I Listen to Podcasts Now!

I don't know about you, but this global pandemic has left me with a lot more time on my hands. I used to spend 20-30 hours a week at the theater, driving to the theater, writing about theater, scheduling theater, reading about theater. One of the things I'm doing to help fill those empty hours is listen to podcasts. And because I'm me, many of them have something to do with local theater. Here are the ones I'm listening to; please add your suggestions in the comments below!

"Flowers for the Room" at Yellow Tree Theatre

#TCTheater friends, do yourselves a favor and head on up to Osseo to see Yellow Tree Theatre's new original musical Flowers for the Room. Combining the writing skills of Yellow Tree co-founder Jessica Lind Peterson (best known for her quirky and heart-warming Minnesota holiday plays) with the songwriting skills of Duluth-based musician Blake Thomas (one of my favorite local musicians - check out his music on iTunes and listen to his radio show Take It With You), Flowers for the Room is a truly beautiful new musical that gave me all the feels. Jessica and Blake are well-matched; both of their work has that quirky humor, but also tons of heart and a touch of melancholy. All of those elements are on display in this story of a woman who falls into a coma the night of her wedding, and how it affects her (because this is a musical, she still gets to talk and sing, even in a coma) and those around her. The stellar cast and innovative design bring this beautiful piece to life in a way I haven't yet been able to shake.

"String" at Yellow Tree Theatre

Seven years ago, just a few months after I started this #TCTheater blogging adventure, a friend told me about this little theater in a strip mall in Osseo. Since at the time I worked just a few miles away, I organized a group of coworkers to go see a play after work one day. That play was String, and the theater was Yellow Tree Theatre. I may not remember details of the show (I've seen a lot of theater in the intervening years), but I remember being so charmed by the experience at Yellow Tree's warm, inviting, intimate space that I've returned to see just about everything they've done, from goofy holiday comedies, to new original musicals, to classics of the American theater, to silly farce, and everything in between. As I've seen this blog grow beyond my wildest dreams to a place where I cannot possibly see all of the theater I'm invited to, people inexplicably know who I am, and I am given press comps to any theater in town, Yellow Tree has seen their theater grow to a place where now, in their 10th season, they consistently sell out shows, attract some of the top talent in #TCTheater, and have increased diversity of programming and artists. To celebrate, they're bringing back String, written by Yellow Tree co-founder Jessica Lind Peterson and co-starring her and her husband and co-founder Jason Peterson, their first time on stage together in years. If you're a Yellow Tree fan, it's a wonderful opportunity to celebrate this full circle moment with them, and if you've never been to Yellow Tree, it's time to make the (not that long) drive to the Northwest suburbs to see this charming, funny, quirky, sweet little play that started it all, a play that is "as Yellow Tree as plays get."

"A Gone Fishin' Christmas" at Yellow Tree Theatre

Original Christmas plays at Yellow Tree Theatre have become a beloved tradition in the last 9 years. Due to a happy accident, Yellow Tree was forced to produce their own play (written by co-founder Jessica Lind Peterson) when they lost the rights to the play they were intending to do their first season. This was the basis of the plot of that first play, Miracle on Christmas Lake, which after three successful runs inspired a sequel Miracle of Christmas Lake II that also ran for a couple years. Then came A Hunting Shack Christmas, and now this year we head to the icehouse for A Gone Fishin' Christmas. All of these plays follow a similar blueprint - a small Minnesota town with adorably quirky characters, the "citiots" who return to the small town they grew up in and make some sort of a life change. It's not the most original of plots, but it works, and provides a framework for Minnesota humor, outrageous antics, and lovely quiet moments of family and connection. There's a reason that Yellow Tree's original Christmas plays are so popular and sell out virtually every performance - they are a perfect mix of heart and humor wrapped up in local jokes that we love so well, with a talented cast that makes these characters and the sweet and silly story sing (literally and figuratively). And Gone Fishin' may be the best of the bunch. A few tickets remain (with best availability at weekday matinees) so get your tickets now to experience this hilarious and heart-warming tale.

"Eastland" at Renegade Theater Company

Have you ever heard of a ship called the SS Eastland? Neither had I, which is strange because in 1915 the ship rolled to its side and sunk to the bottom of the Chicago River, trapping many of the 2500 passengers below deck as the ship filled with water and resulting in the death of 844 of them, the most deadly disaster on US soil until 9-11. Maybe it's become overshadowed in history by the sinking of the Titanic, which was even more deadly and more glamorous, with many rich and famous on board. Whatever the reason that this disaster is mostly unknown, the Eastland Disaster Historical Society is working to change that. To find out more about this horrific event, you can visit their extensive website, read any number of books, or go see a musical. It just so happens that music-theater is my favorite way to learn about history, and I feel so fortunate to have seen Renegade Theater Company's beautiful production of the new musical Eastland, just the second production of this piece that premiered at Chicago's Lookingglass Theatre. What better way to tell this very human and very tragic story of hope, loss, love, grief, and survival than through music and theater?

David Darrow and Blake Thomas

As the lights came up on stage to reveal Blake Thomas and David Darrow with guitars in their hands, I knew I was in the right place, even though I was in Duluth, about 150 miles from where I usually attend theater. I'd been hearing about Renegade for a while, and this was a perfect first experience with them. The fact that they found this new musical, brought it to Duluth (a town that's no stranger to shipwrecks), and took a chance on it, speaks a lot to who they are as a company. A look at their list of past shows reveals some interesting and challenging selections, and I like that. I wasn't sure if a town the size of Duluth could sustain the level of talent we're used to in the Twin Cities, but judging by this excellent cast, it can. UMD has a great theater program (a few of the cast members are students), and that bleeds out into the community. Plus, 150 miles isn't really so far.

Jenna Kelly as Bobbie

This is not a linear story, a mere recitation of facts and timelines with music. Rather it's a collection of stories. Stories about the disaster itself as experienced by different people on the ship and in the community, and stories about life before the disaster. Stories of these real people's lives that are messy and complicated and wonderful, as life is. Obviously not every story can be told, but the musical creates clear pictures of who some of these people were and what was lost that day, and evokes more emotions that the number 844 ever could. If there is a main character, it's 13-year-old Bobbie (played by Jenna Kelly, and whose granddaughter started the Historical Society with her husband and was at the performance I attended). Through Bobbie's eyes we see all of the excitement of the day, the despair as she's separated from her family and trapped below deck, and the determination to survive. We also meet Ilse (Rachael Ronding), a woman who feels trapped in her expected life of work and family, until she meets a grocer (David Darrow) who shows her that life can be more. There's the ship's captain (Blake Thomas), who refuses to take the blame, an undertaker (Scott Hebert), and a teenager named Reggie (Dylan Rugh) who puts his talent for holding his breath to use recovering dozens of bodies from the water as he imagines his idol Harry Houdini (Zachary Stofer) challenging him to stay down longer.

the cast of Eastland

All of these stories of past and present are clearly and cleverly intertwined by book writer Andrew White, who also wrote the lyrics. The gorgeous music by Andre Pluess and Ben Sussman is evocative of the early 20th century time period, at times haunting and at times driving (the standout "Into The River"), and is a well-constructed musical theater score with recurring themes ("things tip, they lean"), character solos, lovely duets, and thrilling group numbers. But the show is so fresh and new, the score wasn't really written down. Music director Blake Thomas provided new orchestrations for this production, with a band consisting of two guitars, an upright bass, piano, and an occasional mandolin. Renegade performs in an intimate space at Teatro Zuccone in downtown Duluth, a space that requires no microphones. It's a rare thing to see unmiked performers in a musical, but it's the best way to hear music. There's something about the unamplified human voice that is so effective in conveying the true emotions of the piece. The sound mix is perfect; I wish all musicals could be performed like this. The tiny space also brings the audience close enough to see the fear, hope, despair, and wonder in these marvelous actors' eyes. And with no intermission to break into the flow of the story, it's an incredibly compelling and affecting experience.

Dylan Rugh diving off the stage as Reggie

Director Peter Froehlingsdorf, who found Eastland and brought it to Renegade, keeps these complicated layered stories and the large cast moving in the small space. The stage is made of uneven surfaces with trap doors, appropriate for a ship that tips and leans, with spaces on the sides used for flashbacks and the band housed in the back section of the stage. A couple of beautiful effects include the diving "human frog," using a harness and pulley system, and characters hanging drenched clothing over a washtub as the water pours off of them and the undertaker pins a number on them, representing some of the 844 victims. It's a powerful and haunting effect.

Eastland is a beautifully written new musical, one that doesn't feel rough or unfinished, but fully formed and complete. Renegade's production is extremely well done and well received - the closing weekend is sold out. I believe this rich piece has a future and hope to see it performed in theaters around the country, particularly here in the Twin Cities. It's a story that deserves to be heard, especially when this well told. "Is there any better way to pass the time?" For me, there is none.


Things shift, they change
That's life, it rearranges
Things tip, they lean
'Till you find you're between
Something old and something new
Change is good for you

"Take It With You" at The Underground

I'm sitting here in the warm and inviting Solglimt Bed and Breakfast, staring out at the blue-gray waters of Lake Superior, on a mini mid-week vacation. And what brings me to lovely Duluth, Minnesota's favorite in-state getaway? Theater, of course. Tonight I will make my first visit to the Renegade Theater Company to see the new musical Eastland, but my first stop was my second time watching the delightful radio show called Take It With You. Now in their second season, TIWY was created by Blake Thomas and Mary Fox (whom you might remember from Yellow Tree Theatre, Theater Latte Da's Our Town, or various other theaters in the cities before they decided to leave us and take their talents to the North Shore). This super talented couple along with some super talented friends write, perform, produce, record, and upload an hour-long episode every month, which you can (and should) listen to for free here!

Take It With You is a scripted show that follows a group of charming oddball friends centered around a Cheers-like bar in Duluth (at least until they tore it down to make way for a baseball field, more on that later). There's romance, adventure, comedy, a bit of social commentary, a visit from Mayor Don Ness, a conversation with local business owners, and of course, music! Many of the songs are Blake Thomas originals (if you like country, folk, Americana, singer-songwriter, or just good music in general, you'll want to check out his albums on iTunes), along with traditional song, standards, or whatever fits in with the theme of the episode. Episode 13 is all about baseball, so we were treated to songs about Jackie Robinson, Joe Dimaggio, and a sing-along to "Take Me Out to the Ballgame."

In this episode, the gang is challenged to play a game of baseball against a Little League team sponsored by the rival bar across the street. The stakes are high; if our team wins, the rival bar closes up shop. They decide to tear down the bar and build a baseball diamond in a cornfield in the hopes of attracting some baseball stars, but all they manage to attract are the cast of Field of Dreams, who actually can't play baseball. A few "sports montages" later and the game is over, as is the episode, with a whole lot of fun had by all. Including the large and loyal in-person audience and the cast that lends their musical, vocal, and sound effect making talents to the story - Blake, Mary, Katy Helbacka, Matt Helbacka, Ryan Nelson (with a hilarious array of voices from a little girl to James Earl Jones), Lane Prekker, and Zach Stofer (with Abe Curran on bass). It's so much fun to watch them create this wonderfully silly and very specific fictional world through voices, music, and sounds.

After more than a year and 13 episodes, the TIWY crew is like a well-oiled machine, which allows lots of room for playing around and having fun. "Live radio theatre" is a unique concept in this day and age, and TIWY is a unique product. It's fun and entertaining, with loveable oddball characters, great music, and support of local Duluth culture and businesses. Give it a listen and you might just get hooked. Every episode ends with the cast taking turns on the 1930s folky song "Sitting on Top of the World," which perfectly sums up the feeling this show evokes.

"Jonah and the Whale" by 7th House Theater at the Guthrie Theater

Friends, the future of Minnesota theater, and perhaps American theater, is here. It can currently be seen in the Guthrie Theater's 9th floor Dowling Studio, where a group of smart, talented, ambitious, dedicated, hard-working young music-theater artists have created a beautiful new original musical, based on the biblical story of Jonah. It's everything I want theater to be - fresh, innovative, delightful, heart-breaking, inspiring, genuine, and epic. This is 7th House Theater's fourth production in less than two years, and they continue to explore new ideas and push the boundaries of what theater can be. They've proven themselves with three low-budget but high-quality productions, and now have the resources of the Guthrie behind them to expand even further in this production. The result is beautiful and breath-taking. If 7th House is the future of theater, we're in good hands.

This Jonah and the Whale is a loose and modernized interpretation of the story of Jonah, set somewhere along the Mississippi River sometime in the last century. Jonah is a well-liked happy man, expecting a child with his beloved wife, and fixing anything that's broken in his small close-knit community, including the town clock. An unspeakable tragedy causes Jonah to run away from his life in search of something - peace, healing, answers, a reason to live. He joins the crew of a riverboat and seems to be making progress, until a storm tosses him overboard. The whale is never explicitly named, but Jonah ends up inside something, where he experiences the culmination of his personal crisis, a revelation, and decides to come home. A simple story really, but profound in its telling.

Jonah with Susan always behind him
(David Darrow and Kendall Anne Thompson,
photo by Heidi Bohnenkamp)

This is a true ensemble piece, with the eight-person ensemble and four-person band (some of whom cross over into the action of the play) taking turns narrating the story and playing various characters in it. At the center of the tale is composer David Darrow, with a heart-breaking and beautifully sung performance as Jonah. Kendall Anne Thompson is his ever-present wife Susan, with a beautiful clear voice that pierces the heart. The rest of the talented ensemble includes Matt Riehle (with a fantastic revival song), Gracie Kay Anderson, Serena Brook, and 7th House company members Cat Brindisi (leading a rousing gospel chorus), Derek Prestly, and Grant Sorenson. Tyler Michaels and Emily King have combined their talents to direct and choreograph this group, and created some really wonderful and innovative movement around the stage.

In just over six months playwright Tyler Mills, along with composer/lyricists* Blake Thomas (a gifted singer/songwriter, check out his music on iTunes) and David Darrow (who gave us a glimpse of his songwriting skills at the Fringe a few years ago) have written what feels like a full and complete musical. The clever, funny, and poignant book has light-hearted homey moments, with plenty of small details added that add color to the characters, as well as intense and personal drama. The score is in the style of "old timey folk/Americana music" (which just happens to be my favorite genre) and includes a gospel chorus, a revival tent song, a bar song, plaintive ballads, and a recurring wordless tune that ties the whole thing together. I'm crossing my fingers that they record a soundtrack; this is music I could listen to endlessly. In addition to the music, there are constant wonderfully inventive sound effects that illuminate the world of Jonah, many created by Mary Fox on various percussive instruments and objects.**

This is definitely the most elaborate set that 7th House has had. The black box theater that is the Dowling Studio is arranged in the frequent proscenium style, with the back of the stage area filled with ladders, barrels, crates, and a moving doorway, creating that early 20th century Americana feel. The simple costumes are also of that Americana dust bowl sort of style, with homespun dresses for the women and worker's coveralls for Jonah (set by Kate Sutton-Johnson, costumes by Mandi Johnson).

Jonah and the Whale is less than 90 minutes long but it feels epic, full and complete and layered, like you've gone on the journey along with Jonah and returned home changed. It's one of those experiences where time stands still and what's happening on stage is the only reality. This is a truly unique and special creation, with so much work and heart put into it by the cast and creative team. It makes my heart glad for the future of theater. I could not be prouder of or happier for the kids at 7th House for their continued success and growth as a company. Go check them out in this show if you can (two shows have been added and limited seats remain), and keep your eye on them in the future.

Jonah (David Darrow, photo by Heidi Bohnenkamp)

*Listen to Blake and David talk about writing the song "Wondering Wandering" on an episode of Twin Cities Song Story, hosted by Mark Sweeney.
**Mary and Blake have experience creating wonderful, whimsical, innovative sounds on Take it With You, their monthly radio show, recorded live in Duluth, which you can listen to here.


This article also appears on Broadway World Minneapolis.

"Take It With You" at The Underground

There's something cool going on in Duluth. I mean, there are lots of cool things going on in Duluth; it's one of Minnesota's top tourist destinations, with the lake and the big ships and all. But specifically on the music-theater front, which is what brings joy to my heart, there is something new and cool going on. It's called Take It With You and it's live radio theater, recorded monthly at The Underground in Duluth's historic Depot, and available for free online listening. This scripted serial radio program hearkens back to the days when people used to gather around their radios to listen to music and stories about their favorite characters. Now we can gather around our computers to listen, or plug into a podcast, as we follow this quirky cast of characters on their monthly adventures. It's described as "Cheers meets A Prairie Home Companion meets Austin City Limits," but I encourage you to give it a listen and see for yourself just how charming and funny and silly and musically delicious it is.

In the first 60-minute episode of Take It With You, we meet Blake (voiced by one of my favorite musicians Blake Thomas, check out his gorgeous and heartbreaking albums on iTunes), the owner of a bar and music club in Duluth, eager new employee and aspiring musician Andy (Frye, of Yellow Tree Theatre fame), disgruntled actress-turned-waitress Mary (Fox, another fave from Yellow Tree and other local stages), and oddball regulars Rick (the hilarious mutli-voiced Ryan Nelson), Bill (Robert Lee), and Zach (Stofer), with other wacky characters played by Katy Helbacka and Andy Bennett. Whether it's a bachelorette party or a stint in the local jail, these loveably kooky characters work their way through some situation each episode, while hanging out, chatting, promoting local businesses, getting advice from too cool for school "Steve and Jamie" and theoretical physicist "Ask Brooks," and of course, playing music.

Each episode features a half dozen or so of Blake's original songs, covers, or standards. Friends, I would drive 300 miles to listen to Blake sing one of his original songs. OK maybe that's a slight exaggeration, but I'm telling you, he's the real deal. He writes clever, whimsical, poetic, simple yet profound lyrics, accompanied by haunting or driving melodies, and sings in an authentic country voice. Add to that Mary's lovely harmonies and the whole group joining in on such standards as "Sitting on Top of the World," and you have some of the best music I would ever want to listen to.

But don't take my word for it; you can listen to episodes 1 and 2 online right now, just an hour each so it's not even a huge time commitment. I had the great privilege of watching the live recording of episode 5 this week, and as much fun as it is to listen to this show, it's even more fun to watch it in person with a sold-out crowd, and see the love and energy and joy that the cast brings to this unique creation that's both modern and charmingly traditional. Listen to the podcasts, like their Facebook page, and if you happen to be in Duluth the third Tuesday of the month, go see it in person!

the Take It With You gang at The Underground

"Take It with You," a Radio Show Broadcast from The Underground Theatre in Duluth

"Welcome to Take It with You, live radio theater from Duluth, MN. I'm Blake Thomas, your host, bartender, chief troubadour, and general roustabout. Enjoy the show."

So begins the first episode of a new radio show created by local music-theater artists Blake Thomas, Mary Fox, and Andy Frye, who have recently left the Twin Cities to take up residence in beautiful Duluth. You may know this trio from the new original musical Stay Tuned that they created, which premiered at Yellow Tree Theatre last spring and received an encore performance at last year's Ivey Awards. Stay Tuned is about a fictional radio show, and they've taken that idea and applied it to this real life radio show, broadcast from their new hometown and featuring local artists and celebrities. I just listened to the first hour-long episode (available free on their website, with episode two coming shortly) and found it be full of great music, humor, and hometown charm.

Here's the description from their website:

Blake Thomas brings his original music to the airwaves in this new radio variety show described as “CHEERS meets A PRAIRIE HOME COMPANION meets AUSTIN CITY LIMITS.” Recorded monthly, the one hour radio play follows Blake, the owner of a tavern & music venue in Duluth, MN, and a colorful group of his multi-talented friends, patrons, and employees. Each episode features original music, comedy, science, and a dash of politics.

The exploits of these friends and coworkers are told in short scenes interspersed with songs from Blake's collection of fantastic albums (available on iTunes), the Stay Tuned score, and a few new songs that I haven't heard before. Blake is one of my favorite musicians because of his clever and original lyrics that combine whimsy and melancholy, haunting or driving melodies, and authentic country voice. In addition to the music, the scripted show includes a storyline about Blake and friends, as well as a couple of regular features, including "Steve and Jamie," the too cool for school hipsters, and "Ask Brooks," in which Blake calls his theoretical physicist brother to ask him science questions sent in by the audience. I'm excited to check in with these characters every month and see what new adventures they get into.

Take it With You is a wonderfully new and fresh take on the old radio variety shows of the past. If you're a fan of A Prairie Home Companion, folk-country-Americana music, or hometown humor, give it a listen and see what you think. And if you live in Duluth, know someone in Duluth, or are planning a trip to Duluth, you might even want to go see a live show (click here for the schedule).

the Take It With You gang at the Underground

"Our Town" by Theater Latte Da at the Lab Theater

Thornton Wilder's Our Town is an American classic, first produced over 70 years ago, and continuing through the years with frequent productions in theaters and schools around the country. It's a simple story really; its three acts explore the ideas of "Daily Life," "Love and Marriage," and "Death and Dying" through the interconnected residents of Grover's Corners. But it's really quite profound in its simplicity, the final act being especially poignant as it forces us to look at the beauty of every day life and communion with our fellow human beings, something that is often overlooked in the busyness of life. Theater Latte Da adds their usual musical style to the piece, with direction by Peter Rothstein and Music Direction/ Arrangement by Denise Prosek, in a way that enhances but never detracts from the story. The result is truly a beautiful experience that transcends mere theater.

The play is written in an unusual style, in which a character known as "Stage Manager" (played by the incomparable Wendy Lehr, recently named the McKnight Foundation's Distinguished Artist of 2013) serves as narrator, and fully acknowledges that this is a play, introducing scenes and cutting them off when time is short. He, or in this case she, speaks directly to the audience as she tells us the story of this extraordinarily ordinary town. We meet many people in the town, from the milkman to the constable to the town drunk, but the focus is on the Gibbs and Webb families. George Gibbs and Emily Webb (David Darrow and Andrea San Miguel, both utterly charming and charismatic) are teenagers and best friends in the first act, and the second act features their wedding at a young age. The third act takes place in the cemetery, with the deceased observing and commenting on the living. Emily has died in childbirth, and wants to relive one mundane day in her life, against the advice of the other residents of the cemetery. She chooses her 12th birthday, but finds that it's too painful to watch the careless way her family goes about the day, not realizing how precious each moment is, and begs to be returned to her grave.

the cast of Our Town (photo by Heidi Bohnenkamp)

Theater Latte Da "does theater musically," so they've added music to their production of Our Town in a really effective and organic way.* It's not a musical where characters break out into song, in fact songs never interrupt the flow of dialogue. Occasionally there is a soft musical undertone in some of the scenes, adding ambiance and color to the story, but most of the music comes before the show and during the two intermissions, when the cast (most of whom play instruments) sings and plays songs of the American Songbook, from traditional folk songs to Stephen Foster and Irving Berlin. It's as if we're watching a community celebrate and share music in between telling us their story (although it belies the line about there not being much interest in art and culture in Grover's Corners).

Our Town is meant to have minimal sets, but this production takes it to the extreme. Walking into the gorgeous open space at the Lab Theater, the stage area contains only musical instruments and a few stools. Not much more is added during the play, other than a few chairs, benches, and ladders. It's extremely minimal, allowing the focus to be on the story and the music. The audience sits on both sides of the stage area, adding to the community feeling. The simple light bulbs hanging from the ceiling, occasionally lowered or darkened as the scene calls for, completes the mood of the piece.

Nineteen actor/singer/musicians portray the residents of Grover's Corners, diverse in age, ability, and race. They often sit in the audience while not onstage, or come through various aisles, as if the audience makes up some of the rest of the 2642 residents of the town. It's such an incredible ensemble, each one of whom breathes life and color into their character and the story. A few favorites include:

• Warm and wonderful performances by all four actors playing the parents - Brian Grandison and Sara Ochs as Dr. and Mrs. Gibbs, and Isabell Monk O'Connor and Dan Hopman as the Webbs.
• Blake Thomas' authentic country voice and great musicianship on the slide guitar, banjo, fiddle, etc. (he's one of my favorite local musicians - check out his albums on iTunes).
• Tod Peterson's trademark humor as the alcoholic choir director. A sad story with a sad ending, but it's hard not to laugh at Tod's carefully practiced walk barely disguising the drunken stagger.
• Mary Fox's animal sounds coming from the audience and hilarious wedding outbursts.
• The surprisingly sweet Irish tenor of David Carey.
• The adorable and talented children, especially 9-year-old Natalie Tran and her sweet brother/sister relationship with David Darrow's George.
• A heartbreakingly beautiful solo by David towards the end of the second intermission, setting the tone for the somber final act.

Our Town continues at the Lab Theater through April 6. Don't miss this chance to see an American classic in a fresh new music-enhanced production. It's simply beautiful.

*For me, Our Town naturally comes with musical accompaniment, since the only other production of the play I've seen, at Yellow Tree Theatre three years ago, also had music. Blake Thomas and Mary Fox also appeared in that production, and are currently creating a live radio show from Duluth called Take It With You, to premiere next month. Check out their website and Stay Tuned to Cherry and Spoon for more info.

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.