American Players Theatre 2024

This year I made my second visit to American Players Theatre, the magical theater in the middle of the woods of Wisconsin. My friends at Minnesota Theater Love have been going for years, and finally convinced me to join them two years ago. I was enamored of the setting and the quality (and quantity) of work produced, and declared that "if Middle Earth had a theater, it would look like American Players Theatre," so I was happy to make the trip again after missing last year. And now I am thoroughly and irrevocably ensorcelled by the experience that is APT; I don't think I'll miss another year if I can help it. We saw five shows in three days, four of them outdoors, each better than the last. If you're a theater fan in the Midwest, put APT on your must-do list. A lovely four-hour drive from the Twin Cities through the corn fields and rolling hills of Wisconsin brings you to a two-stage, eight-show repertory theater than runs from June through September (with an additional indoor show in October). It's a gem that even the New York Times has visited - so why haven't you? This year we stayed at House on the Rock Resort which is the closest (and perfectly satisfactory) lodging to the theater at just about a mile away, but there are other hotels, B&Bs, and AirBnBs in the vicinity. Plus there are plenty of shops and restaurants in and around Spring Green to entertain you (although I do recommend making a reservation for Saturday night dinner, we visited four restaurants before we found one that could seat us). So make a long weekend of it, visit the truly bizarre funhouse that is House on the Rock (admission included if you stay at the Resort), take in the majesty of Taliesin (which I have yet to do), and enjoy some amazing theater, scenery, and cheese!

"Under this Roof" by Full Circle Theater at the Guthrie Theater

Currently staging just their third production, Full Circle Theater is new to the #TCTheater scene, but the founding members are certainly not new to the community. Co-Artistic Directors Rick Shiomi and Martha B. Johnson, along with Core Artists Lara Trujillo, James A. Williams, and Stephanie Lein Walseth have combined their experience and talents "to produce heartfelt, groundbreaking theater that artfully addresses issues of diversity and social justice for 21st century audiences." The new play Under this Roof, written by veteran actor of local and national stages Barbara Kingsley, fits well with this mission. It's a simple story of friendship and family, with moments of lyrical beauty mixed with the mundane stuff of everyday life. Directed by Full Circle artist James A. Williams and featuring a solid four-person cast, it's a realistic and ultimately hopeful look at the challenges that life throws at us.

"Two Gentlemen of Verona" at Jungle Theater

Welcome to Minnesota theater, Sarah Rasmussen! The Jungle's new Artistic Director begins her first full season this year (the Jungle's season runs January to December rather than September to August) and makes her directing debut this month (as AD, she previously directed the lovely In the Next Room a few years ago). Like the Guthrie's new AD Joseph Haj, Sarah makes her directing debut with an innovative and energetic Shakespeare play that originated at the Oregon Shakespeare Festival. But unlike the Guthrie's Pericles, Sarah's take on Two Gentlemen of Verona features a mostly local cast, and an entirely female cast (well, except for the dog, more on him later). It's an exciting debut that promises good things to come, while maintaining the high quality of productions that the Jungle is known for.

The 2015 Ivey Awards at the State Theatre

On Monday night I attended my 9th Ivey Awards. Yes, even before I started Cherry and Spoon in 2010 and started getting press tickets to the event in 2013, I was still a theater geek (read all the words I've written about the Iveys here). The Ivey Awards are my favorite theater night of the year, not so much for the awards themselves, but because it's a celebration of another year of amazing local theater that gathers all of my favorite theater artists in one room. Even though I've met many of them, I still get starstruck when I walk through the crowd and every other face I see is someone I've enjoyed watching on stage. I love to watch awards shows on TV so it's a thrill to get all glammed up and actually attend one in person. I even painted my toenails with a glittery green called "One Short Day" - appropriate because of its musical theater geekiness and and because this event that I look forward to all year goes by in a whirlwind of people and honorees and loud music and conversations. And now it's over for another year, but more great theater is still to come which we will be celebrating next year!

The super talented Christina Baldwin and Regina Marie Williams hosted this year's awards ceremony. They performed a funny and topical musical opening number, did bits and introductions throughout the show, and closed with Regina dressed as a nun (she's playing the Whoopi Goldberg role in Sister Act at the Chanhassen this fall) and Christina dressed as a WWII Army soldier from Sisters of Swing (get it - they're both sisters!). The awards were presented by past winners and representatives from the night's sponsors. In between awards we were treated to scenes from musicals and plays from the last year.

The Iveys don't have set categories and nominees, rather they award exceptional work wherever they see it. This year 11 awards were given out, representing 12 productions. I saw all but two of them - perhaps my highest percentage to date! And the winners are:

1. Walking Shadow Theatre Company's WWII drama Gabriel, about which I said "so captivating, horrifying, chilling, and completely engaging that it hangs with you well after you leave the theater."
2. Steve Tyler for music direction of the gorgeous Pirates of Penzance at the Ordway
3. Shá Cage for her "tour de force" performance in the one-woman show Grounded by Frank Theatre
4. One of the two honored shows I missed was Green T Productions' Prince Rama's Journey, for which Joko Surtisno was honored for music direction
5. Claudia Wilkins and Barbara Kingsley for their work in Gertrude Stein and a Companion at the Jungle, a show they've performed in several times over the last 20 years, prompting Claudia to say "maybe this time we got it right!"
6. The lovely and charming dancing couple Brian Sostek and Megan McClellan for their delightful, funny, and innovative creation Trick Boxing, seen many times on many stages around the country but most recently at Park Square Theatre
7. Another show I missed, Nothing is Something at Open Eye Figure Theatre
8. The ensemble of Pillsbury House Theatre's Marcus, or the Secret of Sweet, seen at the Guthrie studio last fall
9. Peter Rothstein wins again (deservedly), this time for his direction of Ten Thousand Things' Romeo and Juliet
10. Matthew LeFebre was doubly awarded for his costume design of The Mystery of Irma Vep at the Jungle and A Christmas Carol at the Guthrie (both remounts)
11. Last but not least, Live Action Set was honored for the super creepy and very real production design of the walk-through experience that was Crime and Punishment at the Soap Factory

Every year Ivey honors an artist at the beginning of her or his career and one who is further into their career and has made many contributions to the local theater scene over a number of years. This year's Emerging Artist had already been honored as part of the cast of Marcus (my first thought was Nathan Barlow, but nope, maybe next year) - Mikell Sapp. I've seen him a couple of times on stage and definitely taken notice; I look forward to seeing more of him. In perhaps the only predictable award of the night, recently retired 20-year Artistic Director of the Guthrie Joe Dowling received the Lifetime Achievement Award. He was beautifully celebrated in a grand gala and performance earlier this year, and it was nice to once again celebrate his accomplishments over the last 20 years.

The performances are often the funnest part of the night. This year they included a pre-show warm-up by the beautiful, talented, and athletic young men of Mixed Blood Theatre's Colossal. We also got a brief history of the Iveys from the Church Basement Ladies (celebrating their 10th anniversary this year at Plymouth Playhouse). Next, a couple of past Emerging Artists performed. Ricardo Vázquez led the cast of History Theatre's River Road Boogie in Minnesota rock & roller Augie Garcia's appropriately titled big hit "Ivy League Baby" (Ricardo can currently be seen at Park Square in the moving and powerful portrait of a soldier, Elliot, A Soldier's Fugue). And in the most adorable moment of the night, Tyler Michaels and the cutest lost boys ever bounced around the stage singing "I Won't Grow Up," from Children's Theatre Company's delightful Peter Pan (watch Tyler take on another iconic role in Theater Latte Da's Sweeney Todd, opening at the Ritz this weekend). Not all the performances were musicals; we also saw a montage of scenes from four excellent plays - Jeffrey Hatcher's Hamlet (the playwright's latest work, the musical Glensheen, can be seen at History Theatre beginning next weekend), Thurgood (the previous two plays both presented at Illusion Theatre), Penumbra's Detroit '67, and Frank Theatre's Grounded (giving the audience a taste of why Shá Cage received the Ivey). The always sobering and poignant In Memoriam section was accompanied by a lovely song "We Are the Wandering Wondering" from the new original musical Jonah and the Whale by 7th House Theatre (who are presenting another new original musical at the Guthrie studio this winter). In what has come to be one of the most cleverly entertaining segments of the show, Shade's Brigade managed to work all of the sponsors into their radio drama. The disgruntled princess of Casting Spells' Disenchanted sang a (not so) happy tune, and the evening was brought to a delightful close with Ann Michels and the cast of Chanhassen Dinner Theatres' Mary Poppins singing and dancing their way through "Supercalifragilisticexpialodocious!" And then it was time for the party!

One of my favorite things in this past year is that I've gotten to know several of my fellow bloggers. We're a strange breed, and it's nice to know that other people understand the stress, obsession, and pure joy of being a theater blogger in this town. Last night I had such fun hanging out with Laura (One Girl Two Cities), Stephanie (phenoMNal twin cities), Julie (Minnesota Theater Love), Todd (l'etoile), and Kendra (Artfully Engaging) - check them out! I also had the great pleasure of chatting with many of my favorite theater artists, including but not limited to: Sally Wingert working the check-in at the pre-show party (see her as Mrs. Lovett in Theater Latte Da's Sweeney Todd opening this weekend); Kim Kivens handing out programs at the State (one of The Realish Housewives of Edina, opening at the New Century Theatre this weekend); Adam Qualls (with whom I geeked out about the new musical Glensheen that he's in, opening at History Theatre next weekend); Rachel Weber (whom I will see Dancing at Lughnasa at Yellow Tree tonight); Ivey winner Shá Cage (go see her powerful one-woman show U/G/L/Y at the Guthrie this weekend!); Sam Landman (who seems to have recovered well from his recent health scare); and the Nature people (who totally deserve an Ivey, be sure to catch one of the last two stops on their 2015 tour). There were more people I wanted to talk to but my feet were not getting along with my beautiful golden shoes, so my night had come to end shortly before midnight, just like Cinderella.

So there you have it. Another year of brilliant, funny, clever, challenging, strange, delightful theater, and another wonderful celebration of these beautiful cities we are lucky enough to call home. Were all of my favorite shows from this past year honored? Of course not, but you'll have to wait until my end of the year wrap-up in December for more on that. Until then - happy theater-going!


This article also appears on Broadway World Minneapolis.


P.S. ICYMI, here's the Cherry and Spoon Twitter feed from Awards night:

"Gertrude Stein and a Companion" at the Jungle Theater

American author Gertrude Stein may be more famous for the "salons" that she hosted in her Paris home with other American ex-patriot and European artists, including Pablo Picasso, Ernest Hemingway, and F. Scott Fitzgerald. Similarly, the play Gertrude Stein and a Companion focuses more on this Parisian life than her work, specifically, her relationship with her companion of 40 years, Alice. The Jungle is very familiar with this play; it's their 8th production in the 25-year history of the theater. Before his retirement as Artistic Director this summer, Bain Boehlke has brought back Claudia Wilkins and Barbara Kingsley from the Jungle's first production in 1992 to perform this play once again.

The play begins on the day of Gertrude's death in 1946. Her spirit appears to Alice as they reminisce about their past, and follows her throughout the rest of her life until they can finally be together again. There's a dreamlike quality as we follow these two fascinating women across time and space. Their story is not told linearly, but over the course of the play we get a real sense of their relationship as they reenact their first meeting, the moment they decided that they would be together for life, their work together publishing Gertrude's books, and Alice's life as she continued to live in their home until she was almost 90 years old. It's a quiet play with not much in the way of action, but more of a character study of these two women and their relationship.

Gertrude and Alice on a picnic in Italy
(Claudia Wilkins and Barbara Kingsley, photo by Michal Daniel)

The over 20 years of history that Claudia Wilkins (Gertrude) and Barbara Kingsley (Alice) have with the piece and their characters is evident. There's no acting visible, they just are these two women, fully and completely. Their wit, intelligence, vivacity, and devotion to each other jumps off the stage. Director Bain Boehlke has also designed a set that perfectly matches and enhances the tone of the piece, as per usual. Columns and arches create the appearance of five nested frames retreating into darkness at the back of the stage. Gertrude has her chair with some frames and books stacked around it, and Alice has her desk with papers and things. But they appear to be floating, not anchored in space, in the same way that the story is not anchored in time.

Gertrude Stein and a Companion is a beautiful play that somehow condenses 60 years of a relationship into just over 90 minutes (including an unnecessary intermission). With 8 productions spanning over 20 years, the Jungle has honed and polished this play to a lovely little gem (playing now through March 8).

"Uncle Vanya" at the Guthrie Theater

Since I'm a Guthrie season subscriber (this is my 11th season), I just go when they send me, which for Uncle Vanya happened to be in its final week. There was not a big crowd on Tuesday night (I think the opening of the fantastic Tribes has overshadowed it), but those who were there seemed to enjoy it, including me. I've never seen a Chekhov play (not counting a production of The Seagull over 20 years ago of which I have zero recollection, even though it was my first ever Guthrie show), and honestly when I think Russian literature my first reaction is... ugh. But a few minutes into the show I realized Uncle Vanya is not at all intimidating or fomidable or dry; this adaptation by Irish playwright Brian Friel is a very accessible telling of a bittersweet story, a mixture of laughter and melancholy. With a charming set and the usual fantastic cast of Guthrie favorites and a few newcomers, I found it to be quite enjoyable - a bittersweet, melancholy, funny, thoughtful, and insightful play.

Set in late 19th century Russia, Uncle Vanya tells of a group of relations living on a country estate. Sonya (Emily Gunyou Halaas) and her Uncle Vanya (a charmingly befuddled Andrew Weems) work the estate that she inherited upon her mother's death years ago. Her ill and aging father Alexander (Robert Dorfman) has returned to the estate with his new young wife Elena (Valeri Mudek), and has plans of his own. Also living at the estate are Vanya's mother Maria (the legendary Melissa Hart, making the most of a small role), the nanny (Barbara Kinsley, so memorable in August: Osage County at Park Square a few years ago, here creating another distinct character), an eccentric family friend nicknamed Waffles (the always fantastic Jim Lichtsheidl), and occasionally the town doctor (John Catron, with another great drunken scene). It's a diverse group of characters who interact with each other, having conversations in small groups or alone on stage, talking directly to the audience.

Valeri Mudek, Jim Lichtsheidl, Andrew Weems,
and Emily Gunyou Halaas

Not a lot happens in the play; it's more of a study of life through these characters. The doctor is an environmentalist and talks about the destruction of the forests and the ecosystem in a way that has become scarily real in the 100+ years since the play was written. Poor Sonya is blissfully in love with the doctor but he's completely unaware of her. Everyone falls in love with the married Elena; she leaves many broken hearts in her wake but is not unsympathetic herself. Alexander mourns his exciting life as a famous professor that is now largely behind him, and Vanya struggles with the drudgery of every day life with no excitement or happiness. The play ponders such ideas as: What does it mean to be happy? Why are some people destined to live happy and full lives while others don't? Why do some women have all the men fall in love with them while others must toil away on the family farm? No clear answers, but we must endure!

The charming set was designed by Michael Hoover (who seems to be the busiest and definitely one of the best set designers in town); it looks like a life-size dollhouse. Three different rooms in the house are distinctly created in exquisite detail - the front porch, a living room, and a bedroom. Two of the sets are split in two and move in from either side to join in the middle. It's a delight to watch.

Uncle Vanya closes this weekend, so you only have a few more chances to see this lovely production of a classic. I'm looking forward to seeing the final play in the Guthrie's 2013-2014 next summer - the recent Broadway hit Vanya and Sonia and Masha and Spike, a sort of modern twist on Uncle Vanya. That's some pretty clever season programming.

"August: Osage County" at Park Square Theatre

Now that I'm finally done writing about my fabulous trip to NYC, I can get back to what this blog is really about: local St. Paul/Minneapolis theater.  Last week I saw the brilliant play August: Osage County at the Park Square Theatre, a great little space in downtown St. Paul.  I've attended a handful of their shows over the years, and a few things this season intrigued me.  One is their upcoming production of the musical Ragtime (featuring a fabulous cast of local musical theater actors), which I saw ages ago on tour and loved.  The other is the bitingly funny and tragic play August: Osage County, which I also saw on tour.  I remember laughing and cringing at the life of the dysfunctional Weston family, and those feelings continued with this production of what has become an American classic.

The dysfunction starts with the parents Beverly and Violet, he's an alcoholic and she's addicted to pills, and continues through their three adult daughters.  Barbara left home long ago to work and raise a family, Karen has been wandering and searching for happiness and thinks she's found it, and Ivy has stayed close to home, perhaps too close.  But none of them have been able to escape the pull of the family, and come home in response to an unexpected tragedy.  Violet's sister and her family also show up to add more layers of dysfunction.  The outside observer to all of this is Johnna, a young woman who has been hired to take care of Violet as she goes through treatment for cancer.  Through her we observe this family like a fly on the wall.

The set is spectacular (designed by Michael Hoover).  An entire house sits on stage with the front wall removed, like a life-sized doll house.  We're able to see into every room, even the kitchen stocked with appliances, spices, dishes, and food.  It feels like a house that's lived in and witnessed countless family dramas.

I can't say enough about this cast of mostly local actors, starting with Barbara Kingsley as family matriarch Violet.  She understudied the role on Broadway and on the first national tour, but never got the chance to play the role.  She's got her chance now, and the months she spent living with the Westons is evident in her portrayal.  At times incomprehensible as a drugged-up Violet, at times cruelly honest and in control, Violet is a fascinating character that I alternately sympathized with and despised.  Barbara's real-life husband Stephen D'Ambrose plays Violet's husband Beverly, whose brief appearance at the beginning of the play is so affecting it hangs over the rest of the play.

The Weston girls look and act like family.  Virginia S. Burke is particularly good as Barbara, as she slowly starts unraveling while trying to deal with her family.  She even looks like Violet; you can see her transforming into her mother even as she tries to resist it.  Kate Eifrig (who will always be My Fair Lady to me) is Karen, who proudly shows off her fiance (who, it turns out, is no prince), and Carolyn Pool completes the trio as Ivy, who's found love in an unusual place.  Karen Landry is funny and entertaining as the meddling Aunt Fannie Mae.  Her sweet suffering husband, Uncle Charlie, looked familiar, like ... that guy on TV.  It turns out Chris Mulkey (a native Midwesterner who now lives in L.A.) has been on countless TV shows (including two of my favorite shows of the last year - Justified and Boardwalk Empire).  Each character in this play is complex and layered, which makes it fascinating to watch.

This is my second three act, two intermission, loooong play I've attended this month.  Even though it wreaks havoc on my sleep patterns, it's great theater.  It's a pleasure to be that immersed in a story and characters for that long.  I extended the evening even longer by staying for the post-show talk-back with the actors and director Leah Cooper; this is one of those plays that will get you thinking and talking for days.  August: Osage County runs through the first weekend of October, check it out if you want to be challenged, entertained, and maybe even a little bit disturbed.