXdZ6Ine4vVd0MTMPY5rc0SUGK56qnaPZGwXPwuRfCOsgYJotZBMQa_UB93_z3ebDjlsaSYeF5A6a-Kyo/s320/IMG_5799.jpg" width="273" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">photo credit: @cherryandspoon Instagram</td></tr></tbody></table>jillhttp://www.blogger.com/profile/07664672492793582621noreply@blogger.comtag:blogger.com,1999:blog-2620696251964783075.post-2533751668830752642024-03-05T15:21:00.004-06:002024-03-05T15:36:41.558-06:00"The Moneylender's Daughter" at Six Points Theater<a href="https://en.wikipedia.org/wiki/The_Merchant_of_Venice" target="_blank"></a><div class="separator" style="clear: both; text-align: center;"><a href="https://en.wikipedia.org/wiki/The_Merchant_of_Venice" target="_blank"></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3Fo05rwxUyh_ksQm6qHnw48EUApNgQSzctf5pTwTHo8uWBVpSwSQeB5zQdjBLpeZVLLkyCRYzyTKMQxuIZSDBUnxo3B1ACr1KDb1vcS3LQRANJEz4T3lUvUhyphenhyphenCZDpTdKHind6UfDUi3w7eNIqfCQlnnrQQEv02XXysjLeeeard_nWXPjaQ_S6EEyG1jc/s3176/daughter.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3176" data-original-width="2357" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3Fo05rwxUyh_ksQm6qHnw48EUApNgQSzctf5pTwTHo8uWBVpSwSQeB5zQdjBLpeZVLLkyCRYzyTKMQxuIZSDBUnxo3B1ACr1KDb1vcS3LQRANJEz4T3lUvUhyphenhyphenCZDpTdKHind6UfDUi3w7eNIqfCQlnnrQQEv02XXysjLeeeard_nWXPjaQ_S6EEyG1jc/s320/daughter.jpg" width="237" /></a></div>Shakespeare's <i><a href="https://en.wikipedia.org/wiki/The_Merchant_of_Venice" target="_blank">The Merchant of Venice</a></i> can be problematic, with its ant-Semitic representation of the greedy Jewish moneylender, yet it also contains the famous "Hath not a Jew eyes... if you prick us, do we not bleed" speech that argues for a shared humanity. In a post-show discussion, Six Points Theater's Artistic Director Barbara Brooks noted that she's interested in depicting the character of Shylock onstage, and how it might be different at a theater that specializes in telling Jewish stories. But since their home stage at Highland Park Community Center is small, they can't really do a large-scale Shakespeare play, so instead <a href="https://www.sixpointstheater.org/the-moneylenders-daughter" target="_blank">they're presenting the world premiere of Brooklyn-based playwright Martin Coren's sequel <i>The Moneylender's Daughter</i></a>. I've only seen <i>The Merchant of Venice</i> once, pre-blog in 2007 (more on that later), so I'm not that familiar with it and pretty much viewed this as a standalone play. If you do have familiarity with the original it might have a deeper meaning, but I still found it to be a fascinating and moving play dealing with issues of identity, family, and the anti-Semitism that unfortunately is still very much a part of our world.<span><a name='more'></a></span><div><br /></div><div><i>The Moneylender's Daughter</i> takes place about a year after the end of <i>The Merchant of Venice</i> and follows five characters from that play. Even if you don't know <i>Merchant</i>, <i>Daughter</i> explains fairly quickly who these people are and what situation we're in. Shylock's daughter Jessica has converted to Christianity and married the Christian Lorenzo, a successful businessman. Shylock's former servant Launcelot now works for Jessica. They're seemingly happy (although there are a few underlying issues in the marriage around Jessica's uncertainty about having children), when Shylock appears at their door, having lost all of his money and friends. Jessica reluctantly agrees to let him stay with them, and convinces her husband by saying she'll teach him about Christianity and they'll look like heroes. But of course, things don't go smoothly. Shylock balks at the instruction, and Jessica finds herself being drawn to her history and culture which she's rejected. Complicating matters is the fact that Antonio, from whom Shylock famously demanded "a pound of flesh" when he couldn't repay his debt, is now the Duke of Venice, in a position of power over them all. And if Shylock and Jessica don't hold to their promise to be "good Christians," the consequences will be dire.<br /><div><div class="separator" style="clear: both; text-align: center;"><br /></div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhc2xT_NlYH98AjLjYsmJ399XzHIsaOoztsi513ED4lDWYCdFWttMo-l1lWXhAEMyMb0sPecyTiyw9jCuxhyphenhyphenbXrXo0QNLcoxZRrBDebZJLcEJ1AA07yq3cs4wzgdSOkZnjc4Z4cKoQYXowOxW3LrUYXqQVcRt83tNhZFmRqPNzGL5TiZTJI50AlKS3VvHs/s6720/Moneylenders%20daughter_03A3622photo%20Sarah%20Whiting.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4480" data-original-width="6720" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhc2xT_NlYH98AjLjYsmJ399XzHIsaOoztsi513ED4lDWYCdFWttMo-l1lWXhAEMyMb0sPecyTiyw9jCuxhyphenhyphenbXrXo0QNLcoxZRrBDebZJLcEJ1AA07yq3cs4wzgdSOkZnjc4Z4cKoQYXowOxW3LrUYXqQVcRt83tNhZFmRqPNzGL5TiZTJI50AlKS3VvHs/s320/Moneylenders%20daughter_03A3622photo%20Sarah%20Whiting.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Shana Eisenberg and Robert Dorfman<br />(photo by Sarah Whiting)</td></tr></tbody></table>JC Cutler directs the strong five-person cast, with Robert Dorfman reprising his role of Shylock, which he played in the aforementioned 2007 production of <i>The Merchant of Venice</i> at the Guthrie. As always, he brings such depth to the role, as well as a touch of humor. Unfortunately I don't recall that production from 17 years ago, and I'm sure Robert brought humanity to that role too, but I think this play allows for a deeper exploration of the character and a fuller humanity expressed. This Shylock is more sympathetic; he did what he did because it was the only option open to him to take care of his family. Shana Eisenberg, in her debut with Six Points, goes toe to toe with Robert as Jessica, and also portrays a convincingly complex and conflicted human, who gets a chance of redemption after her complete rejection of her faith and family in <i>Merchant</i>. Rounding out the cast are Neal Skoy, clowning it up as Launcelot and then becoming something a little more sinister; Paul LaNave in the not entirely sympathetic role of Jessica's husband; and Tony Larkin as the Duke Antonio, whose newfound empathy only extends so far.</div></div><div><br /></div><div>The small stage has been transformed into an ornate Venice mansion on the Grand Canal through Rick Polenek's scenic and properties design. The walls are hung with tapestries, heavy wooden doors bookend the space, and a small cell is hidden behind a curtain and elevated by a few stairs, creating a sense of distance from the rest of the house. A sturdy wooden table is moved around and used as a kitchen or dining room table, or desk for studying. The characters are dressed in elaborate Renaissance era garments, full skirted dresses for Jessica and tunics for the men, both of embroidered fabrics (costume design by A. Emily Heaney).</div><div><br /></div><div>If you're a student or fan of Shakespeare, you'll definitely want to check this out to see an extension of one of his well known plays, that perhaps rights some of the wrongs of the original, allowing the characters to be seen as more than just stereotypes. And even if you're not, <i>The Moneylender's Daughter</i> is a powerful and relevant play, using these characters from the past to comment on our present. It's exciting that we're getting to see it first. The playwright was in town for a talk-back on opening weekend, and he talked about how he collaborated with this cast, director, and others at Six Points to further develop and finalize the play.</div><div><br /></div><div><a href="https://www.sixpointstheater.org/the-moneylenders-daughter" target="_blank"><i>The Moneylender's Daughter</i> continues through March 17 at the Highland Park Community Center.</a> For more information and a peek into the show, watch this video of the actors talking about their characters and the play:</div><div><br /></div><div><br /></div>
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/PTUE1UwNce0?si=01lyDRtGqYoqU41s" title="YouTube video player" width="560"></iframe>jillhttp://www.blogger.com/profile/07664672492793582621noreply@blogger.comtag:blogger.com,1999:blog-2620696251964783075.post-63714104970081222832024-03-03T17:01:00.002-06:002024-03-03T17:17:55.882-06:00"Bear Grease" tour presented by New Native Theatre at Gremlin Theatre<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiCambXbg3woDUDSmLxYsEeXm1xxsDNfxEO39tua8VHQNFMmnYN_oitolbwp3xHwAoWHqvxle2p3W5kSU339QXtSpJTjHito-hglr2AhgKHZnf2FmAKYyFRDtbgo_tTogbxHq2Hl0qxnhAHvTWSVAU8ZWAt4CTQpYKAd1KI2W2_Xp_J4HqxssXD_rTAw8/s2592/Bear-Grease-Poster.png" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="2592" data-original-width="1944" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiCambXbg3woDUDSmLxYsEeXm1xxsDNfxEO39tua8VHQNFMmnYN_oitolbwp3xHwAoWHqvxle2p3W5kSU339QXtSpJTjHito-hglr2AhgKHZnf2FmAKYyFRDtbgo_tTogbxHq2Hl0qxnhAHvTWSVAU8ZWAt4CTQpYKAd1KI2W2_Xp_J4HqxssXD_rTAw8/s320/Bear-Grease-Poster.png" width="240" /></a></div>The Edmonton-based husband and wife duo known as <a href="https://beargreaselive.com/">LightningCloud has created a new version of the classic musical <i>Grease</i></a>. What makes this <i>Grease</i> special is that it stars an entirely Indigenous cast, and has been reworked to reflect the Native experience. <i>Bear Grease</i> has played at the Edmonton Fringe Festival as well as toured around Canada and the US. <a href="https://newnativetheatre.org/bear-grease-comes-to-minnesota/" target="_blank">And now for six performances only, New Native Theatre is presenting it at Gremlin Theatre</a> in St. Paul. The parody hits the highlights of the original, and also incorporates other classic songs of the '50s, as well as rap, hip-hop, and Native-influenced sound. It's a fun mash-up of styles and cultures, but the best part was seeing more Native people than I've ever seen in a theater audience. There were several children in the audience on opening night, and it's so moving to realize that these kids (and grown-ups) are seeing people who look like them, who make references to their culture, singing and dancing and having fun performing in this American pop culture classic.<span><a name='more'></a></span><div><br /></div><div>After some pre-show entertainment, in which co-creator MC RedCloud does a little freestyle rap based on audience prompts, <i>Bear Grease</i> begins with a voiceover, asking us to imagine an alternate reality in which the European colonization of North America never happened. We start out with a few classic songs from the '50s. First the women, and then the men, perform instantly recognizable songs (although not yet from <i>Grease</i>) in the style of girl groups and boy groups of the era, complete with some smooth choreography. Then the story of <i>Grease</i> begins, just skimming over the highlights rather than telling the whole story. We see the "Tell Me More" scene, the boys in the shop scene ("Bear Grease Lighting"), the slumber party, and the final scene with a completely made over Sandy. Sometimes they use the songs from the original (with updated lyrics that reference Native culture), sometimes new songs, and sometimes other songs of the '50s. My favorite and I think the most clever is Danny singing "Hopelessly Devoted to You" in a traditional Native style while playing a traditional drum - the best mash-up of styles and cultures.</div><div><br /></div><div>The ten-person Indigenous cast performs with great energy and enthusiasm, in a sort of campy parody way. Our Sandy and Danny (originally played by the creators, but in this tour embodied by Melody McArthur and Bryce Morin) are particularly great - Sandy that sweet innocent, Danny playing it too cool for school. The costumes are reminiscent of the movie, but with Native touches in the jewelry and footwear. That mix is true throughout the show, in the choreography and the performances. It really feels like a great Fringe Festival mash-up - classic '50s Americana infused with a Native vibe.</div><div><br /></div><div>The show runs about 70-ish minutes with no intermission, and the cast sings and speaks into handheld mics, performing to a recorded track of music with some vocals. There are also some recorded audio bits, of ads and exposition, and some video projection that unfortunately was not working on opening night. It was the first performance of this tour stop, so maybe they didn't get into town soon enough to get all the tech elements set up and working. Hopefully when you see the show, you'll get the full experience (and if you do, let me know what I missed!).</div><div><br /></div><div><i>Bear Grease</i> performs through March 9 only at Gremlin Theatre, with some special theme nights. The cast will also be having a few workshops while they're in town; <a href="https://newnativetheatre.org/bear-grease-comes-to-minnesota/" target="_blank">you can find info about both here</a>.</div>jillhttp://www.blogger.com/profile/07664672492793582621noreply@blogger.comtag:blogger.com,1999:blog-2620696251964783075.post-40885459908735218832024-03-02T10:16:00.001-06:002024-03-02T10:16:15.797-06:00"The Hatmaker's Wife" by Ten Thousand Things at Hennepin Avenue United Methodist Church<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9Fs2mQ0ruBJVxZy5gMZLbr__A4MC82RiJwBhqKaIoBIRw8-5XjUcG_LBJ6agnzswZCbuF1LZgzI2VV7kiG70hWfjpHAm-P51w_VjoP2WZ-Cy4fVANU3RTTi7bBcVkjubB8-kBLk_W5IOAE5ehdmjS7T3IXiP1t-Ne-lWYv9xuK6HqbOpG-FtdRCNg8dc/s2462/hat.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="2462" data-original-width="1515" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9Fs2mQ0ruBJVxZy5gMZLbr__A4MC82RiJwBhqKaIoBIRw8-5XjUcG_LBJ6agnzswZCbuF1LZgzI2VV7kiG70hWfjpHAm-P51w_VjoP2WZ-Cy4fVANU3RTTi7bBcVkjubB8-kBLk_W5IOAE5ehdmjS7T3IXiP1t-Ne-lWYv9xuK6HqbOpG-FtdRCNg8dc/s320/hat.jpg" width="197" /></a></div><div><i>The Hatmaker's Wife</i> by Lauren Yee (whose most recent work produced in #TCTheater was the epic <i><a href="http://www.cherryandspoon.com/2022/06/cambodian-rock-band-by-theater-mu-and.html" target="_blank">Cambodian Rock Band</a></i> by Theater Mu and Jungle Theater) feels like it was written for Ten Thousand Things (it wasn't - it premiered over ten years ago). It's in the vein of <a href="http://www.cherryandspoon.com/2016/05/the-changelings-by-ten-thousand-things.html" target="_blank">their magical fairy tale</a> stories, that I think is my favorite kind of TTT show (even more than their <a href="http://www.cherryandspoon.com/2016/10/pericles-by-ten-thousand-things-at-open.html" target="_blank">clear-eyed Shakespeare</a> or <a href="http://www.cherryandspoon.com/2019/02/into-woods-by-ten-thousand-things-at.html" target="_blank">stripped down musicals</a>). I can't imagine a "normal" theater company doing this play, meaning on a proscenium stage separated from the audience, with fancy lights, sets, and costumes. It's so well suited to the TTT <i><a href="https://shop.mnhs.org/products/all-lights" target="_blank">All the Lights On</a></i> style, weaving a magical and moving tale simply through the talents of the performers and the power of collective imagination (that makes even the aggressively religious paintings in the room at Hennepin Avenue United Methodist Church fade into the background). It's a story of love, and disconnection, and grief, and hope, a wistful and whimsical story of talking walls, golems, and connections across time. These hats continue to sing <a href="https://tenthousandthings.org/our-season/hatmakers-wife/" target="_blank">at Hennepin Avenue United Methodist Church this weekend (with a huge free parking lot) and then will move on to Open Book</a> for two final weekends.<span><a name='more'></a></span></div><div><br /></div><div>The play takes place in the suburbs of NYC in two time periods. Shortly after moving into a new place with her boyfriend, a young woman (known only as Voice) begins to hear the walls talk. The Wall drops pages of a story which she reads, as the story of a hatmaker and his wife, who used to live in this home, unfolds. Hetchman loves his hat more than anything (he hears music when he puts it on), and is sick with grief when the hat disappears. He's less concerned when his wife also disappears at the same time, although he is annoyed there's no one to cook and clean for him. He complains to his friend Meckel, whose loving but not so smart wife died several years ago. Soon a golem (<a href="https://en.wikipedia.org/wiki/Golem" target="_blank">per Wiki</a>, "an animated, anthropomorphic being in Jewish folklore") appears, presumably to help him find lost things (including memories). In the present day, Voice becomes more and more enthralled with the sad story of Hetchman and his wife, who wants more than he can give her, and more and more disconnected with her own life and relationships. Eventually, the two stories come together in a wholly satisfying way, as both protagonists learn about the love that grounds us (literally in this story).</div><div><br /></div><div>Open Eye Theatre's Joel Sass directs the piece, imbuing it with the sense of play and whimsy often seen at his home theater. Even without any lighting or scenic changes, the time shifts are clear and easy to follow, and the story feels both modern and old-timey. Joel also designed the set, such as it is - a ladder in one corner, a comfy old chair and ottoman in the other (where Hetchman spends most of his time), and worn boxes all around the space filled with charming props moved from one place to the next (the most fun: a grabber used by the lazy Hetchman and others). The present day characters are dressed in casual chic clothing, the others dressed in a way that you can tell they're from an unspecified bygone era (costume design by Sonya Berlovitz).</div><div><br /></div><div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUkijeN7x9jxl43VkUiFkFU5cpXvycFhsbIkSgg1Tv1flLbns00WJ_MuGM6OcQ_7H5Xy-BibIVfMg0mSszjPjpt-IMxL52nbHPaYSwNHp86ExIaxW2YRebfPfCDfrXIZu6msCtqmeOhlgjmVw4DOBLae1PUotNLTu1F-htPXWH1LimFke1LOiX9IlRSws/s550/hat2.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="399" data-original-width="550" height="232" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUkijeN7x9jxl43VkUiFkFU5cpXvycFhsbIkSgg1Tv1flLbns00WJ_MuGM6OcQ_7H5Xy-BibIVfMg0mSszjPjpt-IMxL52nbHPaYSwNHp86ExIaxW2YRebfPfCDfrXIZu6msCtqmeOhlgjmVw4DOBLae1PUotNLTu1F-htPXWH1LimFke1LOiX9IlRSws/s320/hat2.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Kimberly Richardson and Jim Lichtsheidl<br />(photo courtesy of Ten Thousand Things)</td></tr></tbody></table>Everyone in the six-person cast is just a joy to watch - up close and personal with nowhere to hide. Michelle de Joya is a wonderfully sympathetic guide through the story as Voice; watching her watch the story is part of the fun. Clay Man Soo is her boyfriend, who can't understand her increasing disconnection. Jim Lichtscheidl and Kimberly Richardson are so delightful as Hetchman and his wife, both with great physicality to their acting that often mirrors one another, creating a believable lived in relationship between them. Pedro Bayon as Meckel is a welcome companion to both Hetchman and his wife, and Tyson Forbes is a great wall, who also physically transforms into a golem, his tall frame hunched over inside a huge furry costume, somehow threatening and adorable at the same time. </div><div><br /></div><div>While Ten Thousand Things doesn't have lighting or big set pieces, they do have sound to help set the tone, create the characters, and define scenes. With longtime resident Music Director Peter Vitale taking a step back, there's been a rotating cast of musicians sitting in the corner, and this time Katherine Fried takes the helm. Utilizing multiple instruments (and occasionally joined by cast members doubling as musicians), she creates a live soundscape that's sweet and hopeful and slightly melancholic, with some fun sound effects that emphasize the odd little bits of the story.</div><div><br /></div><div>As part of Ten Thousand Things' mission, they perform for free in community centers, schools, homeless shelters, and prisons, bringing art to those who don't normally have access to it. Their production of the fairy tale that is <i><a href="https://tenthousandthings.org/our-season/hatmakers-wife/" target="_blank">The Hatmaker's Wife</a></i> is the kind of story that appeals to everyone, with relatable themes told in a fun and whimsical way. It's funny, sad, and sweet, perhaps my favorite combination, and as always uniquely and perfectly executed by the cast and creative team at Ten Thousand Things.</div>jillhttp://www.blogger.com/profile/07664672492793582621noreply@blogger.comtag:blogger.com,1999:blog-2620696251964783075.post-2039981170778822872024-02-29T16:56:00.003-06:002024-02-29T17:03:50.253-06:00"Clue" on tour at the Orpheum Theatre<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJ1ekhNt2Jo9LnuA9d8fpz-6I8mzrWw2wCd8-SvVXueNq4eweEe3Hl-NYToZbECMN-5B-lCZSE6lnl9y4B7XJrMBu0hHVSgcCWsO2AvF795E3gBJGgkJndCEnJn3ZuQ54CH2JHtCGG1xMmmdtEHUEUIGakHy3qgcNuojhuIlocyKsXIi1ktD7hamoQ_7Y/s2468/clueo.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="2468" data-original-width="1535" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJ1ekhNt2Jo9LnuA9d8fpz-6I8mzrWw2wCd8-SvVXueNq4eweEe3Hl-NYToZbECMN-5B-lCZSE6lnl9y4B7XJrMBu0hHVSgcCWsO2AvF795E3gBJGgkJndCEnJn3ZuQ54CH2JHtCGG1xMmmdtEHUEUIGakHy3qgcNuojhuIlocyKsXIi1ktD7hamoQ_7Y/s320/clueo.jpg" width="199" /></a></div>A newish 90-minute non-musical stage adaptation of the <a href="https://en.wikipedia.org/wiki/Clue_(film)" target="_blank">cult classic 1985 movie <i>Clue</i></a> is going on tour, and it's premiering right here in Minneapolis! I'm not a particular fan of this movie, in fact I watched it for the first time just last week (#research). I found the movie to be quite delightful, and the play even more so. First of all, I love a 90-minute show at the Orpheum Theatre, when you don't have to sit through a 20-minute intermission (or worse yet stand in line for the bathroom for 20 minutes), or stay up past 11pm (#morningperson). Secondly, it's a really fun mystery with lots of wordplay, clever nods to the popular board game, and hilarious physical comedy. The 90 minutes are jam-packed with laughs, the mystery part taking a back seat to the entertainment factor. If you're looking for a different kind of tour that's non-musical, short and sweet, and a fun time, <a href="https://hennepintheatretrust.org/events/clue-orpheum-theatre-minneapolis-mn-2024/" target="_blank">check out the premiere of <i>Clue</i> through March 3 only</a>, after which it will embark on a <a href="https://clueliveonstage.com/tour" target="_blank">tour across the country</a>.<span><a name='more'></a></span><div><br /></div><div>The stage play follows the plot of the movie fairly closely. Six strangers show up at a New England mansion, greeted by a butler and maid. It soon comes to light that all of them are being blackmailed, and the owner of the mansion, a Mr. Boddy, has invited them in order to end the blackmail once and for all (or continue it forever). Spoiler alert: Mr. Boddy becomes a body, and more bodies continue to drop. The group bands together to search the house and look for the murderer, while fending off unwelcome visitors. To say more would ruin the delights of watching it all unfold, especially the final reveal which is quite entertaining.</div><div><br /><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwdmC5c4mgJ4RvRniOHrRccRHv94m1xYHbUcof5FEVnzByw1idzWWmMGLMACPKRChvio6P-FJ3PI9nTc2ogGrDp8a0lO8s5iRQnq8YVMGS4u_3AnQriDUBQeSgVlXtP21wnlI7zu4w3Wk25TGOF4YFqwRhDqKT1FF9ACIA9jKH8GTu7_oPstNz8DcK87U/s5712/CLUE_TOUR_EVAN_ZIMMERMAN_5555_v003%20(2).jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3810" data-original-width="5712" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwdmC5c4mgJ4RvRniOHrRccRHv94m1xYHbUcof5FEVnzByw1idzWWmMGLMACPKRChvio6P-FJ3PI9nTc2ogGrDp8a0lO8s5iRQnq8YVMGS4u_3AnQriDUBQeSgVlXtP21wnlI7zu4w3Wk25TGOF4YFqwRhDqKT1FF9ACIA9jKH8GTu7_oPstNz8DcK87U/s320/CLUE_TOUR_EVAN_ZIMMERMAN_5555_v003%20(2).jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">the cast of Clue (photo by Evan Zimmerman)</td></tr></tbody></table></div><div>Casey Hushion directs the play with a great sense of fun, energy, and over the top humor. There's no choreographer or movement director listed, so I guess she's also to thank for the melodramatic movements and little dancing sequences between scenes (to original music composed by Michael Holland). Everyone in this 11-person cast is just fantastic, so playful and present, so specific in their character choices. But the gold star goes to Mark Price as the butler Wadsworth. The role was played by Tim Curry in the movie - big shoes to fill, but he doesn't try to fill them, he makes the role totally his own. He's delightful enough as the prim and proper British butler, leading everyone through the shenanigans, but then he gets to reenact the events of the evening, and it's the comedic highlight of the evening. Also great are Elisabeth Yancey as the French maid Yvette, John Treacy Egan as the charmingly dim Colonel Mustard, Tari Kelly (<a href="http://www.cherryandspoon.com/2015/06/damn-yankees-at-ordway-center.html" target="_blank">Lola in the Ordway's 2015 production of Damn Yankees</a>) as the black widow known as Mrs. White, Joanna Glushak as the not-so-teetotaling Mrs. Peacock, an incredibly nimble John Schartzer as the nervous Mr. Green, Jonathan Spivey as the disgraced doctor Professor Plum, Michelle Elaine as the unashamed madam Miss Scarlett, and Alex Syiek as the Boddy and other bodies.</div><div><br /></div><div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDdJXowxfOsEmRngUj_fSg0AWFmvv5BeNxzklZ8nfTDhfPMlG4QxBIPkVNy_PS07Ji0_CyEtsVjXUnjgLIQYwXlMMltyxSBxZK6ACg7_9qBPyQ1MT5TNYh88y_j9N9hieVHuOQd-cSUYBJZHzTYCqe_3Ioa2LIVGdHlpjWcdx8wv8603wLTM2thAQYzYo/s6431/CLUE_TOUR_EVAN_ZIMMERMAN_5329.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4290" data-original-width="6431" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDdJXowxfOsEmRngUj_fSg0AWFmvv5BeNxzklZ8nfTDhfPMlG4QxBIPkVNy_PS07Ji0_CyEtsVjXUnjgLIQYwXlMMltyxSBxZK6ACg7_9qBPyQ1MT5TNYh88y_j9N9hieVHuOQd-cSUYBJZHzTYCqe_3Ioa2LIVGdHlpjWcdx8wv8603wLTM2thAQYzYo/s320/CLUE_TOUR_EVAN_ZIMMERMAN_5329.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">the cast of Clue (photo by Evan Zimmerman)</td></tr></tbody></table>All nine rooms of the Clue board game are represented in a clever way (even if there was a minor delay due to technical difficulties on press night). The large entrance hall of Boddy Manor has many doors (because in a farce, more doors = more funny), and side panels that open up to reveal other rooms. A few backdrops are lowered to represent even more rooms, with the cast creating a sense of distance as they mime running from place to place, this and other physical comedy well choreographed and well executed. The characters are dressed in '50s era attire, per their named colors but in a not too obvious way (scenic design by Lee Savage and costume design by Jen Caprio).</div><div><br /></div><div>A delightfully fun and entertaining evening at the theater and an early bedtime - what's better than that?! <a href="https://hennepintheatretrust.org/events/clue-orpheum-theatre-minneapolis-mn-2024/" target="_blank">See <i>Clue</i> at the Orpheum Theatre in downtown Minneapolis now through March 3</a>.</div>jillhttp://www.blogger.com/profile/07664672492793582621noreply@blogger.comtag:blogger.com,1999:blog-2620696251964783075.post-81205625648862916812024-02-28T18:02:00.010-06:002024-02-28T18:10:39.510-06:00"On Beckett" at the Guthrie Theater<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsAZOchEpDB9W8iIf0ZNeloWXoP7EIbU7bol45V7Km3p-6wc0VSEn_H2zYSXukem6bm98LAL2NktTsoi56Wxv6x0sWjsPWCFdxNy_JFwdYJecShtpdE46ZgN49qzKVXws3XvlOpMEMMkBqVU7UwRHCnAhNWDO5PBrpSliV4cqqB2v6XDN4RI18jdtdlgs/s2491/beckett.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="2491" data-original-width="1584" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsAZOchEpDB9W8iIf0ZNeloWXoP7EIbU7bol45V7Km3p-6wc0VSEn_H2zYSXukem6bm98LAL2NktTsoi56Wxv6x0sWjsPWCFdxNy_JFwdYJecShtpdE46ZgN49qzKVXws3XvlOpMEMMkBqVU7UwRHCnAhNWDO5PBrpSliV4cqqB2v6XDN4RI18jdtdlgs/s320/beckett.jpg" width="203" /></a></div>Friends, you're in for a treat. If you're an actor, or writer, or poet, or director, or any kind of artist, Bill Irwin's solo show <i>On Beckett</i> should be required viewing. And if you're not an artist, but you love art and listening to artists talk about their work (like me), you're going to love it too. Bill Irwin is a veteran actor of <a href="https://www.imdb.com/name/nm0410347/?ref_=nv_sr_srsg_0_tt_0_nm_8_q_bill%2520irwin" target="_blank">screen</a> and <a href="https://www.ibdb.com/broadway-cast-staff/bill-irwin-4537" target="_blank">stage</a> (he won the 2005 Tony for best actor in a play for <i>Who's Afraid of Virginia Woolf?</i>), as well as a clown, as well as a decades-long student of playwright/author <a href="https://en.wikipedia.org/wiki/Samuel_Beckett" target="_blank">Samuel Beckett</a>. So seeing him in anything is a treat, but seeing him in this very personal piece in which he talks about his love for (and sometimes frustration with) the work of Beckett is a rare delight. Whether or not you're familiar with Beckett (I'd only seen his most famous play, once), <i>On Beckett</i> is a riveting 90 minutes spent with a talented and passionate artist. <a href="https://www.guthrietheater.org/shows-and-tickets/2023-2024-season/on-beckett/" target="_blank">See it at the Guthrie now through March 24</a>.<span><a name='more'></a></span><div><br /></div><div>Bill Irwin created and performs this piece, which premiered at Irish Repertory Theatre in 2018 (and is produced by Octopus Theatricals). He begins the show speaking directly the audience (literally - I was sitting in my front row center subscriber seat in the proscenium theater and he looked me right in the eye on several occasions!). He explains what the evening will be - performances of short pieces by Beckett (both from his prose writing and his plays), interspersed with commentary on what it means to him. And while the absurdist Irish playwright who wrote in French and then translated back to English can be intimidating, Bill Irwin is anything but. He's so charming and disarming, often genuinely reacting to audience reactions, that it's a pleasure to go on this ride with him.</div><div><br /></div><div>Bill said that he's drawn to Beckett's work, he can't escape it. One of the reasons why is that he writes in a stream of consciousness way that sort of sounds like the voices in our heads. He performs the work so wonderfully, imbuing every syllable with meaning, making it I'm sure much more meaningful than if I were to simply read the words to myself. He also uses his clowning skills to great effect (did Beckett write for clowns? good question.). Each piece is performed as a different character, with different physicality, different voice, different way of wearing clothes. Every movement is deliberate and meaningful, yet feels so organic and right. About halfway through he puts on the baggy pants, then the big shoes, and we get into some serious clowning. </div><div><br /><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRaAjNCL4ZJpIBDalfuNaWnlvWvksv9KcMlTk5yp62-wr8CGPc1l3wa7fOIlRUAQ53KZZoabMsYYZNMxo84DdMF7wcmR9XyLSkoCulQX6F4rIcZLKvrIiUo1FinidNSHsBRsgntx_cweq68SbMhTy2aEyzH_DBD17VPqUrWeXrm4g0JPw2TxUWPLKRVvw/s1040/beckett_1040x585_pdp1.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="585" data-original-width="1040" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRaAjNCL4ZJpIBDalfuNaWnlvWvksv9KcMlTk5yp62-wr8CGPc1l3wa7fOIlRUAQ53KZZoabMsYYZNMxo84DdMF7wcmR9XyLSkoCulQX6F4rIcZLKvrIiUo1FinidNSHsBRsgntx_cweq68SbMhTy2aEyzH_DBD17VPqUrWeXrm4g0JPw2TxUWPLKRVvw/s320/beckett_1040x585_pdp1.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Bill Irwin (photo by Craig Schwartz)</td></tr></tbody></table></div><div>It's evident that Beckett's language has seeped into Bill's brain, because even as himself he has a unique and amusing way of speaking that sounds a bit Beckettesque. It's so fascinating to listen to him talk about what this works means to him as an actor, and wrestle with the meaning of it. It's reassuring that even he hasn't figured Beckett out, and maybe that's not the point. <i>On Beckett</i> is like a Master Class on acting, art, and life.</div><div><br /></div><div>Bill performs on a black stage, bare except for two black boxes - one long like a bench, one standing up like a podium. He has a few hidden props that aid in his storytelling. He begins dressed in a simple black suit and white shirt, but adds hats (they must be bowler) and other clown accoutrements as he creates the different characters. The lighting changes between fully lit when speaking as Bill, to dramatic lighting during the performances of the half dozen or so pieces. (Scenic design by Charlie Corcoran, costume consultant Martha Hally, lighting design by Michael Gottlieb.)</div><div><br /></div><div>Bill Irwin has <a href="https://www.ibdb.com/broadway-cast-staff/bill-irwin-4537" target="_blank">IBDB</a> and <a href="https://www.imdb.com/name/nm0410347/?ref_=nv_sr_srsg_0_tt_0_nm_8_q_bill%2520irwin" target="_blank">IMDb</a> credits a mile long, but I know him as the Flying Man from two episodes of my favorite show <i>Northern Exposure</i> (recently released for streaming on Amazon Prime). This role must have been written for him, because it so perfectly fits his skills. He plays a circus performer who doesn't speak, not because he can't, he just doesn't. So he communicates only with gestures and facial expressions, and is perfectly understood by Marilyn, who is relatively taciturn herself. It's such a beautiful performance, as the Flying Man wordlessly woos Marilyn, and is heart-broken when she won't leave Cicely to be with him. He conveys everything without a word.</div><div><br /></div><div>As experienced through Bill Irwin, Samuel Beckett's work is deeply profound and wonderfully silly. I don't think this show will lead me to read any of his work, because that sounds hard, but I definitely want to see more of it on stage. I've only seen his most famous work <i>Waiting for Godot</i> once, at the <a href="http://www.cherryandspoon.com/2012/09/waiting-for-godot-at-jungle-theater.html" target="_blank">Jungle Theater in 2012</a> starring Jim Lichtsheidl and Nathan Keepers, two of my favorite local clowns. I would love to revisit it after seeing <i>On Beckett</i> and having a bit more insight into this "booger of a play."</div><div><br /></div><div>And that, dear readers, is all I can have had to say about it. Now it's up to you to <a href="https://www.guthrietheater.org/shows-and-tickets/2023-2024-season/on-beckett/" target="_blank">go see and experience it for yourself</a>.</div>jillhttp://www.blogger.com/profile/07664672492793582621noreply@blogger.comtag:blogger.com,1999:blog-2620696251964783075.post-5326473961613922532024-02-27T17:23:00.002-06:002024-02-27T17:28:24.427-06:00"Wine in the Wilderness" at Penumbra Theatre<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNYkCRMAU3uhLOEHbuEEYqP0S0i5wfdokbX7umPXlMv7gzLv8_y-uK9S9agHwZUz8vtSI67Ao0hv7HZqmL1JnpeYzCldSHOmXrE8_FPgofHxZLrUkGw_t9MLJX4EbJHZDGvYjuTp1RrH9ofJaND4Fs2KB3y3jtbKPeYF3tHHJw9wsPk4FgAKmS7WTSqFc/s2402/wine.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="2402" data-original-width="1943" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNYkCRMAU3uhLOEHbuEEYqP0S0i5wfdokbX7umPXlMv7gzLv8_y-uK9S9agHwZUz8vtSI67Ao0hv7HZqmL1JnpeYzCldSHOmXrE8_FPgofHxZLrUkGw_t9MLJX4EbJHZDGvYjuTp1RrH9ofJaND4Fs2KB3y3jtbKPeYF3tHHJw9wsPk4FgAKmS7WTSqFc/s320/wine.jpg" width="259" /></a></div>Last weekend, I saw four plays written by women. The first three were by living playwrights (<a href="http://www.cherryandspoon.com/2024/02/in-green-by-theatre-elision-at-elision.html" target="_blank">Grace McLean's musical <i>In the Green</i></a>, <a href="http://www.cherryandspoon.com/2024/02/silent-sky-at-theatre-in-round.html" target="_blank">Lauren Gunderson's <i>Silent Sky</i></a>, and <a href="http://www.cherryandspoon.com/2024/02/hells-canyon-by-theater-mu-at-jungle.html" target="_blank">Keiko Green's world premiere <i>Hells Canyon</i></a>), and the fourth was by Alice Childress, one of the most prolific Black female playwrights of the 20th Century, who had her Broadway play debut just a few years ago - <i>Trouble in Mind</i> (<a href="http://www.cherryandspoon.com/2016/05/trouble-in-mind-at-guthrie-theater.html" target="_blank">which the Guthrie produced a few years earlier</a>). Her plays seem to be having a resurgence in recent years, and it's about time. In 2017 Penumbra Theatre Company produced the gorgeous and devastating <i><a href="http://www.cherryandspoon.com/2017/10/wedding-band-at-penumbra-theatre.html" target="_blank">Wedding Band</a></i>, and now they're presenting <i>Wine in the Wilderness</i>, about an artist painting Black women in 1960s Harlem. It's a thoughtful and thought-provoking exploration of the intersection of race and gender, as always beautifully done by Penumbra.<span><a name='more'></a></span><div><br /></div><div>The play takes place in the Harlem apartment of artist Bill, as the city begins to quiet after an uprising. Bill's neighbor, affectionately known as Oldtimer, comes in to hide his "loot." Bill explains to him his new project - a triptych depicting all of the facets of Black womanhood (the first red flag - the idea that all Black women fall into three types). There's a sweet and innocent young girl, a powerful woman representing Mother Africa, and a third painting yet to be completed, which Oldtimer summarizes as "the messed up chick." Bill's friends Cynthia and Sonny-Man meet a woman at a bar who they think fits the description, and bring her over to pose for Bill. But Tommy (short for Tomorrow), whose home was burned and boarded up in the uprising, is no pushover. She's not going to sit quietly and let some artist paint who he thinks she is. And to their credit, the others soon see that, as they realize that there's more than one way to be a Black woman.</div><div><br /></div><div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiGNuBC_xDqk3uZLKoz9KNjYiv2Q9s9CI8DCKQYLq2q6TsfQGITY8pwyW3dV9wb2JVT99sYQNbI7Qaphx4Zw3NakL17xlFmvNnZOu_yhSwfvWyfqxiJx9RwnVsl-hfaU6gGTw_JyDKOqhqZTytaJh-3iNkYE08ti9fC8-Kv41N4K1FwKXdJt6aBrceL24/s2048/430091038_946284544164429_2651111682941812936_n.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1366" data-original-width="2048" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiGNuBC_xDqk3uZLKoz9KNjYiv2Q9s9CI8DCKQYLq2q6TsfQGITY8pwyW3dV9wb2JVT99sYQNbI7Qaphx4Zw3NakL17xlFmvNnZOu_yhSwfvWyfqxiJx9RwnVsl-hfaU6gGTw_JyDKOqhqZTytaJh-3iNkYE08ti9fC8-Kv41N4K1FwKXdJt6aBrceL24/s320/430091038_946284544164429_2651111682941812936_n.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Nubia Monks as Tommy (photo by Caroline Yang Photography)</td></tr></tbody></table>Lou Bellamy directs this excellent five-person cast, with some lightness and humor in a play that deals with serious topics. Nubia Monks gives a fierce performance as Tommy - walking and talking with bravado, but also showing her vulnerable side as she just wants to be seen and loved. La'Tevin Alexander is strong as Bill, very naturally being this character, with a believable arc of growth as he learns from Tommy. Vinecia Coleman and Darrick Mosley appear in the smaller roles (but not smaller performances) of Bill's friends, a married couple who think they have it all figured out and learn a thing or two also. Last but not least, James Craven is charming as the Oldtimer who is more than he seems.</div><div><br /></div><div>The set is a shabby but homey apartment (Tommy think it's been hit by the riot, but Bill just claims he's redecorating). There are a few worn pieces of furniture, a kitchen area, and piles of books everywhere. Behind the half walls can be seen the cityscape, with projections changing the landscape. Lighting and sound design help us feel the uprising and other city activities just outside the walls of the apartment. Characters are dressed in cool '60s era clothes that help tell us who they are. (Scenic design by Seitu Jones, costume design by Dana Woods, projection design by Miko Simmons, sound design and composition by Gregory Robinson, and properties design by Abbee Warmboe.)</div><div><br /></div><div>This play is usually performed in one act, but Penumbra has added an intermission (following an unfortunate recent trend in #TCTheater). It falls in a natural place in the story, but the second act is only a half hour so it doesn't seem necessary, and would play nicely as a 90-minute play that's short, succinct, and to the point - as the playwright wrote it.</div><div><br /></div><div><i>Wine in the Wilderness</i> explores issues like gender stereotypes within the Black community (the woman is supposed to let the man take care of her, when Tommy knows that if she doesn't take care of herself no one else will), classism, and the way we're quick to judge someone based on their appearance or attitude. But Tommy reminds us that people are complicated and can't be reduced to a type, and that every person has worth that goes beyond an idea on a canvas. <a href="https://penumbratheatre.org/event/wine-in-the-wilderness/" target="_blank">Continuing through March 17 at Penumbra Theatre in St. Paul</a>.</div>jillhttp://www.blogger.com/profile/07664672492793582621noreply@blogger.comtag:blogger.com,1999:blog-2620696251964783075.post-47994331012351072852024-02-25T10:02:00.008-06:002024-02-25T10:16:35.348-06:00"Hells Canyon" by Theater Mu at Jungle Theater<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjW49nwrcCFMI3Vozz1IfjZPt3SQc3-DjwJ9cZDCuMHOB9oCsWb8xiApNz1QOC_WGU2zDe9ClYdgAMwJtf5JmG9Ul3L2D257w-wtd0BVGgm_Wzw8mapXlQfNlZ76zFu50t4S9KeOougdvuH5ebxlDlSG2G7heYKnWM9-kxiV1aHL1BJ1l5bn_gRGaa4zNc/s2433/hc.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="2433" data-original-width="1516" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjW49nwrcCFMI3Vozz1IfjZPt3SQc3-DjwJ9cZDCuMHOB9oCsWb8xiApNz1QOC_WGU2zDe9ClYdgAMwJtf5JmG9Ul3L2D257w-wtd0BVGgm_Wzw8mapXlQfNlZ76zFu50t4S9KeOougdvuH5ebxlDlSG2G7heYKnWM9-kxiV1aHL1BJ1l5bn_gRGaa4zNc/s320/hc.jpg" width="199" /></a></div>The world premiere new play <i>Hells Canyon</i> is a revenge fantasy, in which the revenge comes almost 140 years after the crime - <a href="https://en.wikipedia.org/wiki/Hells_Canyon_Massacre" target="_blank">the murder of 34 Chinese goldminers in Oregon</a>. The spirits of the murder victims are restless, and use a group of friends having a fun getaway at a cabin to enact their revenge. It's modern dramedy-horror with social commentary, in the vein of <i>Get Out</i>. Horror isn't really my thing, but this play is thrilling. It'll make you laugh, and think, and feel, and maybe jump out of your seat a little. Theater Mu's production is brilliantly cast with an incredible design that pulls off some real scares, and it's a must-see, especially if you're a fan of the horror genre (and even if you're not). It plays at the Jungle Theater* Wednesdays through Sundays until March 17. <span><a name='more'></a></span><div><br /></div><div>Even without the horror, this story has the makings of a great dramedy. Friends and band members Tommy, Doug, Claire, and Ben (the latter two are married) go for a weekend at a cabin in the woods to relax, bond, and talk about plans for the future of the band. With them is Tommy's sister Ariel, who is also Doug's ex and pregnant with twins as Claire and Ben's surrogate. To say the relationships among this group are complicated is an understatement. Everything is great and fun (at least on the surface) until secrets start to come out. Like why and where to Ariel ran away after she was implanted with Claire and Ben's embryos, the reason that Ariel and Doug broke up, and Claire and Ben's opportunity for the band. As if that's not enough, weird things start to happen. A bear (or something) keeps pounding on the door of the cabin, a bird (or something) flies into a window and is killed, and like Chekhov's gun, you know that mention of a steep cliff is going to come into play. To say more would give away the fun of watching everything unfold, but suffice it to say that the story of the Hells Canyon Massacre becomes very real for this group of friends (Ariel and Tommy are Chinese-American, and Ben is the descendent of White settlers with stories of a particularly "adventurous" ancestor). As expected in horror, not everyone makes it out alive.</div><div><br /></div><div>West Coast-based playwright Keiko Green has written the play with natural sounding dialogue, with characters sometimes speaking over each other, or starting and stopping, or having multiple conversations at the same time. This makes it feel like a real group of friends hanging out. The plot is well constructed, and issues of infertility, identity, racism, and relationship drama are woven into the story in a way that feels organic, not preachy. #TCTheater actor Katie Bradley takes her second turn at directing here, and does a great job with this tricky script, balancing the dramady elements with the horror to present a story that works on many levels. </div><div><br /></div><div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7LE03Ls-QMh66e64RXmANpttm2V2uQuDi_GditudgYdAajn46GXvB9vFGhOQO6QwdD727dk88YXyuzyyS-cZ1HcMPhyphenhyphenKPsfCil1h4A6p-jmFNK6IoDqY_8QXoryxKFURSZS6aa3ALlfmBvqj8Pddntol06KWk-JkW5f6sIyYiYEl_9ylRW-EKmnxgKag/s3600/20240221RICHRYAN482.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2400" data-original-width="3600" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7LE03Ls-QMh66e64RXmANpttm2V2uQuDi_GditudgYdAajn46GXvB9vFGhOQO6QwdD727dk88YXyuzyyS-cZ1HcMPhyphenhyphenKPsfCil1h4A6p-jmFNK6IoDqY_8QXoryxKFURSZS6aa3ALlfmBvqj8Pddntol06KWk-JkW5f6sIyYiYEl_9ylRW-EKmnxgKag/s320/20240221RICHRYAN482.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">the friends celebrate good news (photo by Rich Ryan)</td></tr></tbody></table>The five-person cast, two of whom are #TCTheater newcomers, simply couldn't be better. Chicago-based Kaitlyn Cheng is the strong center as Ariel, taking her from a somewhat guarded woman who doesn't want to upset anyone, through a believable transition into a rage-filled woman intent on getting justice no matter the cost. Gregory Yang brings some much needed humor and levity as her brother Tommy, a fun-loving guy who has some rage of his own. It's always great to see Ryan Colbert, who returns to #TCTheater as Doug, the amiable friend stuck in the middle. NYC-based Matt Lytle is the one you love to hate as Ben, with some scarily impressive moments. Last but not least, #TCTheater favorite Becca Claire Hart walks the line between sympathetic and infuriating as Claire, who's riddled with anxiety and just trying to make it through life and be happy, unaware that she's taking advantage of others along the way. All five of these actors are so in the moment and always in character, and have really built a feeling of years of complicated relationships between them.</div><div><br /></div><div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjT78g0q9VedV4dSZG0XeLTiJoaWFOSRJqpSqj017bH8hVjKHW6PE9dZU7z6c-Y6w8fMsp1D5g826EnPCIXXloh4esh7j_P01FOzlKNxD_pHO8-RVDYGWATZ0qvo9G7GZ_bEk8FckcTKGCpyQKwUOTymBgLDTIg86X9usacXRU8kAu9Bl1Po9wKcrCo9ew/s3600/20240221RICHRYAN313.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2400" data-original-width="3600" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjT78g0q9VedV4dSZG0XeLTiJoaWFOSRJqpSqj017bH8hVjKHW6PE9dZU7z6c-Y6w8fMsp1D5g826EnPCIXXloh4esh7j_P01FOzlKNxD_pHO8-RVDYGWATZ0qvo9G7GZ_bEk8FckcTKGCpyQKwUOTymBgLDTIg86X9usacXRU8kAu9Bl1Po9wKcrCo9ew/s320/20240221RICHRYAN313.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">what's outside the window (Kaitlyn Cheng, photo by Rich Ryan)</td></tr></tbody></table>You can't pull off horror onstage without great design, and this show's got it. If you didn't know this was a horror play, you'd be clued in by the sound design at moment one. An ominous soundscape builds the tension throughout the show, with a few moments to breathe in between the scares. Lighting is also crucial to the story, as we go from daytime to nighttime, and of course a full blackout when the power to the cabin goes out. Speaking of the cabin, it's so realistic I'd happily rent it for a weekend, if not for the horrible things that seem to happen there. It's all cozy rustic wood, a center kitchen and living area, with the bedrooms on either side fully visible so that you can watch people in different rooms at the same time. It feels huge and open, fully stocked with tchotchkes, supplies, and even real food and drink. Outside the windows you can see trees and leaves and nature that feels very realistic, with movement and changing light, like we're really in the woods. Characters are dressed in casual chic wear with nods to their musical interests, and character specific pajamas. All design elements work together to create this world that's a mix of realistic and supernatural, and pull off some impressive theater magic. (Sound design and composition by Katharine Horowitz, lighting design by Karin Olson, scenic design by Erik Paulson, props design by Kenji Shoemaker, and costume design by Jacourtney Mountain-Bluhm).</div><div><br /></div><div>The themes of this play remind me a little of <i><a href="http://www.cherryandspoon.com/2022/02/redwood-at-jungle-theater.html" target="_blank">Redwood</a></i>, also seen on the Jungle stage a few years ago, about an interracial couple whose family histories come back to haunt them. Do we carry the traumas, or the sins, of our ancestors with us? And if so, can we ever get over that in our current relationships? Things to think about as you're trying not to jump out of your seat in <i><a href="https://www.theatermu.org/hells-canyon#gsc.tab=0" target="_blank">Hells Canyon</a></i>.</div><div><br /></div><div><br /></div><div><br /></div><div>*Seating is general admission, so get there early to get a good seat in the middle to back rows of the theater, towards the center if you can. If you end up more towards the front, the left side might offer better views. I was sitting in the second row on the right, and some of the effects were blocked by the couch.</div>jillhttp://www.blogger.com/profile/07664672492793582621noreply@blogger.comtag:blogger.com,1999:blog-2620696251964783075.post-62058734889979887832024-02-24T16:07:00.002-06:002024-02-24T16:11:53.414-06:00"Silent Sky" at Theatre in the Round<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtURvR3kmXYH0nXgtWPM5xZZ1FAflPsnVsJKVgxvi4pMG6cwrVqqotuC5OnzMtqMIy1Pu2ZMct2XJ93KFui1W4FEH4rLL7_J-1fzB_MWKk4TFNKseN80nvZgm2NaYV9QyYnOCkkBxN898qoVPmGuVdnDXh8zhxCJgJZTk5Ms1cgsETUcp3eAKhPasu6iQ/s2416/SILENTSKY.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="2416" data-original-width="1520" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtURvR3kmXYH0nXgtWPM5xZZ1FAflPsnVsJKVgxvi4pMG6cwrVqqotuC5OnzMtqMIy1Pu2ZMct2XJ93KFui1W4FEH4rLL7_J-1fzB_MWKk4TFNKseN80nvZgm2NaYV9QyYnOCkkBxN898qoVPmGuVdnDXh8zhxCJgJZTk5Ms1cgsETUcp3eAKhPasu6iQ/s320/SILENTSKY.jpg" width="201" /></a></div>One of America's most produced playwrights of recent years, Lauren Gunderson is known for writing plays about women in history and/or science that are modern, feminist, funny, and moving. <i>Silent Sky</i> is one of her most popular - it's now receiving it's <a href="http://www.cherryandspoon.com/search/label/Silent%20Sky" target="_blank">third #TCTheater production</a> (I love it, but I'd also love to see <i>The Half-Life of Marie Curie</i>, or <i>Emilie: La Marquise du Châtelet Defends Her Life Tonight</i>, or <a href="https://www.laurengunderson.com/plays" target="_blank">any and all of her other plays</a>). <i>Silent Sky</i> features little known astronomer Henrietta Leavitt, who figured out a way to measure the universe, laying the foundation for more well-known (male) scientists like <a href="https://en.wikipedia.org/wiki/Edwin_Hubble" target="_blank">Edwin Hubble</a>. In Gunderson's hands, Henrietta is a very real and relatable woman, who wants to do work that matters, and maybe also have a little fun along the way. With a strong five-person cast and elegantly simple design, <a href="https://www.theatreintheround.org/home/season-placeholder/72nd-season/silent/" target="_blank">Theatre in the Round's <i>Silent Sky</i></a> is entertaining and inspirational. Who knew science could be so dramatic and emotional?! (Lauren Gunderson, that's who.)<span><a name='more'></a></span><p></p><p>The play opens when Henrietta is offered a job at Harvard working for <a href="https://en.wikipedia.org/wiki/Edward_Charles_Pickering" target="_blank">Edward Charles Pickering</a> as one of the <a href="https://en.wikipedia.org/wiki/Harvard_Computers" target="_blank">human computers</a>, all of whom were women (see also the movie <i><a href="http://www.imdb.com/title/tt4846340/" target="_blank">Hidden Figures</a></i>, another example of the "<a href="https://en.wikipedia.org/wiki/Harem_effect_(science)" target="_blank">harem effect</a>" in science). She leaves her beloved sister to do this work that became her life, sometimes to the detriment of her relationship with the family she left behind. Along with her fellow computers she documented and classified the stars. But she wanted more, and the discovery of a pattern lead her to her great discovery that the distance to each star can be calculated (how do you measure a year? measure in light). The play also includes an obligatory but sweet romance with her colleague, but in the end, her work is what fulfilled her, and what she's remembered for.*</p><p>The play provides a picture of who Henrietta was, even if the timelines are a bit collapsed and unclear. There are a few references to "years" passing, but nothing to really anchor us in history. Based on my impression of the play I thought she died in her 20s or 30s, but in reality she was 53, still way too young of course (one could say she studied stars "like she was running out of time," because she was). But no matter, it's not a documentary. What <i>Silent Sky</i> does is convey Henrietta's wonder at the world and her fierce determination to answer the question of where we are in the universe.*</p><p></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhr4LDzA_zNu9bbXVd7jf1OC1xxyDjTjf8jANpowz_HfbuGnN7V9DTyPbmrnTQ-eJpsYEwtX8_ER5BJPw5zNl7WjudQi7t_G8mrdJnYbOFHesdFuFfOyoLZ0d2x8qNMs8Cg1fxKfLID634shkjk18op_K0QEDJSAbGn0lCaoDbmOLH44Piy01oEMEov_Y4/s1702/henri.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1702" data-original-width="1362" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhr4LDzA_zNu9bbXVd7jf1OC1xxyDjTjf8jANpowz_HfbuGnN7V9DTyPbmrnTQ-eJpsYEwtX8_ER5BJPw5zNl7WjudQi7t_G8mrdJnYbOFHesdFuFfOyoLZ0d2x8qNMs8Cg1fxKfLID634shkjk18op_K0QEDJSAbGn0lCaoDbmOLH44Piy01oEMEov_Y4/s320/henri.jpg" width="256" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Eva Gemlo as Henrietta (photo by Tom Taintor)</td></tr></tbody></table>No one better to embody that combination of wonder and fierce determination than Eva Gemlo. This is not her first time playing a Lauren Gunderson heroine. Just before the pandemic, she was Ada Lovelace, the first computer programmer, in DalekoArts' production of <i><a href="http://www.cherryandspoon.com/2020/02/ada-and-engine-at-dalekoarts.html" target="_blank">Ada and the Engine</a></i>, and recently she was Elizabeth Bennet Darcy in Lyric Arts' <i><a href="http://www.cherryandspoon.com/2023/11/the-wickhams-christmas-at-pemberley-at.html" target="_blank">The Wickhams</a></i>, second in the delightful <i><a href="http://www.cherryandspoon.com/2023/11/the-wickhams-christmas-at-pemberley-at.html" target="_blank">Christmas at Pemberley</a></i> trilogy co-written by Gunderson and Margo Melcon. As our Henri, Eva is open and curious, strong and vulnerable, a true heroine to root for and follow on her journey. Ben Qualley (the Mr. Darcy to Eva's Lizzie) is Henri's charmingly awkward colleague/love interest, Clare Rolinger is her sweet and steadfast sister, and Wini Froelich and Rachel Postle are her fellow computers, forming a delightful trio.<p></p><p>Gretchen Weinrich directs the show in-the-round on a sparse and open set, with a tone of joy and discovery. There are no set pieces to dodge as you make your way across the stage to your seat, but you will be walking on the cosmos painted on the floor. Three tables, with a few period office supplies, are brought onstage when the computers work, but the general openness of the design feels right for this play about the vastness of the universe. The lighting design adds to that feeling, with twinkling star lights on all sides. Characters are dressed in the concervative long skirts and fitted jackets of the early 20th Century, and even get a costume change at intermission. (Set design by Sadie Ward, lighting design by Peter W. Mitchell, and costume design Colleen O'Dell.)</p><p>I've always felt that science and religion are flip sides of the same coin, an idea the play also explores in Henri's relationship with her (unseen) minister father and church-going sister. Both women have deeply held beliefs, one in science, one in religion. But maybe their beliefs aren't that different; both are a search for truth and an attempt to know the unknowable.*</p><p><i>Silent Sky</i> celebrates science, history, romance, female friendship, sisterhood, and the stars. What's not to love?! <a href="https://www.theatreintheround.org/home/season-placeholder/72nd-season/silent/" target="_blank">See it now through March 17 at Theatre in the Round</a>, the oldest theater in Minneapolis (and maybe soon the oldest theater in Minnesota with the closure of Old Log Theatre - can I get a fact check on that?).</p><p><br /><br /><br />*<a href="http://www.cherryandspoon.com/2017/01/silent-sky-at-lyric-arts.html" target="_blank">Some text borrowed from what I wrote about Lyric Arts' 2017 production</a>.</p>jillhttp://www.blogger.com/profile/07664672492793582621noreply@blogger.comtag:blogger.com,1999:blog-2620696251964783075.post-67999577237671816072024-02-23T17:19:00.010-06:002024-02-23T17:27:07.986-06:00"In the Green" by Theatre Elision at Elision Playhouse<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEil-uo0st9U0ns8FeFE-dKSk_TNMxyqlO9fMIdoKwt2PCSlpdtVhpoYxiR0qrSvCTTEs7twseNVNZJeyLnLX6IcLVNpJkKgKhZHbq2DFtanRRX4zuqAJIZGqh1WDWg56bkB0EBL5D2btMbuM_V5u5qStai_fjnO92tCk2vQ9yEWi06dbw7JX5s4mSGGe5o/s1438/green.png" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1438" data-original-width="908" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEil-uo0st9U0ns8FeFE-dKSk_TNMxyqlO9fMIdoKwt2PCSlpdtVhpoYxiR0qrSvCTTEs7twseNVNZJeyLnLX6IcLVNpJkKgKhZHbq2DFtanRRX4zuqAJIZGqh1WDWg56bkB0EBL5D2btMbuM_V5u5qStai_fjnO92tCk2vQ9yEWi06dbw7JX5s4mSGGe5o/s320/green.png" width="202" /></a></div><a href="http://www.cherryandspoon.com/search/label/Theatre%20Elision" target="_blank">For seven years, Theatre Elision</a> has been filling a niche in #TCTheater that we didn't know we needed - small cast, one act, original or rarely done musicals by mostly female creators and artists. In that time they've become one of my favorite theater companies, consistently producing high quality work that you just can't see anywhere else locally. That's definitely the case with the regional premiere of <i>In the Green</i>, less than five years after it premiered Off-Broadway. In a pre-show speech on opening night, resident Music Director Harrison Wade said it's the most difficult piece they've ever done. With its unique subject matter (12th Century nun/composer/scholar Hildegard von Bingen's years spent living secluded in a cell with her teacher), mix of modern and medieval music, and use of looping technology, it definitely feels like their most ambitious work, and perhaps the most rewarding because of it. I found myself moved to tears for reasons I can't explain. The musical taps into something deeply human, specifically what it means to be a female human in the world, and the performances by the five-woman cast, accompanied by a three-piece band, are simply stunning. If you like unique, original, boundary expanding music-theater, you do not want to miss this show. <a href="https://www.elisionproductions.com/in-the-green" target="_blank"><i>In the Green</i> continues at Elision Playhouse in Crystal through March 9</a>.<span><a name='more'></a></span><p></p><div>As a German minor at the College of St. Benedict (founded by Benedictine nuns), I have of course heard of <a href="https://en.wikipedia.org/wiki/Hildegard_of_Bingen" target="_blank">Hildegard von Bingen</a>, but I didn't know (or remember) much about her other than she was a cool German medieval nun. Elision provides a brief but thorough biography in the program, but it's really not necessary to know much about her to enjoy this show. The story mainly focuses on the time from when she was given to the church at age 8 (that's what people did in the Middle Ages) and assigned to live with the anchoress Jutta. They lived a life of seclusion, avoiding earthly pleasures or comfort. The mostly sung-through musical examines what life was like for Hildegard as she worked and starved and studied under Jutta's leadership. Jutta has buried her darkness and is in constant search of the light, but Hildegard discovers that you need to share your darkness with others, to see it and speak it and embrace it, in order to reach the light. After many years, Jutta dies and Hildegard choses to leave seclusion and live in the world, teaching and writing and speaking in a world run by men. Hildegard seems to have seen the light, but this musical reminds us that history, particularly the history of the Catholic Church, is complicated, and there is still darkness in Hildegard and the world.</div><div><br /></div><div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOx3PHLiUcWa4K6ENmhk_TAUd3w0-8aNJDawB1EVuZk7D9R4OhGjAHyzGPYvJDSlROi5YLTKFXmo5SRog7vsoX_6FLy9nCnNziSrYvGnhdap83EBtSC7TRkTXjtJMnx_vTrtXjR3QgDPkZq5nIgjfWiw2_sGDDmYuPvwvzyFaNvaGr26R3xRVL19_yKtM/s1200/itg.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="800" data-original-width="1200" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOx3PHLiUcWa4K6ENmhk_TAUd3w0-8aNJDawB1EVuZk7D9R4OhGjAHyzGPYvJDSlROi5YLTKFXmo5SRog7vsoX_6FLy9nCnNziSrYvGnhdap83EBtSC7TRkTXjtJMnx_vTrtXjR3QgDPkZq5nIgjfWiw2_sGDDmYuPvwvzyFaNvaGr26R3xRVL19_yKtM/s320/itg.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">the three Hildegards (photo by Jolie Morehouse Olson)</td></tr></tbody></table>In the musical, Hildegard is portrayed by three actors as her hand (Abilene Olson), eye (Annie Schiferl), and mouth (Deidre Cochran). The three actors speak, sing, and move as one, as three parts of a whole. Jutta (Christine Wade) seems like the strong one, until her dark side, her shadow (portrayed by Emily Hensley) crawls out from where she was buried, standing up and demanding to be seen. It's an ingenious device by creator Grace McLean (who played Jutta in the original production), showing us different sides of each woman and allowing her to converse with herself. All five actors are incredible singers, and really beautifully portray the emotions of the stories as well.</div><div><br /></div><div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4wy58ebs67G2RmstZ_MZk_8aOsRiPkubMY9c41YA1CKe-Q3GcBDh_rbuZ_aDZ_JF9h5mbraJ8SZ1SmPqhpk8ptx11NwaVLS5qpa6_YaebccM_tSi28L-JNtg00eLj-dSVSpocecZ75_drz8f98MG2-vYPwXL0IOSGTXeyIR1ZShtuCpBDud98zqrieZo/s1200/itg2.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="800" data-original-width="1200" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4wy58ebs67G2RmstZ_MZk_8aOsRiPkubMY9c41YA1CKe-Q3GcBDh_rbuZ_aDZ_JF9h5mbraJ8SZ1SmPqhpk8ptx11NwaVLS5qpa6_YaebccM_tSi28L-JNtg00eLj-dSVSpocecZ75_drz8f98MG2-vYPwXL0IOSGTXeyIR1ZShtuCpBDud98zqrieZo/s320/itg2.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">the darkness and the light of Jutta (photo by Jolie Morehouse Olson)</td></tr></tbody></table>The show begins with one of Hildegard's compositions, and it's haunting. We hear a bit of her music throughout the show, but mostly it's original and modern music. The piece uses a looper for some songs, which Christine as Jutta does to great effect (she also used these techniques in <i><a href="http://www.cherryandspoon.com/2021/07/theatre-elision-could-not-have-chosen.html" target="_blank">Islander</a></i> a few years ago). It creates a very unique, sometimes jarring, but always emotionally true sound. This isn't a dance show, but Madeline Wall has designed some flowy movement that feels organic to the characters and helps to create the mood.</div><div><br /></div><div>A scrim is hung on stage, closing off the cell, with some action happening in silhouette behind it. The three-piece band - Music Director Harrison Wade on keys, Erik Schee on percussion, and Jeff Miller on bass - sits off to one side and somewhat behind the scrim. Elison's resident director/designer Lindsay Fitzgerald once again has crafted a clear and cohesive story, using the stage space in front of and behind the scrim. Projections are utilized sparingly to show the world outside the cell, with some gorgeous effects created by lighting and the scrim. The cast is dressed in matching simple shapeless dresses - brown for the Hildegards, white for Jutta, and black for her Shadow.</div><div><br /></div><div>Even though <i>In the Green</i> is set some 8-900 years in the past, it feels very modern, with themes that resonate, particularly for women. About how we need to share our darkness with others in order to, if not become whole, then to become integrated. Our darkness, our traumas, our history, are a part of us, not to be buried but to be acknowledged and seen. Hildegard, or at least this version of her, shows us that even though we're broken, we'll be all right. <i>In the Green</i> is a truly unique and beautiful creation, and thanks to Theatre Elision for bringing it to us and creating a production that I just can't imagine could be any better. It continues through March 9 and trust me, you don't want to miss it. <a href="https://www.elisionproductions.com/in-the-green" target="_blank">Click here to purchase tickets on a sliding scale from $15 to $55</a>.</div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div>I spent a blissful week last fall <a href="https://www.vikingrivercruises.com/cruise-destinations/europe/rhine-getaway/2024-basel-amsterdam/index.html" target="_blank">cruising down the Rhine River</a> from Switzerland, through France and Germany, and into the Netherlands. I floated past the gorgeous countryside where Hildegard lived and worked, and knowing that this show was coming up, I was on the lookout for her. I did briefly find her, but if I did this trip again I might need to make a few side trips to visit some sights. Sign me up for the Hildegard von Bingen Rheinland tour!</div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrx7yyjOwnJogyIlc-UNNu1CwL9z0rI8AqtU2mPDSHeBV9ERtx4vCsIer6AuyTk4EAVKI4MuXO_A79Vbtc2wyjAMLwW56IySfmyqPV0fZptLeNZ0iXTBuEYBmKr6TC6BmB7YfsgK56JbSUc5n_3LUA1idQK_2_uPE1vm5NDp5D07EXX4TedsksHidScjY/s4032/IMG_3652.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4032" data-original-width="3024" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrx7yyjOwnJogyIlc-UNNu1CwL9z0rI8AqtU2mPDSHeBV9ERtx4vCsIer6AuyTk4EAVKI4MuXO_A79Vbtc2wyjAMLwW56IySfmyqPV0fZptLeNZ0iXTBuEYBmKr6TC6BmB7YfsgK56JbSUc5n_3LUA1idQK_2_uPE1vm5NDp5D07EXX4TedsksHidScjY/s320/IMG_3652.jpg" width="240" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">a sign for tourists in Rüdesheim, Germany<br />near the Abbey Hildegard founded</td></tr></tbody></table>jillhttp://www.blogger.com/profile/07664672492793582621noreply@blogger.comtag:blogger.com,1999:blog-2620696251964783075.post-53787965790090733802024-02-19T13:42:00.003-06:002024-02-19T13:42:45.361-06:00"C.L.U.E" by Collide Theatrical Dance Company at the Southern Theater<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYHTQYEy9BL_bA8-SH0AyBuJ_KCBKg2F1oOht5P1aEuYehJJRbF-hDUphjPdGlXgj-lLaDIg5x6YBK7FohEfFB0lvxO4QWO1BymwahwGVxUohnp_MfGCAeP_Gdi1OJzHn61t7_3-mKZKAFUQ6Mzhrh3uQCmxt8h-XVvFvnGjZkeqwUP4T43AhDhskSJ2A/s2455/clue.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="2455" data-original-width="1574" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYHTQYEy9BL_bA8-SH0AyBuJ_KCBKg2F1oOht5P1aEuYehJJRbF-hDUphjPdGlXgj-lLaDIg5x6YBK7FohEfFB0lvxO4QWO1BymwahwGVxUohnp_MfGCAeP_Gdi1OJzHn61t7_3-mKZKAFUQ6Mzhrh3uQCmxt8h-XVvFvnGjZkeqwUP4T43AhDhskSJ2A/s320/clue.jpg" width="205" /></a></div>For their 30th production, Collide Theatrical Dance Company is remounting/revising their <a href="http://www.cherryandspoon.com/2015/11/clu-by-collide-theatrical-dance-company.html" target="_blank">2015 original dance musical <i>C.L.U.</i></a>, now with one letter added to be <i>C.L.U.E.</i> It's a parody of the classic board game (which I spent many hours playing as a kid) and the movie based on it (coincidentally, <a href="https://hennepintheatretrust.org/events/clue-orpheum-theatre-minneapolis-mn-2024/" target="_blank">a new non-musical stage version will be at the Orpheum next week</a>). While the mystery part may be a little thin, the dancing and performances are incredible, and the show is overall a whole lot of fun. Collide lives at the intersection of theater and dance, and as a primarily theater reviewer, it's fun to have an excuse to see some dance, especially when it tells a story in a theatrical way. Embrace the mystery and enjoy the dancing of <i>C.L.U.E.</i> at the Southern Theater (the best venue for dance) <a href="https://www.collidetheatrical.org/" target="_blank">now through March 10</a>.<span><a name='more'></a></span><div><br /></div><div>The plot of <i>C.L.U.E.</i> is a little preposterous (I'm not even going to tell you what C.L.U.E. stands for), but allows for some silly and campy fun. A collection of oddballs are invited to dinner by a mysterious man named Mr. Bottie, who knows a secret about all of them. We see each character's sordid past in a dance flashback, from murder to bribery to prison escape. When Mr. Bottie turns up dead (spoiler alert: he's not the first), conveniently just before intermission, it's the audience's job to guess who killed him and vote via a QR code in the program. But unlike the game, there are no real clues. At the beginning of the show an audience volunteer picks three oversized cards (for where, with what, and whodunit) and puts them in an envelope (like the game), so it's just a random guess. After intermission the audience votes are tallied, and we see possible murder scenarios play out (or danced out) for the audience vote, the cards in the envelope, and then the "real" answer. The first two will be different every night (so basically you're voting for who you want to see dance), and while the plot reveal is a bit convoluted, it's really just an excuse for the fabulous dancing.*</div><div><br /></div><div>One difference from the 2015 production is that the performers dance to recorded music, rather than a live band. While I will always prefer and advocate for live musicians, the songs are well chosen (an array of pop styles modern and classic), the sound is well mixed, and it puts the focus on the dancing.</div><div><br /></div><div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQos13H8dNU8az2Zx4r0tSU25_AXwpfnYzXV9Sv8wu1DOU5k4DQcRkgMOuV4OnJwB7VAoZkTmqX3AGtM1NBuzzTwjXDJiSfOx19m5QoCwyjhjPABi2oAi61tVHP9DoAW8DYoNclxfwC6PhV9waF85OcDmb8PlzTM2FH02CRvjBl_FY-BwJMxTiSxoFA8U/s1024/428078009_18414070837056063_3252933745825915454_n.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="683" data-original-width="1024" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQos13H8dNU8az2Zx4r0tSU25_AXwpfnYzXV9Sv8wu1DOU5k4DQcRkgMOuV4OnJwB7VAoZkTmqX3AGtM1NBuzzTwjXDJiSfOx19m5QoCwyjhjPABi2oAi61tVHP9DoAW8DYoNclxfwC6PhV9waF85OcDmb8PlzTM2FH02CRvjBl_FY-BwJMxTiSxoFA8U/s320/428078009_18414070837056063_3252933745825915454_n.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">the cast of <i>C.L.U.E.</i> (photo by Alexis Lund Photography)</td></tr></tbody></table>As in their most recent show <i><a href="http://www.cherryandspoon.com/2023/10/the-great-gatsby-by-collide-theatrical.html" target="_blank">The Great Gatsby</a></i>, Nathan Huberty functions as the narrator and the only performer with lines. It's a good choice; he's charming and personable as Mr. Bottie, with a wink to the audience as he sets up the story and delivers the occasional pun. He introduces each of the suspects (Heather Brockman as The Black Widow, Megan Carver as The Maid, Noah Coon as The Butler, Renee Guittar as The Starlet, and Patrick Jeffrey as The Politician). They each embody the personality of their character through their dancing and expressions. Director/writer/choreographer Regina Peluso has as usual created a series of fantastic dance numbers (along with associate choreographers, some of which are in the cast). The dancing feels modern yet with nods to the traditional, is character and story driven, and above all is so entertaining to watch. Ensemble members Johanna Engebretson, Sarah Potvin, Elayna Sitzman, and Bella West, as well as Renee's adorable and very mellow dog Tofu, complete the ensemble and fill out the world of the story.</div><div><br /></div><div>The cavernous space at the Southern is dominated by a grand two-sided staircase under the arch, with other set pieces brought in as needed. Projections of the Clue-like cards, as well as images of the various locations, are displayed on the brick wall at the back of the theater as well as the sides. Lighting adds mood (including full blackouts that mean someone's gonna wind up dead), and characters are dressed in character appropriate clothing that somehow still allows them freedom of moment to dance. (Lighting design by Tony Stoeri, projection design by Peter Morrow, costume design by Regina Peluson, and technical direction by Lillian Crawford.)</div><div><br /></div><div><a href="https://www.collidetheatrical.org/" target="_blank">This super fun and gorgeously danced murder mystery continues at the Southern Thursdays through Sundays until March 10</a>.</div><div><br /></div><div><br /></div><div><br /></div><div>*<a href="http://www.cherryandspoon.com/2015/11/clu-by-collide-theatrical-dance-company.html" target="_blank">Some text borrowed from my review of C.L.U.</a></div>jillhttp://www.blogger.com/profile/07664672492793582621noreply@blogger.comtag:blogger.com,1999:blog-2620696251964783075.post-76842998177770734222024-02-18T11:29:00.011-06:002024-02-18T11:43:22.687-06:00"Alice in Wonderland" at Children's Theatre Company<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiO3_y-3ZTTyenh_1geppCkGK3UbT4FqVoF7YcFwele0sIQTE8noRWc3ZAqSFcvG0wUSBq0cawb_FIlCEr4woO5QtyE4maan-cyJTukbeg8FMZm3mIz2zQbFTU1r9zu1Fdi534wzGLlx1UH5PFRqMezi89LaJcUyFctoCV1xx9YCtxmS8wh2QO9VPrkqAI/s2465/alice.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="2465" data-original-width="1537" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiO3_y-3ZTTyenh_1geppCkGK3UbT4FqVoF7YcFwele0sIQTE8noRWc3ZAqSFcvG0wUSBq0cawb_FIlCEr4woO5QtyE4maan-cyJTukbeg8FMZm3mIz2zQbFTU1r9zu1Fdi534wzGLlx1UH5PFRqMezi89LaJcUyFctoCV1xx9YCtxmS8wh2QO9VPrkqAI/s320/alice.jpg" width="200" /></a></div><div>Children's Theatre Company is bringing back their original adaptation of Lewis Caroll's classic children's novel <i><a href="https://en.wikipedia.org/wiki/Alice%27s_Adventures_in_Wonderland" target="_blank">Alice's Adventures in Wonderland</a></i>. Somehow I missed the last time they did it over a decade ago, perhaps mistakenly thinking it was just for kids. So this was my first time going down the rabbit hole with director Peter C. Brosius, composer and one-man band Victor Zupanc, and this exceedingly talented ensemble of young and grownup actors. It's two hours of sheer wonder, magic, and delight for audiences of all ages, so inventive and playful and surprising at every turn. The fun and whimsical sets and costumes, the ensemble leading us through the story like something out of <a href="https://en.wikipedia.org/wiki/Pantomime" target="_blank">Pantomime</a> and/or <a href="https://en.wikipedia.org/wiki/Music_hall" target="_blank">English Music Hall</a> traditions, and Caroll's endlessly entertaining series of oddball characters speaking nonsense combine for a truly enjoyable show. Bring your kids, your grownups, or yourself to see <i><a href="https://childrenstheatre.org/whats-on/alice-in-wonderland/" target="_blank">Alice in Wonderland</a></i> now through the end of March.<span><a name='more'></a></span></div><div><br /></div><div>The show begins, well, before the show begins. As the audience is getting into their seats (after enjoying the opening night free popcorn and performances by an aerialist and a cellist), the ensemble is mingling and interacting with them. They eventually gather onstage, dressed in pantaloons and black and white stripes, their faces painted white with red cheeks. They introduce us to the story and declare that they're actors, and English! When the story really begins, we follow Alice from her school room down the rabbit hole, chasing the White Rabbit who is always late. All of her familiar adventures follow one after the other, like absurd little vignettes, until Alice eventually makes her way home after this weird and wonderful dream. And the audience is taken right along with her, sometimes almost literally as characters run up and down the aisles and even through rows of patrons (thank goodness for the wide rows with plentiful leg room).</div><div><br /></div><div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBbZBbyZ-wQsc_fPIPv33fz8iSQvhJ9RfKK1XQ1QdNIDjUWzu5GVb43tUyHxsEmMA_IqkwAExw5YvbPzmih8X7EhZQLIc_SveRUa6MY_wlgsfuXZSUHrmDtBY5vP15AqHKo-4FkW9AcBta5wwgnNjD81WIZv904Oz_-Hew4sztsN3NqbjRE5AYCQww07I/s6000/5%20-%20Audrey%20Mojica%20in%20Children's%20Theatre%20Company's%202024%20production%20of%20'Alice%20in%20Wonderland'.%20Photo%20by%20Glen%20Stubbe%20Photography.JPG" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4000" data-original-width="6000" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBbZBbyZ-wQsc_fPIPv33fz8iSQvhJ9RfKK1XQ1QdNIDjUWzu5GVb43tUyHxsEmMA_IqkwAExw5YvbPzmih8X7EhZQLIc_SveRUa6MY_wlgsfuXZSUHrmDtBY5vP15AqHKo-4FkW9AcBta5wwgnNjD81WIZv904Oz_-Hew4sztsN3NqbjRE5AYCQww07I/s320/5%20-%20Audrey%20Mojica%20in%20Children's%20Theatre%20Company's%202024%20production%20of%20'Alice%20in%20Wonderland'.%20Photo%20by%20Glen%20Stubbe%20Photography.JPG" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Audrey Mojica as Alice (photo by Glen Stubbe Photography)</td></tr></tbody></table>The role of Alice is being shared by two young actors; I saw Audrey Mojica on opening night (alternating with Anja Arora). Audrey has grown up on CTC stages, and recently showed off her chops with a heart-wrenching performance in <a href="http://www.cherryandspoon.com/2023/06/next-to-normal-at-theater-latte-da-at.html" target="_blank">Theater Latte Da's <i>Next to Normal</i></a>. Here she's a wonderful heroine in Alice, strong and brave, open and curious, standing up for what's right. She's our touchstone of humanity in this nonsensical world. In addition to the always fabulous young actors at CTC, the cast is truly an embarrassment of riches from #TCTheater. When the ensemble includes the likes of Taj Ruler (the ever grinning and maniacally laughing Cheshire Cat), China Brickey (a truly terrifying Queen of Hearts), Neal Beckman (her King), and Janely Rodriguez (the gleefully cruel Duchess), you know you're in for a treat. Longtime CTC company member Dean Holt delights as Humpty Dumpty and the Mad Hatter, the latter paired with Nathan Keepers' March Hare (also the Caterpillar and the White Knight) for a dream comedy duo. </div><div><br /></div><div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiNwDTv7JUKfiDZHJz6jmc1Pjv2xwn9bChzemvva_AcgK4tzoBrqeT_QNKjed_ENPwzsazJCBuEiDoZQcRWYpDQk-t6deNPgC-Jxp6A_QtX-qD1fbgaP1Wn1yK9FmLsBpFaEbq6PPMefIU8wrTk4mcC65Bu53vcW9_OEl1OiYbyMvXQsmPIJt62SQcVnc/s6000/12%20-%20Dean%20Holt%20and%20Nathan%20Keepers%20in%20Children's%20Theatre%20Company's%202024%20production%20of%20'Alice%20in%20Wonderland'.%20Photo%20by%20Glen%20Stubbe%20Photography%20(1).JPG" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4000" data-original-width="6000" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiNwDTv7JUKfiDZHJz6jmc1Pjv2xwn9bChzemvva_AcgK4tzoBrqeT_QNKjed_ENPwzsazJCBuEiDoZQcRWYpDQk-t6deNPgC-Jxp6A_QtX-qD1fbgaP1Wn1yK9FmLsBpFaEbq6PPMefIU8wrTk4mcC65Bu53vcW9_OEl1OiYbyMvXQsmPIJt62SQcVnc/s320/12%20-%20Dean%20Holt%20and%20Nathan%20Keepers%20in%20Children's%20Theatre%20Company's%202024%20production%20of%20'Alice%20in%20Wonderland'.%20Photo%20by%20Glen%20Stubbe%20Photography%20(1).JPG" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">the Mad Hatter (Dean Holt) and March Hare (Nathan Keepers)<br />(photo by Glen Stubbe Photography)</td></tr></tbody></table>The show employs nearly every theater trick imaginable in the inventive storytelling - trap doors, character doubles, puppets, a pit orchestra space used for falling into and jumping out of. The Mad Hatter scene is particularly jaw-dropping, as things and people appear and disappear as if by magic. Just when you think you've figured out "how did they do that," something else surprising happens that turns that idea on its ear. It's the one vignette that didn't seem to last long enough; I could have watched Dean and Nathan cavort at this mad tea party, with Audrey keeping up at every turn, for the length of the whole show. But alas, there is other nonsense to get to. Like Tweedledee and Tweedledum (Keegan Robinson and Antonisia Collins) in huge balloon-like costumes, knocking into each other and Alice to great comic effect, and Humpty Dumpty's terrifying fall. And of course, the live cricket game with the Queen of Hearts shouting "off with their heads" whenever she's displeased.</div><div><br /></div><div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVh8N5GBMw6rbIV4g0GTgLsR892PLL1D8ELF_Wjp68hfgHYP0xicWODeZSoxI1G6E-_5N-s2WRJZusotGLRvvaAXlToLYl4k4PR2QVaqQGNip7V4mZYcchLiblQ-pBixSZD5uMJp_841jZW6B_qa8rvA94vHr6okm7Xgnl5i649dLwk37JEp3jZdTpFkU/s6000/2%20-%20The%20Company%20of%20Children's%20Theatre%20Company's%202024%20production%20of%20'Alice%20in%20Wonderland'.%20Photo%20by%20Glen%20Stubbe%20Photography.JPG" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4000" data-original-width="6000" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVh8N5GBMw6rbIV4g0GTgLsR892PLL1D8ELF_Wjp68hfgHYP0xicWODeZSoxI1G6E-_5N-s2WRJZusotGLRvvaAXlToLYl4k4PR2QVaqQGNip7V4mZYcchLiblQ-pBixSZD5uMJp_841jZW6B_qa8rvA94vHr6okm7Xgnl5i649dLwk37JEp3jZdTpFkU/s320/2%20-%20The%20Company%20of%20Children's%20Theatre%20Company's%202024%20production%20of%20'Alice%20in%20Wonderland'.%20Photo%20by%20Glen%20Stubbe%20Photography.JPG" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">the ensemble (photo by Glen Stubbe Photography)</td></tr></tbody></table>Associate scenic designer and puppet designer Eric Van Wyk, along with associate costume designer Sarah Bahr, have continued the vision of original designer G.W. Mercier, who died a few years ago. The whole effect is of Victorian England, a bit skewed. Colorful costume pieces are added to the ensemble's black and white basics as they step into characters, and of course Alice is in the iconic blue checkered dress with white apron. The caterpillar, Cheshire Cat, and Jabberwock are created with colorful and sometimes massive pieces that all work together. The black and white checkerboard floor with successive red frames provides a great playground. The orchestra pit is mostly closed off, open at one end for Victor Zupanc to create a whimsical soundscape (I wouldn't call this a musical, but there is much music and a few songs), with a narrow strip for puppets and things to pop out of (and people to fall into). Long ramps lead up to either side of the stage, with the cast frequently spilling into the audience. Fans and umbrellas of varying sizes, puppets from giant to tiny, set pieces representing a garden or a brick wall, all add to the whimsy of this most whimsical story.</div><div><br /></div><div>Children's Theatre Company's <i>Alice in Wonderland</i> is two hours of charming and brilliantly executed nonsense filled with delight and surprise. <a href="https://childrenstheatre.org/whats-on/alice-in-wonderland/" target="_blank">See it now through the end of March at Children's Theatre Company in South Minneapolis</a>.</div>jillhttp://www.blogger.com/profile/07664672492793582621noreply@blogger.comtag:blogger.com,1999:blog-2620696251964783075.post-57664114130055554512024-02-17T15:21:00.003-06:002024-02-17T16:19:03.654-06:00"Broadway Songbook: Broadway in Love" at Park Square Theatre<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgklNoEuLspue95ZGgSP6-GP13Iqr93oJ9A-r60ipMys8Wvi8SKzQO_e0DFLRYLfZTqO0y76cLWyDplAWEolNc-IJ-JFA-XYpEO1I_ED9KBlYUJ7vi4T-36XkORaxTbjleEdT-1QKWdPme4ciOsGz3XfDLm0bsVVXwc-Se3SmQFFxu7uIg2P6FWP29iUMs/s700/Broadway-Songbook-700x700-1.png" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="700" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgklNoEuLspue95ZGgSP6-GP13Iqr93oJ9A-r60ipMys8Wvi8SKzQO_e0DFLRYLfZTqO0y76cLWyDplAWEolNc-IJ-JFA-XYpEO1I_ED9KBlYUJ7vi4T-36XkORaxTbjleEdT-1QKWdPme4ciOsGz3XfDLm0bsVVXwc-Se3SmQFFxu7uIg2P6FWP29iUMs/s320/Broadway-Songbook-700x700-1.png" width="320" /></a></div>As part of their soft reopening after some financial troubles over the last year, Park Square Theatre is bringing James Rocco's <i>Broadway Songbook</i> series back to St. Paul. When he was Artistic Director at the Ordway, James did a dozen or more shows in the series, <a href="https://www.cherryandspoon.com/search/label/Broadway%20Songbook" target="_blank">most of which I attended</a>. I fondly remember them as the best musical theater edutainment, with James' stories and history combined with live performances by some of #TCTheater's top talent. The series has continued at various locations since James left the Ordway in 2017, but hopefully this is the first of many at Park Square. It's February, so the topic for this <i>Songbook</i> is "Broadway in Love," a very broad topic since just about every musical has a love story. So there was less of a cohesive historical or thematic throughline in this show, but more just a collection of some of James and friends' favorite love songs from musicals. Only two performances remain, <a href="https://parksquaretheatre.org/box-office/shows/2024-2025/broadway-songbook-broadway-in-love/" target="_blank">so head to downtown St. Paul if you've been missing this unique brand of musical edutainment</a>. And follow Park Square for the upcoming <span>announcement of their four-show season, beginning with a summer mystery.<a name='more'></a></span><div><br /></div><div>James' frequent collaborate Raymond Berg returns to music direct this piece and accompany the singers on grand piano, along with percussion and bass. The uber talented cast (several of whom are <i>Songbook</i> alums) includes Jennifer Eckes, Hope Nordquist, Aja D. Parham, Andrew Wilkowske, and Cameron Wright. Each one gets several great solos, plus a few duets, mash-ups, or group numbers. The full songlist is below for nerds like me; most of the songs are from classical musicals of the early to mid 20th century, with some newer musicals represented too. All of these performers are so fantastically talented, not just in singing these familiar (and sometimes not so familiar) tunes, but also in performing and telling the story of the song. James of course adds a few historical tidbits as he introduces the songs and composers. </div><div><br /></div><div>Highlights of the show include Jennifer and Hope dueting on "For Good" from <i>Wicked</i>, the ultimate love song about friendship; "Some Enchanted Evening" from <i>South Pacific</i> (which I'm pretty sure was written for Andrew to sing, so suited is it to his voice); Aja and Hope with a gorgeous mash-up of "Bill" from <i>Show Boat</i> and Fanny Brice's signature song "My Man;" Aja and Cameron singing a couple of Duke Ellington songs separately and together (and also pretty much anytime Cameron opens his mouth and shares his impressive vocal stylings); Jennifer and Andrew's cute and funny duet of "Old Fashioned Wedding" (the latter playing electric guitar); Hope's fast and funny "Getting Married Today" with support from Andrew and Jennifer; and the quintessential musical theater ode to love - "Seasons of Love" from my favorite musical <i>RENT</i>.</div><div><br /></div><div>James is currently off directing a show who knows where (a lot of his stories start with "when I was working on this super important project or with this well known person"), but he promised he'll happily return to St. Paul to continue the Broadway Songbook series at Park Square Theatre. The first one in this next iteration of the series <a href="https://parksquaretheatre.org/box-office/shows/2024-2025/broadway-songbook-broadway-in-love/" target="_blank">continues through Sunday only</a>.</div><div><br /></div><div><br /></div><div><br /></div><div>Scroll down for the full songlist...</div><div><br /></div><div><br /></div><div><div><br /></div><div><ol style="text-align: left;"><li>Lullaby of Broadway, Rocco</li><li>I Got Love, Aja</li><li>If I Were A Bell, Jennifer</li><li>Almost Like Being In Love, Andy</li><li>The Gentlemen Is A Dope, Hope</li><li>Laura, Cameron</li><li>Bill/My Man, Aja & Hope</li><li>Hello Young Lovers, Jennifer</li><li>Some Enchanted Evening, Andy</li><li>For Good, Hope & Jennifer</li><li>If You Believe, Cameron</li><li>Seasons of Love, All</li><li>What More Do I Need, Rocco</li><li>Unexpected Song, Jennifer</li><li>She Loves Me, Andy</li><li>Cry, Cameron</li><li>Ring Them Bells, Hope</li><li>The Boy Next Door, Aja</li><li>Old Fashioned Wedding, Andy & Jennifer</li><li>Marry Me, Rocco</li><li>Getting Married Today, Andy, Hope, & Jennifer</li><li>I Got It Bad and That Ain't Good/Mood Indigo, Aja & Cameron</li><li>What I Did For Love, All</li><li>Shout, All</li></ol></div></div>jillhttp://www.blogger.com/profile/07664672492793582621noreply@blogger.comtag:blogger.com,1999:blog-2620696251964783075.post-23790514736906859932024-02-16T15:26:00.002-06:002024-02-16T15:26:06.295-06:00"Honey, I'm Home" at Open Eye Theatre<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicyBy_UqBN9yicRjqs685mcMyZHuEmtSq2of-OBRYLidRtGbVXy7EP5ysvDvaBgNFzzpxX-8jBDXnjUCm6P-O7GwfdA1YdnMuhtbMZ83c-nF-utIMVloz2mCOBWNSPtwc621fc7rCBa3LpIec5S-3nZb4taUCuyYyo9i44j7jBcI81uBs6ccL9_oxnNmU/s1500/honey.png" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="750" data-original-width="1500" height="160" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicyBy_UqBN9yicRjqs685mcMyZHuEmtSq2of-OBRYLidRtGbVXy7EP5ysvDvaBgNFzzpxX-8jBDXnjUCm6P-O7GwfdA1YdnMuhtbMZ83c-nF-utIMVloz2mCOBWNSPtwc621fc7rCBa3LpIec5S-3nZb4taUCuyYyo9i44j7jBcI81uBs6ccL9_oxnNmU/s320/honey.png" width="320" /></a></div>If walls could talk... they might sound like Madeleine Rowe in their solo show <i>Honey, I'm Home</i>, <a href="https://www.openeyetheatre.org/honey-im-home" target="_blank">now playing at Open Eye Theatre</a> as part of their Guest Artist Series. Because when Madeleine says "Honey, I'm home," they literally mean "I am a home." Over about 70 minutes, they personify a house that's been on the market for way too long, and just wants to be bought and lived in and loved, like anyone (or anything). It's a very funny, silly, odd little show that's playful and fun and participatory (in a not too scary way).<span><a name='more'></a></span><div><br /></div><div>I went into the show not knowing much about it, other than it's written and performed by Madeleine Rowe, <a href="http://www.twincitiestheaterbloggers.com/2024/01/2023-twin-cities-theater-blogger-award.html" target="_blank">2023 TCTB Award nominee for Favorite Comedic Performance by an Individual</a> - they were the standout in a hilarious <i><a href="http://www.cherryandspoon.com/2023/12/every-christmas-story-ever-told-at.html" target="_blank">Every Christmas Story Ever Told</a></i> at Yellow Tree Theatre. So everything that happened was a delightful (and at times disturbing) surprise. Open Eye's charming little stage is bedecked in bright green turf, with a darling little brick house on a hill against a backdrop of blue sky with fluffy white clouds. When Madeleine comes out (dressed as a house), they become that house. The house tells us stories about the neighborhood, and about the upcoming open house in which they hope someone buys them, because they've been empty for so long. They fantasize about meeting that perfect owner. At the advice of their real estate agent, they decide to undergo renovations. When it turns out the house is haunted with a French ghost, they make the most of the situation.</div><div><br /></div><div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5Zk1rlvb7YdLeDHZlee6AQVfqhzbxxoyg4LdMZxyw0YiibB8llKPwG9tmegz9lSAVZ_aAgISvDkI6-YFGAQ0pB2DAS3KFcMAbStapyCEQsDN4ziZL-kWUFd_DhY1ru0s2O12x2-pTwLcdR3hZ5G2I2IkeiCDH2n-dkStuiOi73r9Elao7IkJ2PW7r9ys/s4912/NN240213_0259%20by%20Nicole%20Neri.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3275" data-original-width="4912" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5Zk1rlvb7YdLeDHZlee6AQVfqhzbxxoyg4LdMZxyw0YiibB8llKPwG9tmegz9lSAVZ_aAgISvDkI6-YFGAQ0pB2DAS3KFcMAbStapyCEQsDN4ziZL-kWUFd_DhY1ru0s2O12x2-pTwLcdR3hZ5G2I2IkeiCDH2n-dkStuiOi73r9Elao7IkJ2PW7r9ys/s320/NN240213_0259%20by%20Nicole%20Neri.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">photo by Nicole Neri</td></tr></tbody></table>Madeleine is a clown, meaning they've studied the art of clowning. They're a gifted physical comedian, from gracefully awkward dancing, to full body heaves when the house sobs over a rejection. They sometimes speak like they're in a movie from the '40s, and it's very endearing. But perhaps their greatest skill is bringing the audience into the story and playing off of them. There is quite a bit of audience participation in this show, and with the small audience at Open Eye, you're really not safe no matter where you sit (although if you don't want to go up on stage, maybe don't sit in the front row). Audience members are enlisted for sound effects and occasionally to play characters. But Madeleine is very good at guiding them to say the expected thing, and rolling with it when they don't.</div><div><br /></div><div>Michael Torsh (with whom Madeleine has collaborated at <a href="http://www.cherryandspoon.com/search/label/Sheep%20Theater" target="_blank">Sheep Theater</a>, who sadly haven't done a show in several years) co-directs the show and co-designed the set. There's definitely that feeling of the "deranged sincerity" that is Sheep's tagline in this show. It's silly and fun and unexpected, and definitely unlike anything else playing around town right now! <a href="https://www.openeyetheatre.org/honey-im-home" target="_blank">See it at Open Eye Theatre in South Minneapolis through February 24 only</a>.</div>jillhttp://www.blogger.com/profile/07664672492793582621noreply@blogger.comtag:blogger.com,1999:blog-2620696251964783075.post-48109262389189321952024-02-15T09:21:00.006-06:002024-02-15T09:27:56.162-06:00"Mood Swings: An Exploration of the Concept Albums of Frank Sinatra" by Buzz Music Theater at the Hive Collaborative<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEii2axMhB-UCauvdlFRDZwkIEB-bkE_vjUY8RmWuUmsGdIaIHpt8KwFDX9Rv-4E4Qog_lbOywElpv7xIT2DWcJS67WX0DljGI8uiVWSyiS_Alv_aspnATayBe9B-7r_0JElstHEvyy7wfh5BjdwWAY4LaVudyFvrlcOK4roPzJpDxVNNYRs7gCsbvUZ98E/s971/Copy+of+%5BOriginal+size%5D+Green+Aesthetic+and+Abstract+The+Wedding+Invitation+Flyer.png" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="971" data-original-width="750" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEii2axMhB-UCauvdlFRDZwkIEB-bkE_vjUY8RmWuUmsGdIaIHpt8KwFDX9Rv-4E4Qog_lbOywElpv7xIT2DWcJS67WX0DljGI8uiVWSyiS_Alv_aspnATayBe9B-7r_0JElstHEvyy7wfh5BjdwWAY4LaVudyFvrlcOK4roPzJpDxVNNYRs7gCsbvUZ98E/s320/Copy+of+%5BOriginal+size%5D+Green+Aesthetic+and+Abstract+The+Wedding+Invitation+Flyer.png" width="247" /></a></div>When I chatted* with Laura Rudolph Morris and Eric Morris, new owners of <a href="https://www.thehivecollaborativemn.com/" target="_blank">The Hive Collaborative</a> (the sweet intimate St. Paul theater space formerly known as Dreamland Arts) and co-founders of <a href="https://www.buzzmusictheater.com/" target="_blank">Buzz Music Theater</a>, Eric talked about his love of the concept album, from Frank Sinatra to Taylor Swift, as the perfect intersection of pop culture and theater. Now he's bringing that idea to the stage in the first of four events in a series they're calling "<a href="https://www.thehivecollaborativemn.com/events/g11l1mgvbxwequ6qpow5r5onjgi2pi" target="_blank">Conceptual Beginnings</a>." In <i>Mood Swings: An Exploration of the Concept Albums of Frank Sinatra</i>, Eric sings some two dozen songs as a sort of song cycle around the themes of "relationships and the human experience." We do indeed go on "an emotional roller coaster" over the course of an hour, in a theatrical expression of classic songs from the American Songbook, from the Gershwins to Cole Porter. It's a fun evening that expands the idea of music-theater. But hurry, <a href="https://www.thehivecollaborativemn.com/events/mood-swings" target="_blank">this short run concludes on Monday</a>.<span><a name='more'></a></span><p></p><p><i></i></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6WQjaBDICwxNdVY6vDAQH_atRdKcrIXlossd_OtfjeMlonc0GRfL14LkRBzmkjEtogiBVmJGwfsIn25vjlEHyDqqj56kqvn7LZLpqjnapRVzR-wIlMFUxWFwoKNKNkc2XmmeOvDCwP9USqGi56xQlvC6QlDvZi5tteTPShSpGnaeUXV4BoCDBgaHEdVo/s1800/mood2.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1800" data-original-width="1440" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6WQjaBDICwxNdVY6vDAQH_atRdKcrIXlossd_OtfjeMlonc0GRfL14LkRBzmkjEtogiBVmJGwfsIn25vjlEHyDqqj56kqvn7LZLpqjnapRVzR-wIlMFUxWFwoKNKNkc2XmmeOvDCwP9USqGi56xQlvC6QlDvZi5tteTPShSpGnaeUXV4BoCDBgaHEdVo/s320/mood2.jpg" width="256" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Eric Morris and "friends" (with Luke Aaron Davidson)<br />(photo by Rick Spaulding)</td></tr></tbody></table><i>Mood Swings</i> combines two of Sinatra's 50+ albums, both released in the mid '50s. According to <a href="https://en.wikipedia.org/wiki/Frank_Sinatra_discography" target="_blank">Wikipedia</a>, <a href="https://en.wikipedia.org/wiki/In_the_Wee_Small_Hours" target="_blank"><i>In the Wee Small Hours</i></a> contains songs about "introspection, melancholy, lost love, failed relationships, depression and night life," while <a href="https://en.wikipedia.org/wiki/Songs_for_Swingin%27_Lovers!" target="_blank"><i>Songs for Swingin' Lovers!</i></a> is full of "swinging uptempo numbers." <i>Mood Swings</i> is a good title for this piece, because the full range of emotion is explored, from the highs of new love to the lows of breakups. He's playing a character and the songs tell a story, but not in a clearly defined linear way (there's no dialogue), rather in giving an impression of a man who's in love, or disgusted with love, or somewhere in between. This isn't a super serious piece, it's more playful, and Eric is at times funny, tender, angry, and heart-broken. He has a fantastic and powerful voice, and he really shows all colors of it in these songs, from a soft murmur to a strong belt, and everything in between. Music Director Luke Aaron Davidson accompanies him on the piano, and also plays a bit of a sidekick role, interacting and even singing a bit.<p></p><p></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYTKGRFzzugPtzhEnlLZjM4UuaokArBZRkQFPKLoMK52neMBE6FjMknEQDrzKaJS7cUDeDIOic8zoIyxFHbx6z2lo7qi7RuzRdPfUaiz-nZlv07ySyZIneO_HYfoe1Rb7PgyISl52gjXrCjD71MXu-b_hCoEG3gk1RimsDRFrGUScIxGzas2LvNwc4hag/s1800/mood4.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1800" data-original-width="1440" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYTKGRFzzugPtzhEnlLZjM4UuaokArBZRkQFPKLoMK52neMBE6FjMknEQDrzKaJS7cUDeDIOic8zoIyxFHbx6z2lo7qi7RuzRdPfUaiz-nZlv07ySyZIneO_HYfoe1Rb7PgyISl52gjXrCjD71MXu-b_hCoEG3gk1RimsDRFrGUScIxGzas2LvNwc4hag/s320/mood4.jpg" width="256" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Eric Morris (photo by Rick Spaulding)</td></tr></tbody></table>Directed by Joey Miller, the show makes great use of the space at <i>The Hive</i>. Eric is all over the stage (that's not really a stage) - slouched on a chair against the wall listening to an album, in the back corner singing to a suit coat (representing a person), even singing as he walks off stage or down the stairs. He mostly sings without a microphone (not needed with that voice in that space), except when he grabs a mic stand for a few "performance" numbers. A mid-Century era chaise lounge, a small table, and some chairs pulled from the audience help to create little vignettes for the songs, each one of which is a mini story in itself. The over two dozen songs are put together well in a way that creates a full arc of a story, sometimes flowing from one to the other without a pause.<p></p><p>Buzz Music Theater is creating a unique space for themselves, going beyond the bounds of traditional musical theater. The remaining events in the "<a href="https://www.thehivecollaborativemn.com/events/g11l1mgvbxwequ6qpow5r5onjgi2pi" target="_blank">Conceptual Beginnings</a>" include the classical song cycle <i>Winterreise</i> by Austrian composer Franz Schubert (one can only hope they'll sing it in German), a release concert for <a href="http://www.cherryandspoon.com/2023/12/all-about-jane-eras-of-austen-by-buzz.html" target="_blank">Monica Livorsi's <i>All About Jane</i></a> album, and Ella Fitzgerald singing Irving Berlin. The Hive is also hosting <a href="https://www.thehivecollaborativemn.com/events/16-bar-bingo-jfay2" target="_blank">16-Bar Bingo</a> on the last Monday of every month. I attended the inaugural event with my Twin Cities Theater Blogger friends, and we had a great time. Combining trivia and "name that tune" with live performance, it's a super fun and casual night of singing, celebrating musicals, and being with community, with snacks and prizes!</p><p>See you at The Hive!</p><p><br /></p><p>*<a href="https://twincitiestheaterchat.buzzsprout.com/2150807/14016225-s2e10-mainstage-what-s-buzzing-at-hive-collaborative" target="_blank">You can listen to my conversation with Eric and Laura here</a>, or by searching "Twin Cities Theater Chat" on your favorite podcast app.</p>jillhttp://www.blogger.com/profile/07664672492793582621noreply@blogger.comtag:blogger.com,1999:blog-2620696251964783075.post-32099468608097340992024-02-10T09:29:00.005-06:002024-02-10T09:39:15.315-06:00"Improvised Love is Blind" at Strike Theater<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQceLsx8gRji_TwhAeq-KA86CjZt7PlDUHHaJL4Wqt5URtktjMtWTNdD_LAdLxFcbeN6upL7MLd_OnNwmnq08uNloL9lYyxQssiKt9HY-7VugaBMeYMt6wLGfzNxDvjl187Mmv5DTN22VfP1seuEq5gVn8Nut6B1YrIYenT5RV70IkwoI4ZdmK0RDcib8/s1440/418965750_2544911762338907_7432266354792211522_n.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="720" data-original-width="1440" height="160" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQceLsx8gRji_TwhAeq-KA86CjZt7PlDUHHaJL4Wqt5URtktjMtWTNdD_LAdLxFcbeN6upL7MLd_OnNwmnq08uNloL9lYyxQssiKt9HY-7VugaBMeYMt6wLGfzNxDvjl187Mmv5DTN22VfP1seuEq5gVn8Nut6B1YrIYenT5RV70IkwoI4ZdmK0RDcib8/s320/418965750_2544911762338907_7432266354792211522_n.jpg" width="320" /></a></div>I don't get to <a href="https://www.strike.theater/" target="_blank">Strike Theater</a>, our Northeast Minneapolis home for sketch comedy, storytelling, and spoken word, nearly as often as I would like. But with zero traditional theater shows opening this weekend (in advance of the storm that is late February), I was able to check out <i>Improvised Love is Blind: Season 2</i>. Apparently it's based on a Netflix dating show, which I've never watched or even heard of, so I might have missed some of the references (what are pods?). But the general concept is clear - one of those contrived dating pool situations, with lots of drama and mayhem. They're running it this weekend like episodes of a TV series, and I saw the second episode - after the pairing in the pods, and before the weddings. It would be fun to see all three shows, but even one is a fun evening. The finale is tonight, but last night was over sold out (perhaps the fullest I've ever seen Strike Theater), so get your tickets soon if you're interested! Otherwise <a href="https://www.strike.theater/" target="_blank">check out Strike's website for upcoming shows</a>, including a return of the laughing-through-grief show <i><a href="http://www.cherryandspoon.com/2023/03/wish-you-were-here-at-strike-theater.html" target="_blank">Wish You Were Here</a></i> in March. I'm also hoping my favorite - <i><a href="http://www.cherryandspoon.com/search/label/Great%20Improvised%20Bake%20Off" target="_blank">Improvised Bake-Off</a></i> - will return this year. But there are plenty of shows to choose from in the meantime, as well as classes for those interested in learning how to do improv and storytelling.<span><a name='more'></a></span><div><br /></div><div>The show began (about 15 minutes late due to the long line, which required bringing in extra chairs) with a recap of the last "episode." Three couples got engaged without ever seeing each other (hence the title), and this episode focuses on their vacation to Iceland (from an audience prompt). We see scenes of each couple as they profess their great love to each other, and then hop on a stool for a confessional in which they admit their doubts to the audience. It's a funny contradiction, well executed by the cast and aided by lighting changes (Danna Sheridan in the tech booth, co-producer with Michael DallaValle). We can see them performing for the camera and each other, contrasted to their real thoughts and feelings (as much as these people have real thoughts and feelings). We also get to see the couples go on adventures with the local staff, and participate in some group scenes, couples mingling with other couples, and unexpected attractions.</div><div><br /></div><div>Did I mentioned this was improvised? The talented cast (Ryan Blix, Rita Boersma, Aaron Cook, Robbie Darling, Laura Hild, Erik Hoversten, Danielle Lynch, Shelby Schroeder, and Olivia Wulf) is creating these characters and relationships before our eyes, in this case over the course of three days. Sometimes it's hard to believe it's not scripted because it flows so well, although we get into some wacky situations so we know it's improv. I imagine the original show is unintentionally funny, but this version is intentionally funny, as they make fun of and exaggerate all those dating show tropes.</div><div><br /></div><div>I might have to check out a few episodes of <i>Love is Blind</i> on Netflix, just to see how it compares to the show (I probably won't be able to stomach more than that). But I'll definitely be following <i>Improvised Love is Blind</i> on Instagram to find out who says "I Do" at the altar tonight. <a href="https://www.strike.theater/shows.html" target="_blank">You can watch the finale live at Strike Theater tonight</a>. Other ways to support Strike are to attend their <a href="https://www.eventbrite.com/e/strike-theater-fancy-pants-gala-tickets-814427834577?aff=oddtdtcreator" target="_blank">"Fancy Pants Gala" on Friday,</a> which includes an improvised episode of <i>Frasier</i>, as well as fancy food and drinks, or <a href="https://www.customink.com/fundraising/strike-theater-2024-campaign" target="_blank">buy this cute shirt</a> in their fundraising campaign.</div>jillhttp://www.blogger.com/profile/07664672492793582621noreply@blogger.comtag:blogger.com,1999:blog-2620696251964783075.post-70922503019281645412024-02-08T16:54:00.004-06:002024-02-08T17:08:58.274-06:00"Toil & Trouble" at Yellow Tree Theatre<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwUWuoKT1ISx9-Txl96OYU0Bm2ZDBdoF9RuV2Or8_yR82Br7rfkU3w4lMLm6VF6fzh7IDEbxb84guXh-v1iTH4eIJLd5LTR-ekOB9xhiGVAf2k9XwkgYVfb05LVLbfZGmdWIKIiHhKzaDb9sc_u-_voFIzq-PZdmipbHhp_GBIkgmN1uVRrIVHN8fwjbE/s3864/YTTProgram+(Online+Version)+TOIL+&+TROUBLE+(spread).jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3864" data-original-width="2500" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwUWuoKT1ISx9-Txl96OYU0Bm2ZDBdoF9RuV2Or8_yR82Br7rfkU3w4lMLm6VF6fzh7IDEbxb84guXh-v1iTH4eIJLd5LTR-ekOB9xhiGVAf2k9XwkgYVfb05LVLbfZGmdWIKIiHhKzaDb9sc_u-_voFIzq-PZdmipbHhp_GBIkgmN1uVRrIVHN8fwjbE/s320/YTTProgram+(Online+Version)+TOIL+&+TROUBLE+(spread).jpg" width="207" /></a></div>In recent years, <a href="http://www.cherryandspoon.com/search/label/Lauren%20Gunderson" target="_blank">Lauren Gunderson has become one of my favorite playwrights</a>, with her fresh, modern, feminist plays about women in history, and her <i><a href="http://www.cherryandspoon.com/search/label/Christmas%20at%20Pemberley" target="_blank">Christmas at Pemberley</a></i> series, the best <i>Pride and Prejudice</i> fan fiction (co-written by Margo Melcon). And I'm not alone in my love for her plays; she's one of the most produced playwrights in recent years. So whenever a theater programs <a href="https://www.laurengunderson.com/plays" target="_blank">one of her plays</a>, I'm all for it (I would like to request #TCTheater productions of the women-in-science plays <i>The Half-Life of Marie Curie</i> and <i>Emilie: La Marquise du Châtelet Defends Her Life Tonight</i> next season). But I'm not sure I would have recognized <i>Toil & Trouble</i>, now playing on Yellow Tree Theatre's Osseo stage, as one of her works. It might be the only one of her plays set in modern times that I've ever seen, and it's much darker than her other work that I'm familiar with. But it's still smart, funny, modern, and feminist (because women can be murderers too!). Yellow Tree's production is perfectly cast, with abundantly detailed design, and darkly hilarious. Go get your Lauren Gunderson fix in Osseo now through March 3 (and follow it up with <a href="https://www.theatreintheround.org/home/season-placeholder/72nd-season/silent/" target="_blank"><i>Silent Sky</i> at Theatre in the Round</a>, opening soon).<span><a name='more'></a></span><div><br /></div><div>As you might guess from the title, <i>Toil & Trouble</i> is a modern comedic take on <i>Macbeth</i>. Instead of 11th Century Scotland, it's 2008 San Francisco, with our trio suffering the effects of the recession. Matt and Adam are roommates who are overeducated and underemployed. Adam is the idea man, and he comes up with a sure-fire money-making plan - take over a small island country. When a fortune cookie tells Matt he's going to be King, he jumps on board with the plan. Their friend Beth has a job as a local sports reporter, but isn't getting the stories she wants (the Giants are in the World Series - <a href="https://en.wikipedia.org/wiki/2010_World_Series" target="_blank">which was actually 2010</a> - leading to lots of fun baseball analogies). Both of the men are sort of in love with her, so when Matt proposes to her, she agrees because she wants to be Queen, and "Matt-Beth" is born. Watch out Adam, because their ambition knows no bounds, even murder! The friendship is tested as each of them tries to come out on top.<br /><div><br /></div><div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgipAVcJmQaeXn-t1ILEjRVg6zGeAjAYFqFj3iZ_BQ-Sq_ygydmR0oY-YiSzWzb5Llcy9PIxr6RZnLpQ2SrHCyjgjC6uy2_yo_2vrxxxxdEjVHtAAa1-yW3EtVOEskS9kFLqju7s9eYy-soHuNHcu0ATljeb6k47kBM1YzKt1mYGc3EuXsXvsfefn89Nbw/s1280/tt3.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="853" data-original-width="1280" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgipAVcJmQaeXn-t1ILEjRVg6zGeAjAYFqFj3iZ_BQ-Sq_ygydmR0oY-YiSzWzb5Llcy9PIxr6RZnLpQ2SrHCyjgjC6uy2_yo_2vrxxxxdEjVHtAAa1-yW3EtVOEskS9kFLqju7s9eYy-soHuNHcu0ATljeb6k47kBM1YzKt1mYGc3EuXsXvsfefn89Nbw/s320/tt3.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Alex Galick, Olivia Kemp, and Jason Ballweber<br />(photo by Alex Clark)</td></tr></tbody></table>Following a recent unfortunate trend, this one act 90-minute play has an intermission added, but I didn't mind it <a href="http://www.cherryandspoon.com/2024/01/the-last-five-years-at-lyric-arts.html" target="_blank">as much as some others</a>. Maybe it's because I wanted to catch up with my friends (my work friend group has been going to Yellow Tree for over ten years), maybe because it came at a good moment of the script and gave us (and the cast) a breather. The intermission didn't feel wholly out of place, but it probably wasn't necessary either. The play is smartly constructed, with hints at <i>Macbeth</i> for those who know the play (prophesies from fortune cookies, and familiar quotes sprinkled in), but not in a way that's confusing for those who don't. Director Brandon Raghu and his cast play up every moment of humor in the script, and I suspect add in some that weren't there. Alex Galick (Adam) in particular makes some very specific and unexpected choices - funny accents, crying - that are just this side of over-the-top, and I found hugely entertaining. Jason Ballweber (Matt) is hilarious too, cracking me up with his "pug wheezing" (this Macbeth is not the most confident). Olivia Kemp (Beth) is deliciously evil, just completely going for it with no reservations. The three of them make a great team, with a believable and lived in friendship.</div><div><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhD5nRs502FTycidpAuzXlmzEMXo3E03Y_s9xH2DpvHjamDDwNBLZdn4boG3exhjQ3V7yRi32GKqPTm_t3B8LHcyetUqZLY9I6S5Cd0K8wVRkkgxnYCCu4JfUF0gySWwXxGLezQNmdD5E8mAtCwAjHr8ho0qaONc9ZXMHUEVFi_ahkhtFP1yrWITUWiSVA/s1280/tt2.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="853" data-original-width="1280" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhD5nRs502FTycidpAuzXlmzEMXo3E03Y_s9xH2DpvHjamDDwNBLZdn4boG3exhjQ3V7yRi32GKqPTm_t3B8LHcyetUqZLY9I6S5Cd0K8wVRkkgxnYCCu4JfUF0gySWwXxGLezQNmdD5E8mAtCwAjHr8ho0qaONc9ZXMHUEVFi_ahkhtFP1yrWITUWiSVA/s320/tt2.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">photo by Alex Clark</td></tr></tbody></table></div></div><div>Yellow Tree's tiny stage is overflowing with the accoutrements of a bachelor pad, and it's incredibly detailed, even to the fully dressed kitchen in a nook behind the stage. On stage, there's a shabby couch and coffee table, with an unmade bed in a loft area. Every surface (and even under the furniture) is covered with odd and specific props that let us know these two dudes have been spending way too much time in their apartment. The costumes tell us who these characters are, from Adam's many ties, to Matt's Oxford comma shirt (someone tell me where I can get that), to Beth's reporter chic and loungewear chic (set design by Sarah Brandner, costume design by Samantha Fromm Haddow).</div><div><br /></div><div>The more Lauren Gunderson I can have in my life, the better (she's a 40-year-old woman with pink hair, how can you not love her?). <i>Toil & Trouble</i> may be a bit of a departure from some of her other work I've seen, but it's clever, fun, absurd, and wildly entertaining.</div>jillhttp://www.blogger.com/profile/07664672492793582621noreply@blogger.com