"Constellations" at the Jungle Theater

The theory of the quantum multiverse suggests that many different universes simultaneously exist, based on every choice we ever (or never) made. I don't know if I believe that, but I do believe that we are where we are in life based on a million choices we've made in our life, both significant and seemingly insignificant. It's intriguing to think that if we had made one or a hundred choices differently, we might be in a completely different place in life, doing something completely different, surrounded by completely different people. English playwright Nick Payne's new play Constellations, the second production in the Jungle Theater's 2016 season, plays with that idea to great effect. In one of my favorite plays that I've seen all year, we are taken on a journey of a relationship, but not just one single linear journey, rather countless iterations of that journey, some funny, some heart-breaking, some hopelessly romantic, all focused on these two people that are connected in some way in every one of the universes traveled.

"Henry IV Part I" by Ten Thousand Things at Open Book

Typically, if I heard "Shakespeare's Henry IV Part I," my immediate reaction would be - ugh. Sounds heavy and difficult and confusing and exhausting. But given the Ten Thousand Things treatment, with Michelle Hensley at the helm and an incredibly brilliant cast of eight women, it's anything but. Sure there are still a heck of a lot of characters with weird names, and alliances more difficult to keep straight than the latest season of Survivor, but TTT always breaks things down to get to the truth of the story, characters, and emotions at play. So while maybe I wasn't always clear on who was warring with whom, I was still caught up in the power of the story. And with a cliffhanger ending suitable for any movie franchise, I found myself wondering, when's Part II?

As assistant director Per Janson told us in the traditional pre-show spiel (filling in for Michelle Hensley, who is in San Francisco being named to the YBCA 100, because she's awesome), Henry IV Part I is about King Henry IV of England, who recently took the crown from Richard II. But it's really the story of his son, Prince Hal, and whether he will decide to back his father or join with the rebels who are springing up all over England to remove him from the throne. Michelle notes in the playbill:

The stark choice faced by Prince Hal in this 400-year-old play is actually one still facing many young men today: to become a leader in an often ruthless world of competition, dominance, and conquest - whether in business, politics, sports, or war - or to rebel against it all through a life of thievery, drunkenness, and debauchery. We decided it would be interesting to look at this story through the lens of an all-female cast.

Interesting, indeed. Eight women (some of the Twin Cities' finest actors) play over 20 characters and tell this layered story of conquest, loyalty, rebellion, and the complicated politics of 15th century England. The aforementioned "Ten Thousand Things treatment" means that we watch the play in a small, fully lit room, with minimal sets and costumes, Peter Vitale's evocative and eclectic soundtrack, and none of the usual tricks of the theater to come between cast and audience. We are all a part of this experience, which somehow feels more real and immediate.

I'm not going to bore you with a complicated plot summary, Wikipedia can tell you that. Instead I'll tell you that Michelle Barber reigns over the proceedings as a fierce and indomitable King Henry; recent Ivey-winner Shá Cage is empathetic as the conflicted Prince Hal; Thomasina Petrus is the King's loyal comrade; Anna Sundberg and Austene Van are strong as rebel leaders; Meghan Kreidler, making her TTT debut, plays a number of roles and fits right in with her expressive spirit; George Keller is a very entertaining drunk, among other characters; and Karen Wiese-Thompson is, as always, a comic delight, here as the foolish knight Falstaff, spot-on hilarious in every choice she makes. And may I say, it's such a treat to see these amazingly talented women, without the glamorous make-up, hair, and wardrobe usually associated with the theater, and looking all the more beautiful and strong because of it.

One more thing I need to tell you - there are some really brutal and real-looking fight scenes, sometimes several fights happening at once. It's so real and close that at times I almost feared for the actors' and the audience's safety, except that I know these people are pros. Kudos to fight coach Annie Enneking for her intricate choreography and to the cast for pulling it off.

Go to the Ten Thousand Things website to see a fun and cool trailer for the show and to purchase your tickets. Seating at Open Book is limited so make plans soon!

"You Can't Take It With You" at the Jungle Theater

About a year and a half ago, I cut down the hours on my day job so that I would have more time to do what I love - seeing and writing about theater. Which essentially means I took a pay cut in order to have more time to enjoy my life. This means that my bank account is a little smaller, but as the man said, you can't take it with you! It's a motto I live by, but had yet to see the play by that name until last night. I was pleased to discover that it celebrates this very spirit - doing what you love, surrounded by people you love (no matter how crazy they might be), and not sacrificing these things for a paycheck. Granted, not everyone is in a position to reduce their paycheck to spend time blogging, or dancing, or making fireworks, but it's a good thing to assess how you're spending your time (more precious and rare than money) every once in a while. Jungle Theater's production of You Can't Take It With You is funny, quirky, heart-warming, and with a cast so delicious it'll make you drool.

Hugh Kennedy and Anna Sundberg
(photo by Kerri Pickett)

It's 1937 New York, and the extended Sycamore family is about as eccentric as they come. Grandpa quit his job 35 years ago because he didn't enjoy it, and spends his time raising snakes and attending commencements. Daughter Penny and her husband Paul keep busy writing plays and making fireworks, respectively, while their daughter Essie, who lives in the house with xylophone-playing husband Ed, studies dance and makes candy. Various other oddball friends and employees fill the house, with daughter Alice as the only seemingly "normal" one. She works in an office on Wall Street, and falls in love with the boss' son. As you can imagine, when Alice brings Mr. Kirby and his conservative wealthy parents home to meet the family, much hilarity ensues. Will these two very different families ever make peace so that these two crazy kids can get hitched?

Angela Timberman, John Middleton, and a kitty!
(photo by Kerri Pickett)

This is a huge and star-studded cast, with many favorites from the Jungle and other local stages, including three real-life married couples (although only one of them actually plays a married couple). And there's not a weak link among them, including the two kittens! Each actor is so committed to the role and bringing out each character's delightful and specific quirks, while still making them seem like real people. In fact I don't know where to begin in singling out individual performances, for fear of leaving someone out! But I'll give it a go:

Angela Timberman, Cathleen Fuller, Hugh Kennedy,
Nathaniel Fuller, and Julia Valen
(photo by Kerri Pickett)

There's Angela Timberman as the loveable flake of a mother (I don't think it's possible for a human to upstage her, but a kitten can, especially when it starts playing with her earring!); John Middleton as her fireworks-obsessed husband; Cathleen and Nathaniel Fuller as the stiff and conservative Kirbys, both of whom have a little more life inside them than initially seen; Anna Sundberg as the sweet and relatively normal Alice; Hugh Kennedy, as charming as ever as her Mr. Kirby; Elisa Pluhar and Peter Lincoln Rusk as a couple of loyal employees that fit right in with this odd family; Charity Jones as a boozy actress who spends most of her time onstage collapsed in a heap; the delightful Julia Valen as Essie, constantly dancing and fluttering in her ballet slippers, frequently getting up on those toes; sharing a cute and easy chemistry with Max Wojtanowicz as her husband who accidentally distributes communist messages; Jay Albright, goofy as ever as Paul's fireworks buddy; Allen Hamilton as the frighteningly intense Russian dance teacher; Wendy Lehr as the Grand Duchess who makes blintzes, a third-act appearance that's worth the wait; Gabriel Murphy as the shocked IRS agent who enters the home and doesn't know what he's getting into; and last but not least, Raye Birk who, like Grandpa, is the heart and center of the show. Phew! Trust me, they're all fantastic and play together so well under Gary Gisselman's direction that every performance is a joy to watch. In fact there's often so much goodness going on at once on different parts of the stage that it's impossible to take it all in!

All of this craziness takes place in the Sycamore home, beautifully designed by Tom Butsch to use every inch of the Jungle's small stage. There's a foyer, office area, alcove for Ed's xylophone and printing press, stairway, dining table, and several doorways with set decoration continuing outside the doors. The walls are covered with framed photos and artwork, and every corner is crammed with books and tchotchkes. Amelia Cheever's '30s period costumes are beautiful (including several pairs of shoes I would like to own) and perfectly suited to each character. The lighting by Don Darnutzer and sound by Montana Johnson complete this specifically defined world (including several fireworks tricks on and off stage), with period music playing during intermissions and a post-curtain call song that perfectly sums up the evening: the best things in life are free!

What else can I say about You Can't Take It With You than it's an absolute delight and utterly joyful. Head to the Jungle between now and through August 9 for a pick-me-up and to revel in the good things in life.

"For the Loyal" at Illusion Theater

It's a story that is all too familiar. A person in power is found to have molested children, and even worse, the crime has been covered up by others in their organization. Whether that person is a teacher, a priest, or a football coach, it's an unthinkable abuse of the power and trust that the position entails, and we wonder why no one spoke up sooner. All of us like to think that if we witnessed a crime, especially against a child, we would report it to the police no matter the consequences. But would we? What if it's not that simple? What if we didn't have any actual evidence, just suspicions? What if reporting the incident would destroy our lives? Would we take extreme measures to ensure justice is done? Or would we just try to minimize the damage and move on with our lives? Such are the questions posed in the new play For the Loyal by Lee Blessing. There are no easy answers, and I left the play feeling more confused than I was before. But it's a powerful, engaging, thought-provoking exploration of this horrifying and all too familiar situation.

The incident in this play is similar to what unfolded at Penn State a few years ago. At an unnamed University, assistant coach and grad student Toby (Sam Bardwell) finds a naked boy at the home of Coach Carlson (a creepy-charming Garry Geiken), and reports it to Head Coach Hale (Mark Rosenwinkel). Hale tells him not to tell anyone, that he'll take care of it by forcing Carlson to retire, thinking that if he's no longer at the University it's not his problem. Toby is upset and tells his pregnant wife Mia (a strong and sympathetic Anna Sundberg), who wants this man to be punished and prevented from hurting any more children, thinking of her unborn son and a childhood friend. The story takes an unexpected turn, affecting all parties involved. I don't want to say too much and spoil the intriguing way that it all unfolds, but suffice it to say that many angles of this situation are explored, none of them good.

Anna Sundberg, Sam Bardwell, and Garry Geiken
(photo by Aaron Fenster)

The cast does a great job leading us through this difficult story and making us feel the humanity in most of the characters portrayed. In addition to the above named actors, Michael Fell gives several standout performances as various teenage boys involved in the story, all of whom have a different relationship with and reaction to the situation.

This is a fitting project for Illusion Theater, which has actively worked to end sexual abuse of children since the 1970s with the TOUCH program, including creating a play and later a film for children and schools to educate about what's an acceptable touch and what to do when it's not. They're currently raising money to update the film for a new generation. This play falls right in line with their mission, bringing awareness to the issue of sexual abuse of children, but this time the focus is on the responsibility all of us have to be a witness to what's going on around us. For more information about their education programs, see their website.

I couldn't help but be reminded of plays like Doubt, A Parable, which featured a similar situation of if, when, and how to report suspected abuse, and Theatre Pro Rata's recent The Woodsman, which looked at things from the perspective of a recovering child molester. For the Loyal is a powerful play that raises plenty of difficult questions with no easy answers, and effectively puts the audience in the position of "what would you do?" Continuing at Illusion Theater through May 19 (discount tickets available on Goldstar).

"Romeo and Juliet" by Ten Thousand Things at Open Book

No one does Shakespeare like Ten Thousand Things. They manage to boil the text down to its bare essentials, and convey the heart of the story in a way that feels fresh and modern. This season they bring their unique Shakespeare style to perhaps his most well-know play, the story of star-crossed lovers that inspired all others, Romeo and Juliet. In the typically minimalist production (since TTT performs on location at prisons, homeless shelters, and community centers, the paid public performances are also in a small, fully lit room with little in the way of sets and costumes), director Peter Rothstein and his fantastic cast of eight playing multiple characters bring this familiar story to life in a unique way.

You all know the story so I won't recount it here. Several scenes stand out in this production. The party scene where Romeo and Juliet first meet is nicely done in the small space, with the cast dancing around the audience. The balcony scene is sweet and charming (how do you create a small and easily portable balcony? with a chair on top of a table). The fight scenes are dynamic (choreographed by Annie Enneking), made all the more real because of the close proximity and the perceived danger of an injured party falling into the front row of the audience. The final death scene is beautiful and heartbreaking.

the famous balcony scene
(Anna Sundberg and Namir Smallwood)

As the titular lovers, Namir Smallwood and Anna Sundberg are a compelling pair. Namir gives Romeo a passion and single-mindedness in being with his love, and Anna portrays Juliet as a modern young woman, speaking the Shakespearean language naturally. Six other actors portray all of the characters necessary in this stripped down version. Regina Marie Williams is Juliet's somewhat flighty mother, in contrast to her portrayal of the stern-faced Prince. Bob Davis expresses Juliet's father's love for her, and frustration when she doesn't do his bidding. Karen Wiese-Thompson is entertaining as always as the comic relief nurse, the apothecary, and a mustachioed servant. Dennis Spears is always interesting to watch, and here plays the helpful Friar and Juliet's slain kinsman. David Darrow makes his TTT debut, nicely differentiating the young rebel Mercutio from the nerdy Paris (both with great death scenes). Kurt Kwan is Romeo's sturdy friend Benvolio and a blustering servant.

As always, Peter Vitale has created a soundtrack that sets the mood for the story, whether a party scene or a fight, with help from Jason Hansen on multiple instruments. Boxy black and metal stools and tables are the only set pieces, cleverly arranged as mentioned above to create the balcony, as well as Juliet's bed and tomb (designed by Erica Zaffarano). Trevor Bowen's costumes are modern yet classic, with touches of red for the Capulets and purple for the Montagues, with lovely youthful dresses over leggings for Juliet.

Every time I see Romeo and Juliet I think, why doesn't Juliet just run away with Romeo when he's banished? Why doesn't the stupid Friar get the message to Romeo? Why doesn't Romeo wait a moment longer before taking the poison? But to great frustration, it never changes. Another thing that never changes is Ten Thousand Things' high quality budget productions. The absence of the usual bells and whistles of theater allows the acting and the story to shine.

Romeo and Juliet plays through November 2 at Open Book and the MN Opera Center. With a loyal audience and small performance spaces, shows have a tendency to sell out, so you'll want to order tickets in advance.


This article also appears on Broadway World Minneapolis.

"Detroit" at the Jungle Theater

The Jungle Theater's production of the outrageous dark comedy Detroit is in the middle of its six-week run, so lucky for you there's still time to see it if you haven't yet. This play by Lisa D'Amour is about two couples living next door to each other in any suburb in America. They meet and develop a friendship, despite the fact that none of them are who they seem to be. It's crazy and funny and poignant at times, as it explores relationships and neighborliness in modern America.

Ben (John Middleton) and Mary (Angela Timberman) invite their new neighbors in the run-down house to a barbecue in the spotless backyard of their charming home. Ben and Mary seem like the average suburban couple, he works at a bank and she works as a paralegal, except that Ben has been laid off and is working on starting his own financial planning business, so he spends a lot of time at home on the computer, much to Mary's annoyance. Sharon (Anna Sundberg) and Kenny (Tyson Forbes) are fresh out of rehab and starting their life over with nothing but a great attitude towards life. Over the course of the nearly two-hour (with no intermission) play, many conversations are had, relationships formed, and secrets revealed. It's a beautiful friendship that changes everyone for good, although maybe not for the better. This cast is perfection, and the four actors work and play together so well that one would almost think that they really do live next door to each other. They're all so funny and devastating and completely in the moment, no matter what crazy thing their character is doing. It's really great fun to watch.

As per usual at the Jungle, the director and set designer are one in the same, in this case Joel Sass. He has designed a set that's not just beautiful, with the contrasting facades of the two houses and the perfectly or imperfectly manicured lawns, but is technically impressive as well. I don't want to spoil anything, but do keep an eye on how the set changes scene to scene. The blackout periods between scenes can get a little long, but considering some of the changes that have to happen it's a wonder they're not even longer. Things get broken and repaired, water comes out of the hose, and the grills actually cook the meat. Things turn destructive in the final party scene, leading to what must be an arduous clean-up and resetting of the stage for the next show.

The Jungle never lets me down and this is a perfect example of why - a smart, funny, relevant play, fantastic cast, and perfect execution of difficult technical elements. This is a neighborhood you don't want to live in, but it sure is fun to visit for a few hours (just watch your head and your step). Playing now through May 25.

2013 Twin Cities Theater Wrap-up

It's that time of the year again, time to reminisce about some of the amazing theater experiences I had in 2013. And since this is the first year in the past 13 that I haven't made a trip to NYC, everything I saw was right here in Minnesota. This year I saw over 120 locally produced plays, musicals, dance shows, and even an opera (not counting the nine touring shows and 25 Fringe Festival shows I saw). They range from Aida to Yellow Fever (alphabetically) and from Aida to All is Calm (chronologically; in a strange sort of symmetry, my first and last shows of the year were both Theater Latte Da and Hennepin Theatre Trust collaborations at the Pantages). These shows represent over 50 of our fabulous local theater companies at about 50 different venues, from a small intimate audience of 25 people in the magnificent James J. Hill house, to the 2500-seat historic Orpheum Theatre. So without further ado (and in alphabetical order), these are some of my favorite theatrical experiences of this year (click on the title to read my full thoughts on each show).

The first on my alphabetical list, I'm including The Big Lowdown (a co-production of Bedlam Theatre and Live Action Set) because it’s different than any other theater I've ever experienced: a walking tour of St. Paul’s Lowertown neighborhood with surprise performances of dance, music, puppetry, and theater around every corner and hidden in every shadow. A truly magical and wonderfully unique evening.

I saw some great stuff at the History Theatre this year, including a surprisingly compelling story of two Minnesota Supreme Court justices, Courting Harry. But my favorite was the Baby Case, a musical about the Lindbergh baby kidnapping. Except that it wasn't really about the kidnapping, it was about the media circus that surrounded it, that is only different from today's media circus in terms of format and quantity. With wonderful double-lead performances by Peter Middlecamp and Kendall Anne Thompson, a fantastic ensemble, great original music and choreography, I found it to be "funny, moving, entertaining, informative, relevant, thought-provoking, and with tunes you will leave the theater humming."

I agree with the Ivey voters about the Guthrie's Clybourne Park – a wonderful cast of mostly familiar faces in a brilliantly written Tony-winning play that strikes at issues of race, class, and gender. Sometimes it's a good thing when theater makes you uncomfortable, in this case it's very good. (Other favorite Guthrie shows include: Born Yesterday, Other Desert Cities, Skiing on Broken Glass, and Tribes)

Compulsion or the House Behind by Minnesota Jewish Theater was a fascinating look at a Jewish American writer largely responsible for making Anne Frank's diary known to the world. But the story is not that simple, as his obsession takes over every aspect of his life. A complex true story brought to life by an excellent three-person cast and a truly innovative use of puppetry.

In a year of producing only plays written by women (proving once again that their commitment to diversity isn't just so many pretty words), Mixed Blood presented some great work, including the smart and funny dark comedy Elemeno Pea. But I was most impressed by the ambitious trilogy of plays Displaced Hindu Gods by Aditi Kapil. Three completely different plays built around similar themes, with excellent overlapping casts highlighted by a funny, heartbreaking, and vulnerable performance by Debargo Sanyal as an intersex stand-up comic. This was the only time outside of the Fringe Festival that I've seen three plays in one day, and it was quite a glorious marathon of theater.

Gremlin Theater concluded their run in their space on University in St. Paul with the excellent The Effect of Gamma Rays on Man-in-the-Moon Marigolds (they are currently without a permanent home but plan to produce work at other locations beginning early next year). This was one of those experiences in which I didn't know anyone in the cast and had no idea what the play was about, and was blown away. I can't even think about it without starting to tear up. This heartbreakingly beautiful tale of a seemingly awful mother who loves her daughters desperately but doesn't know how to love them hit me right in the gut.

The American Tribal Love-Rock Musical Hair is one of my favorite musicals, and one of the most important in the history of musical theater. This summer it was brought to life by 7th House Theater Collective, a brand new company of some of the most talented young musical theater actors in town (including rising superstars Cat Brindisi and David Darrow). This was a raw and intimate version of the trippy and profound creation that is Hair.

Lyric Arts' The Laramie Project was an all-around beautiful production. This community theater in the suburbs presented an important work of theater that deals with the difficult issue of hate crimes, as well as how art can be used to process, heal, and teach. After seeing this play I wrote, "At its best, theater can give us a forum to understand and explore the most difficult and important issues of our time, and that's what this play does." Well done, Lyric Arts.

Everything Bloomington Civic Theatre did this year was excellent (see also Singin’ in the Rain and Cabaret), but I particularly loved their rich production of the epic musical Les Miserables. With a terrific cast led by one of my favorite actors Dieter Bierbrauer as Valjean, and Anita Ruth's big beautiful pit orchestra, I came to appreciate this classic in a way I never had before.

I saw two productions of American playwright Eugene O'Neill's autobiographical masterpiece Long Day's Journey Into Night this year, both within a few weeks of each other. The Guthrie's production was beautiful and completely satisfying, but then I saw The Gonzo Group's production in the great hall of the James J. Hill House. The perfect marriage of story and location, with a real-life family standing in for O'Neill's family (husband and wife Richard Ooms and Claudia Wilkins, and their son Michael Ooms), and an audience of just 25, I felt as if I were an uncomfortable guest in the Tyrone's tragic family home.

In a year full of wonderful one-man shows (see also Sam Landman in Thom Pain (based on nothing), Stephen Yoakum in An Iliad, and Wade Vaughn in Cul-de-Sac), one stands out clearly in my memory. Frank Theatre's production of the Irish playwright Enda Walsh's Misterman was a wild and crazy ride through the mind of one disturbed but sympathetic man. The brilliant performance by John Catron was matched by the detailed set (I’ve never seen the usually sparse Southern Theater look so cluttered) and sound design (many recordings of different voices playing on cue). A complicated combination of elements that fit together seemingly effortlessly.

Theater Latte Da had a strong year of regular programming (including Aida, Light in the Piazza, Steerage Song, and All is Calm), but what I loved best was their new works series NEXT: New Musicals in the Making. They presented staged readings of three new music-theater pieces, all so different and so wonderful in their own way. When the Moon Hits Your Eye is a play about eccentric characters living in a NYC neighborhood with a diverse selection of songs. C. is a new musical adaptation of the classic French play Cyrano de Bergerac, written by and starring the multi-talented Bradley Greenwald (with music by Robert Elhai). Finally, Bessie's Birthday is an expanded version of a short piece presented in 2009, a funny and poignant musical about a quirky family in Wisconsin. When I’m dismayed by the proliferation of inane movies being turned into a musicals, Theater Latte Da gives me hope for the future of musical theater.

Speaking of original musical theater, there is Ordinary Days. I absolutely loved Nautilus' production of this musical in a series of vignettes about the intersecting life of four New Yorkers. Listening to four fantastic voices (belonging to Jill Anna Ponasik, Kristen Rodau, Doug Sholz-Carlson, and Max Wojtanowicz) with no amplification in a small intimate space was thrilling. It filled me with the pure joy than only truly good musical theater can.

Another entry in the category of the new original musical is Yellow Tree Theatre's Stay Tuned, featuring music by one of my favorite local musicians, Blake Thomas (when he's not composing for musical theater, he's a pretty amazing country singer/songwriter). I wrote at the time, "Stay Tuned is a charming story about American music and its changing forms (from radio and record albums to podcasts and downloads) with really lovely and diverse original music performed by talented singer/actor/musicians."

A great year at Park Square Theatre (see also the funny and intense Good People and the delightful baseball musical Johnny Baseball) was highlighted by Stick Fly, one of those dysfunctional family stories that are so compelling to watch, as they delve into issues of race, class, gender, education, and relationships with smart and fast dialogue. In short, "This is a smart, engrossing, challenging (with several jaw-dropping moments of - they did not just say that!), thought-provoking, emotional, funny, and very real play."

Ten Thousand Things does theater like no other, and everything they do is top-ten-list-worthy. I really loved their brilliant Greek tragedy as hip-hop musical The Seven, but my favorite of their work this year is A Streetcar Named Desire. It's a play I've seen several times before, but never quite like this. In typical TTT fashion, it's stripped down to the bare essentials, with the awesome four-person cast (particularly Kris Nelson as the brutish Stanley and Austene Van as the fragile Blanche) fully embodying these classic characters in Tennessee Williams' gorgeous Southern tragedy. It was "a brutally real and emotionally affecting two hours that's at times difficult to endure. Seeing Williams' tragic story so up close and personal is almost too much to bear. In other words - they did it right."

This was another strong year for the Jungle Theater. I could put every one of their five shows on this list, but I'll narrow it down to Urinetown (an absolutely fantastic ensemble cast led by the always wonderful Bradley Greenwald, interesting and intriguing choreography, smart and funny lyrics, and just plain fun) and Venus in Fur (Anna Sundberg and Peter Christian Hansen in a smart, sexy, funny, Tony-winning play, what more do you need to know?). Although I also loved the tense thriller Deathtrap, the gripping Fool for Love, and the absolutely lovely Driving Miss Daisy. The Jungle is at the top of its game.

Besides these favorite local shows, two events this year deserve special mention. The Guthrie Theater celebrated its 50th anniversary with an amazing concert called BEHOLD featuring beloved Guthrie vets in person (Peter Michael Goetz!) and on video (Christopher Plummer!) as well as theater greats (Whoopi Goldberg descending from the ceiling! Brian D'Arcy James singing a song written by Jason Robert Brown just for the occasion!). It was a truly wonderful celebration of the Guthrie Theater and our outstanding theater community.

Of the non-local shows that I saw this year, I was most touched by Billy Crystal's one-man show 700 Sundays, in a short run at the State Theatre before its return to Broadway. I was expecting a laugh riot, and it was that, but I wasn't expecting it to be so incredibly moving. Billy was extremely personal and vulnerable, and opened himself and his life up to share with the audience - truly beautiful and special.


Every year I pick a few of my favorite artists, not for just one performance, but for multiple remarkable works throughout the year. I really struggled with my choices this year; my list of favorites is long and there are so many artists whose work I loved this year. But in the end I narrowed down to these few:

She may be the daughter of Twin Cities theater royalty (Dad is the Chanhassen's Artistic Director Michael Brindisi, Mom is the fantastic actor Michelle Barber), but Cat Brindisi is a true talent in her own right. Here are a few things I've written about her this year: "never less than 100% committed to whatever character she's inhabiting" (Displaced Hindu Gods); "if I were casting someone to play me in a musical, I'd pick Cat too!" (Fruit Fly); "someday when Cat Brindisi wins her first Tony Award, I'll be sitting at home on my couch cheering her on and remembering the day I heard her sing "Easy to be Hard" in a sweaty little garage space in Minneapolis" (Hair); and "Simply put, Cat Brindisi is a star" (Aida). I look forward to what she will show us in 2014 and beyond.

The Artistic Director of Gremlin Theatre (see Gamma Rays above), Peter Christian Hansen, had a great year on several stages around town (including three of my favorite shows listed above). First was the smart and sexy Venus in Fur at the Jungle, followed by a short and sweet play about Minnesotans in the Civil war, put on by the Minnesota History Center and reuniting him with his Venus co-star Anna Sundberg (who, by the way, was one of my favorite artists of 2011). He played two roles in the Ivey-winning Clybourne Park at the Guthrie, and also appeared in two of the three plays in the Displaced Hindu Gods trilogy at Mixed Blood. He's always so compelling on stage, and I always enjoy the Gremlin's work, so I hope to see more of both of them in 2014. (You can see Peter next as C.S. Lewis in Freud's Last Session at the Guthrie in February.)

2013 was the year of Sally Wingert (but isn't every year?). At the Guthrie she played the mother of not one but two deliciously dysfunctional modern families (in Other Desert Cities and Tribes), a 19th century Russian mother trying to marry off her daughter well (The Primrose Path), and two very different aunties in one play (Pride and Prejudice). The cherry on the sundae of her work this year was her very funny and very real portrayal of the title character in Dark & Stormy's darkly funny The Receptionist. Oh, and did I mention she also gracefully hosted BEHOLD (along with Greta Oglesby)? Not a bad year's work. (Next up: Fraulein Schneider in Theater Latte Da's Cabaret.)

One of the stars of Ordinary Days (see above), Max Wojtanowicz shined in this and several other projects on and off stage. On stage he was a member of the ensemble of the delightful baseball musical Johnny Baseball at Park Square, and also played a rare serious non-musical role in the clever Six Characters in Search of an Author at the Gremlin. But even more impressive is his creative work. The charming autobiographical musical Fruit Fly that he wrote with best friend Sheena Janson was presented as part of Illusion Theater's Fresh Ink series, in which he also starred. Lastly, he was one of the brains behind the hilarious political satire musical Shelly Bachberg Presents: How Helen Keller and Anne Frank Freed the Slaves: The Musical at this summer's Fringe (with music by Michael Gruber for both musicals). He's a great talent onstage and behind the scenes, with more to come I'm certain.

Lastly, my "one to watch" of 2013 is Bryan Porter. I didn't know who he was a year ago, but I've seen him five times this year on five different stages around town, which is a credit to his talent and his commitment. He's endlessly watchable, whether he's portraying Cliff in Cabaret at BCT, a reality TV producer in Six Characters in Search of an Author at the Gremlin, multiple characters in Walking Shadow's Gross Indecency and History Theatre's Christmas of Swing, or a mysterious prince in Sherlock Holmes at Park Square. And he has a lovely voice (see him next in the Ordway's Broadway Songbook in January). I think he has great potential and I look forward to watching him grow on stages around the cities.


That's it, my friends. The year that was in Twin Cities theater. And it was grand, wasn't it? I'm looking forward to even more great theater in the coming year, and I'm particularly excited about 2014 because I've decided to cut back on my hours at my "day job" so that I have more time to spend on Cherry and Spoon, and perhaps grow and expand it. I have a few ideas of things I'd like to do, but I'd love to hear your feedback. What would you like to see on Cherry and Spoon? What do you love, what do you think could improve? Comment below, send me a Facebook message, or email me. Thanks for your support, and I wish you a Happy New Year filled with health, joy, and much wonderful theater.

"A Midsummer Night's Dream" by Ten Thousand Things at Open Book

A Midsummer Night's Dream is perhaps the wackiest of Shakespeare's romantic comedies. It's the one where lovers chase each other through a forest, a group of actors rehearse and perform a preposterous play, and a woman falls in love with an ass (a literal not figurative ass, the latter is nothing unusual). This makes it a great choice for the superb theater company Ten Thousand Things to bring to their typical venues of prisons, homeless shelters, community centers, and other places and people usually lacking in the joy that theater can bring. TTT's version features an ethnically diverse cast and a few gender changes (Lysander is played by a woman and referred to as she), as well as men playing female characters and women playing male characters. None of this interferes with the story (all you see are eight wonderful actors playing many different characters), and perhaps makes it so that everyone finds someone or something to relate to. I always love seeing Ten Thousand Things shows to witness the true craft of theater without any distractions that a big fancy production can bring. In a fully lit room, the actors look you in the eye and simply say and feel and live the words of the play. It's theater at it's most basic and true.

Highlights of the show include:

• Karen Wiese-Thompson as a very funny and earthy Puck. She shares a wonderful rapport with... 
• Sun Mee Chomet, who digs into the role of Oberon, King of the goblins, with glee and a lusty laugh.
• Elise Langer's hilarious transformation into the aforementioned ass, with the stomping of feet, an overbite, and subtle horse sounds in her speaking.
• The marvelous Gavin Lawrence as the distinguished duke and the lovestruck Titania.
• The delightful and surprisingly moving love story between the four lovers - Anna Sundberg's serious and devoted Lysander, Brittany Bradford as a radiant Hermia, Kurt Kwan's persistent Demetrius, and Mo Perry's hurt and disbelieving Helena. These four also have fun turns as the hapless actors rehearsing and badly performing the silly play-within-a-play.
• Peter Vitale's playful cacophony of sound coming from the corner of the room that never distracts from, but always adds to, the story.
• Fun, simple, and effective costumes by Sonya Berlovitz. Actors start out wearing pajamas, then don robes (color-coded to help remember which couples go together), with dark and fantastical coats and headpieces as goblins in the forest.
• Little ad-libs or side comments that perhaps aren't in the script, but make the story feel more current and relatable.
• During some scene transitions, actors slowly don a new costume, as if sleepwalking and waking up in a new life.

A Midsummer Night's Dream continues at Open Book through November 3. You can never go wrong with a TTT show, and this is a fun new take on a classic.

"Pride and Prejudice" at the Guthrie Theater

Pride and Prejudice is the final production in the Guthrie's 50th anniversary season, and my tenth season as a subscriber. It's also the first repeated show in that 10 years (not counting the annual production of A Christmas Carol). Pride and Prejudice was the first production in my first season as a subscriber in the summer of 2003 (that has a nice symmetry to it, doesn't it?). It almost didn't work out that way - when the season was announced last year, the final show was Born Yesterday. Earlier this year the decision was made to move that show to this winter, with Pride and Prejudice replacing it. Which I imagine caused a bit of a ruckus, getting all the required ducks in a row for this scale of a production on a shortened timeline, including a last-minute actor change. You wouldn't know it, as this is a gorgeous production, impeccably cast, and a charming rendition of a classic literary love story.

Jane Austin's most popular novel centers on the Bennet family in early 19th century England - five daughters of marriageable age, an exasperated father, and a mother whose only goal is to see her daughters married and taken care of, since none of them can inherit their father's estate under English law. Wealthy gentlemen arrive in the country, and the Bennets are all aflutter. Balls, witty repartee, misunderstandings, scandals, and reconciliations continue for two hours, in a story I'm sure most of you are familiar with (if not - see Wiki). This adaptation by Simon Reade (a different one than they used 10 years ago) stays pretty faithful to the story as I remember it, condensing it nicely for the stage and keeping much of Austin's prose in the form of letters that are read by both the sender and recipient.

Ashley Rose Montondo
and Vincent Kartheiser
as Elizabeth and Darcy

The Guthrie has assembled an excellent cast of familiar faces and new, beginning with Ashley Rose Montondo as our heroine, the smart and spirited Elizabeth. Ashley was a last-minute replacement, stepping in just a month before previews began, and a fortunate one at that. She is so natural and charismatic as Lizzie; it's a star-making turn for someone with a relatively short bio (it's worth noting that Ashley, along with five other cast-members, is a product of the U of M/Guthrie BFA program). As her Darcy, Minnesota-actor-turned-TV-star Vincent Kartheiser* is initially stoic, disagreeable, and cold - as Darcy should be (he is the "pride" in Pride and Prejudice). But as he shows his softer side, Elizabeth warms to him, and so do we (it's lovely to see a natural smile on Vincent's face, something his Mad Men character never quite manages). They make quite a charming pair, and it's easy to root for and celebrate their happiness when it comes at long last. All of the Bennet sisters are perfectly cast, from Christine Weber as the eldest, the sweet and beautiful Jane, to Thallis Santesteban as the amusingly bookish Mary, to Aeysha Kinnenun, stealing scenes as the young and flighty Lydia. Completing the family, Mr. and Mrs. Bennet are played by the appropriately frazzled Peter Thomson and ridiculously silly Suzanne Warmanen. Kris Nelson is excellent as always as the quite creepy Mr. Collins (showing quite the range from his last role - the creepy-in-a-different-way Stanley Kowalski). Hugh Kennedy is charming as always as the good Mr. Bingley, and Anna Sundberg does haughty privilege well as his sister. Last but not least, Sally Wingert has a couple of nice turns as two completely different aunts - the girls' friendly aunt and Darcy's hilariously stern aunt.

The set is dominated by a gorgeous and fascinating moving showpiece (set design by Alexander Dodge). The floor of the thrust stage is cut into concentric circles that rotate in opposite direction, the outer supporting a set of huge stately white columns, the inner a wall with three glass doors. As the circles spin in opposite directions, the set pieces are arranged in seemingly infinite combinations to represent various indoor and outdoor settings. The stairs around the familiar thrust stage are covered with green grass, with green topiary adorning the back of the stage. The only downfall of this relatively simple set is that it's difficult to see the difference between the Bennet's modest home and the more extravagant homes of the Darcys and Bingleys, but that's what the imagination is for. The costumes, hair, make-up, etc. are of course stunning; I expect no less at the Guthrie. Adding a little visual action to the drama, Joe Chvala has choreographed some charming English country dances. I was particularly impressed that Darcy and Elizabeth carry on a complete conversation while effortlessly performing the steps of an intricate dance.

Pride and Prejudice is a great choice to close the Guthrie's landmark season. A classic and well-loved story; a cast that features Guthrie vets, new young local talent, and one of Minnesota's famous sons; and gorgeous production values. I found it to be quite charming.




*I have to admit, when Vincent Kartheiser was announced as Mr. Darcy, I was very excited. You see, before I was a theater junkie, I was a TV junkie, and I still am. I believe Man Men to be the highest form of the art that television can be. And I love it when my fellow Minnesotans make it big on the national scene and then come home to share their gifts. I met Vincent a few weeks ago at the Guthrie's 50th Anniversary Gala and made a blithering idiot of myself, so in shock I was to see him live and in person instead of on my TV screen in 60s period garb. It took a minute to get used to him in a different role, but I saw no traces of Pete Campbell in Mr. Darcy. He's in a position of success where he has many choices before him, and the fact that he chose to do a play in his hometown is a pretty cool thing.

"Go If You Think It Your Duty" at the Minnesota History Center

I've never thought of the Civil War is as a particularly important part of Minnesota history, its battles being fought hundreds of miles away. But a new exhibit at the Minnesota History Center proves otherwise. In fact, Minnesotans were among the first to volunteer for the Union Army. One such volunteer was Madison Bowler from Nininger, a small town near Hastings. He enlisted in 1861 and served for five years before returning home to Minnesota. During that time he married his fiance Lizzie and had a child, despite only being home for a total of twelve weeks during a four-year period. Madison and Lizzie left behind hundreds of letters that they wrote to each other, which have been compiled into a book called Go If You Think It Your Duty by Andrea R. Foroughi. The book was adapted into a one-hour play by Victoria Stewart and presented at the History Center for two performances. On the day I attended the play, I also visited the exhibit (as well as the sobering exhibit on the US-Dakota War that happened right here on Minnesota soil during the same time as the Civil War). I found it to be a really nice complement to the exhibit and a great way to bring a little piece of Minnesota history to life.

This little play features some pretty big names in the local theater scene - director Craig Johnson and actors Anna Sundberg and Peter Christian Hansen as the Bowlers (see also Venus in Fur). You know that cliche "I would watch [insert name of favorite actor] read the phone book?" Peter and Anna are two such actors for me, and even better when what they're reading are a series of impassioned and touching letters between a husband and wife separated by war. The play mostly consists of Madison and Lizzie standing in front of music stands on opposite sides of the stage, reading their letters to each other. This may sound boring, but in the hands of Peter and Anna, the words come to life. They convey the joy, frustration, anger, sadness, and hope in the life of this couple lived apart. The letters cover everything from the mundane (oh those awful Minnesota winters) to the profound (the death of Lizzie's sister), from joyful (the birth of baby Victoria) to unpleasant (Madison and Lizzie's disagreement about where Madison's duty lies). There are just enough conversation scenes interspersed among the letter readings to weave together a story (Abby Desanto and Dietrich Poppen play additional characters). Period costumes and music of the time (James Lekatz on piano provides a soundtrack, with the cast joining in on several songs) add to the sense of time and place.

Go If You Think It Your Duty is a short, sweet, simple play that brings a little piece of history to life. Unfortunately there are no more performances of this play planned, but the exhibit runs through the fall, so maybe it'll pop up again. I have attended a few special events at the History Theater, but I wasn't really aware that they produce original theater. I am now. The moral of the story is - keep your eye out for theater in unusual places, it's everywhere.

"Venus in Fur" at the Jungle Theater

Venus in Fur was all the rage when I was in NYC last spring. I didn't end up seeing it, but it went on to be nominated for a couple of Tonys, including a win for best actress. When the Jungle Theater announced their 2013 season last fall, I was excited to see that Venus in Fur would be their first production, and even more so when I saw that it would star two of the Twin Cities best actors, Anna Sundberg and Peter Christian Hansen (who previously co-starred in Gremlin Theatre's After Miss Julie, performed in the basement kitchen of the James J. Hill House*). As usual, the Jungle does not disappoint. Venus in Fur is smart, sexy, funny, and highly entertaining.

Playwright David Ives adapted the 19th century German novel Venus im Pelz in an unconventional way (the book was written by Leopold von Sacher-Masoch, after whom the latter half of the term Sado-Masochism was coined). Rather than a direct adaptation, the play is about a playwright/director who has adapted the novel and is auditioning to find an actress to play the main character, Vanda. Hence we are treated to interactions between the characters in the novel, as well as interactions between the director and auditioning actress, which start to blend together as the play goes on. The play opens with the director, Thomas, frustrated that he can't find his Vanda after a long day of auditions. In walks a woman named, coincidentally, Vanda. She's flustered and flighty, having been caught in the rain, and seems ill-prepared for the audition. But Thomas reluctantly agrees to let her audition, and the moment she starts speaking, she becomes the Vanda from the book, and it's clear that she knows more than she's let on. She convinces Thomas to read the role of Severin, a man who falls so deeply in love with Vanda that he begs to become her slave. As they interact in character and as themselves, the balance of power shifts subtly between Vanda/Vanda and Severin/Thomas, so that it's difficult to keep track of who has the upper hand. The line between fiction and reality gets blurred, and it soon becomes clear that Vanda has an agenda that goes way beyond just getting a role in a play.

Anna Sundberg and Peter Christian Hansen

The play is one long scene, with neither actor leaving the stage or even taking a breath for 90 minutes. Both Anna and Peter give fantastic performances, as expected, and are just as comfortable in the period roles as the modern. Anna always throws herself completely into every role I've seen her play, holding nothing back, and this is no exception. As Vanda the actress she's funny and a little goofy, as Vanda the character she's smooth and elegant, and she even gets to play the seductive Venus herself. Peter is, as always, wonderfully intense. He too, gets to play multiple roles - the somewhat reserved director who is gradually drawn out by Vanda as he lives the roles he has written, Vanda's "slave" Severin (whom she calls Thomas, the footman!), and even taking a turn as Vanda. Under the expert direction of Joel Sass (who, as usual, also designed the set - a sparse and lifelike rehearsal room), Anna and Peter create a beautiful crazy dance.

When the lights went down at the end of the play, I had a moment of "wait, what just happened?" But I like that. It's never quite clear what Vanda's motivations are in planning this scenario, but I guess the playwright meant it to be ambivalent, I mean ambiguous. People and relationships are not what they seem, and are constantly changing. Go see Venus in Fur, playing now through March 10, for a wildly entertaining and engaging night at one of the best theaters in town, featuring a couple of the best actors in town.




*The James J. Hill House is currently hosting another production of a classic play - The Gonzo Group Theatre's Long Day's Journey Into Night, starring real-life married couple Claudia Wilkins and Richard Ooms.