Minnesota Fringe Festival 2025: "An Exorcism, Don'tcha Know?"

Day: 9

Show: 33

Title: An Exorcism, Don'tcha Know?

Category: Comedy / Horror / Puppetry

By: New Endeavors

Created by: Andrew Rakerd

Location: Barker Center

Summary: The show description pretty much says it all: "Church Basement Ladies meets The Exorcist."

Highlights: I recently saw the original Church Basement Ladies for the first time, and the setup here is almost identical. There's a new pastor at the Lutheran Church in small town Minnesota, and the ladies holding an Easter fundraiser to raise money for a new furnace aren't sure what to think of him (he's "different"). And there's a young woman returned from school at "the U" in "the Cities," coming home different than when she left. And here's where this show diverges from CBL - she's possessed by a demon. A demon who is disappointed to find out he's been sent to torment not a Catholic Church, where they expect and know how to handle such things, but a Lutheran Church. The ladies (Angela Fox, Cayla Marie Wolpers, and Michelle Schwantes) and one husband (Mitch Kiecker) turn to Pastor Sal (Rob Ward) to help rid poor Regan (Emma Kessler) of the demon, but he's not sure what to do. One of the ladies has seen The Exorcist, and offers suggestions. But in the end, Minnesota Nice is the only thing that works to rid these Lutherans of the demon. Because it's not the Minnesota Fringe Festival without some Fargo accents and lutefisk jokes, and this show fills the bill nicely. The cast is great, particularly Emma with a blood curdling scream, her words echoed by Mike Dee as the demon, dressed all in black and shadowing her moves, creating a spooky otherworldly effect. This show is really fun and ridiculously funny, as I would expect from the team that brought us one of the most brilliantly stupid Fringe shows in my memory - 2017's The Buttslasher, and the 2019 sequel The Buttslasher: And Then There Were Buns. I'm still waiting for part 3, but in the meantime, you can catch the final performance of An Exorcism, Don'tcha Know? today (Sunday) at 1pm for some Minnesota humor mixed with a touch of horror.

Read all of my Fringe mini-reviews here. 

Minnesota Fringe Festival 2024: "A Murder on the Great Grimpen Mire Express"

Day: 9

Show: 26

Title: A Murder on the Great Grimpen Mire Express

Category: Comedy / Mystery / Literary adaptation

By: Fearless Comedy Productions

Created by: Tim Wick & Jami Newstrom

Location: Mixed Blood Theatre

Summary: A mashup of two of the most beloved mystery stories: Murder on the Orient Express and The Hound of the Baskervilles.

Highlights: This is a very funny, clever, well-written show. Putting two of English literature's favorite detectives (Poirot and Holmes) together* is a fun idea, and the show plays on the idiosyncrasies of both characters. Like in Orient Express, Belgian (not French!) detective Hercule Poirot is traveling by train when he happens upon a woman - a Baskerville heir - who's afraid someone is trying to murder her. She has enlisted the services of famous detective Sherlock Holmes, setting up a bit of a rivalry between the two detectives. But Holmes isn't actually on the train, he's sent his trusty assistant Watson. Ms. Baskerville tells the two men her story (with some fun feminist commentary on the damsel in distress trope). Poirot interviews everyone on the train, and of course solves the mystery. The set quickly and cleverly transforms from the sleeping cabins to the dining car and back again. Everyone in the cast is great, particularly Edwin Strout as the mustachioed detective, Angela Fox as the slightly amnesiac Ms. Baskerville, and Dawn Krosnowski stealing scenes as multiple characters (who all come together in the end). Their final performance is today, the final day of Fringe, so you still have time to see this fun, clever, well executed mashup.

Read all of my Fringe mini-reviews here. 

*For more Holmes/Poirot fan fiction, go see Park Square Theatre's return this after a couple dark years with the original play Holmes Poirot by Jeffrey Hatcher and Steve Hendrickson.

Minnesota Fringe Festival 2022: "Michael Bay's Bridgerton VII: Revenge of the Forlorn"

Day: 7

Show: 23

Title: Michael Bay's Bridgerton VII: Revenge of the Forlorn

Category: COMEDY / PHYSICAL THEATER / SCI-FI

By: Snikt! Bamf! Thwip! 

Created by: Tim Wick & Jami Newstrom

Location: Theatre in the Round

Summary: A spoof of Netflix's smash hit series Bridgerton, with some Michael Bay transformers elements thrown in.

Highlights: Confession: I had to google Michael Bay to see what movies he was involved in, so I was definitely there for the Bridgerton of it all. And I was very satisfied in that regard. The story revolves around our favorite BFFs - Penelope Featherington (Angela Fox) and Eloise Bridgerton (Alison Anderson). There's a dashing suitor known as Viscount Studleywright (Michael Bloom), a meddling mother (Breanna Cecile), and even a voiceover by Whisledown (Dawn Krosnowski). But here our heroines also have to deal with the evil Lord Montjoy (Edwin Strout) and his inept accomplice (Samuel Poppen) trying to sabotage the Bridgerton ball and therefore the entire family's reputation. There's a running comentary about how the men simply do not hear the women (funny because it's true), and the benefit of guilds (i.e., unions). About halfway through the show, it turns from Bridgerton to Michael Bay, with our characters losing their charming British accents and instead speaking and acting like crass Americans. There are explosions, and fights, and transformers! But in the end, the two friends come back together and vow to take their lives, and their stories, into their own hands. The Fringe isn't the Fringe without a trendy pop culture spoof, and this show fills that spot nicely.

Read all of my Fringe mini-reviews here.

"Fearless 5: Music" by Fearless Comedy Productions at the Historic Mounds Theatre

This was my first time seeing Fearless Comedy Productions' Fearless 5 show: "an evening of one act plays in which an ensemble of actors perform 5 original short plays, written by 5 different playwrights, and directed by 5 different directors." This year's theme is music, and combining music and theater is my favorite kind of storytelling, so I couldn't resist. In an era of jukebox musicals, movie adaptations, and repeated revivals (e.g., the upcoming Broadway touring season, which has not a single new original musical), it's exciting to see local playwrights explore the idea of music-theater, whether it's through full-blown musicals, or merely with music as an idea behind the story. Check it out at the cool (and possibly haunted) art deco-era renovated Historic Mounds Theatre in St. Paul's Dayton's Bluff neighborhood, Fridays and Saturdays through the end of the month (tickets just $10 - click here for details).

"The Bungalow Loft" by Fearless Comedy Productions at the Historic Mounds Theatre

Fearless Comedy Productions returns with a brand new comedy play by #TCTheater favorite Shanan Custer! Although maybe it's more of a dramedy, as it features two sisters discovering some secrets about their recently deceased mother and deals with themes of grief, loss, regret, memories, mental illness, and challenging family relationships. Presented in an intimate in-the-round (or square) space on the floor of the Historic Mounds Theatre, The Bungalow Loft is funny and real and brought to us by an all-female cast and creative team. 

"Gilligan's Island: The Musical" by Minneapolis Musical Theatre at Illusion Theater

I topped off my four-musical weekend (which also included the ridiculously fun Xanadu at the Chanhassen, the classic Bernstein musical Wonderful Town by Skylark Opera, and a reading of the new musical Heading East by Theater Mu and starring Tony-winner BD Wong) with  Minneapolis Musical Theatre's Gilligan's Island: The Musical. It was like the whipped cream on top of the ice cream sundae that was my weekend: light, airy, and fun, not a whole lot of substance but a pleasant ending to an incredible weekend. In addition to being a theater junkie, I'm also a TV junkie and grew up watching classic sitcoms like Gilligan's Island, so this show is right up my alley.

Gilligan's Island: The Musical is pretty much exactly what you would expect (which isn't surprising considering it was written by the creators of the TV show). The same seven castaways, the grass huts, the familiar outfits, the sitcom predicaments. Only with music! The cast is great; everyone is perfect for their roles and gamely jumps in with both feet. Ryan Levin is appropriately adorable as the well-meaning but not so smart Gilligan, and Ryan Grimes is very Skipper-like. Joe Hendren is perhaps my favorite character, the Professor, who has a solution for every problem, except how to get off the island. Rebecca Gebhart is the sweet Kansas farm girl, and Angela Fox is the sexy, slinky movie star Ginger. Finally, Marlin Rothe and Joyce Norman have the accents and attitudes down pat to play Mr. and Mrs. Howell.

I know I often complain about movie and TV show adaptations taking over Broadway, but this isn't Broadway. And this show doesn't try to be more than it is - a fun, nostalgic homage to a classic sitcom. If you loved watching Gilligan's Island, you'll love this show (playing now through June 24). Surprisingly, this is the first Minneapolis Musical Theatre production I've seen. For whatever reason I've never quite made it to any of their shows. Now that I've "discovered" them, I'll definitely be back!

the castaways

"Sweet Charity" at the Bloomington Civic Theatre

I had never seen Sweet Charity and didn't know much about it, other than it was written and set in the 1960s, and the Christina Applegate 2005 Broadway revival got its start in Minneapolis (which sadly I didn't see).  So I decided to make the trip down to Bloomington (which really isn't as long as I think it is) to see the show.  I was not disappointed.  I discovered I love the show, from the music and choreography to the great 60s look of the set and costumes, and BCT presents a great production of it.

If you're unfamiliar with the show, here's a brief plot summary.  The titular character is a dance hall girl in NYC in the late 1960s.  She believes in love, even though she doesn't have much reason to.  In the beginning of the show her boyfriend steals her purse and pushes her into the lake.  But Charity gets right up again, and makes friends with an international movie star who's in love with someone else.  Determined to improve her life, she meets the sweet awkward Oscar when she decides to take a class at the local community center.  It seems as if she's found what she's been dreaming of - someone to love her.  But it turns out he's not worthy of our sweet Charity, so she keeps looking.

Highlights of the show include:

• A star performance by Emily Herringshaw as Charity.  Her voice is beautiful and effortless, as is her dancing.  She really shines in "If My Friends Could See Me Now," a tentative expression of joy and disbelief at the situation she finds herself in (hanging out with an international movie star!) that grows into a full dance number with top hat and cane.  Emily makes Charity extremely likeable and showcases her endless hopefulness in the face of continual setbacks, that should make her seem like an idiot but somehow doesn't.  Charity doesn't get her happy ending, but she keeps hoping and looking for it.
• A great supporting cast.  Angela Fox as Nickie and Larissa Gritti as Helene are Charity's two best friends, spunky and funny but with a vulnerability as shown in the beautiful and sad song "Baby Dream Your Dream."  Paul R. Coate (whom I saw in another classic NYC musical On the Town this summer) is suave and funny as the movie star Vittorio Vidal, and later as the leader of the hippie Rhythm of Life Church.  Jeff Turner's bio in the program is short, but his performance as Charity's possible one true love is not.  Oscar is charming, nervous, slightly awkward, and totally loveable.
• Fabulous dance numbers, as expected in a show conceived by Bob Fosse.  Choreographer Tracy Doheny Erickson keeps much of Fosse's style intact in the many and diverse numbers.  In the signature song "Hey Big Spender," the bored dance hall girls in short colorful dresses and big hair make small, precise, meaningful movements.  My favorite number is "Rich Man's Frug," which seems to goes on and on and on (in a good way).  The dancers strike a fabulous pose, the music stops, the audience applauds, and then it begins again!  The dancers look fabulous in their mod 60s black dresses and tuxes (designed by Ed Gleeman), like they stepped right out of some TV show from the 1960s.  Sweet Charity suddenly turns into Hair for one number when Charity and Oscar attend a hippie church.  And towards the end of the show the ensemble becomes a marching band in "I'm A Brass Band."

Sweet Charity is a great show with big fabulous dance numbers as well as more intimate heartfelt moments.  It's only playing for another week, but it's a fun evening of theater if you can make it.