"Mauritius" by Stage North at 480 Arts

Who knew a play about a stamp could be so riveting?! Of course, the 2007 Broadway play Mauritius by Theresa Rebeck (who also wrote Bernhardt/Hamlet, produced by Theatre Pro Rata last year) is about much more than stamps and the cut-throat world of philately. It's about grief, and family dynamics, and the way death can bring out the worst in people, and grifters trying to make a buck off of someone else's grief. It's kind of a mystery dramedy thriller of a play, brought to life in an excellent production by Stage North. They've unfortunately moved out of their original home the Capri Theater in North Minneapolis and into a new space known as 480 Arts in St. Paul's Midway neighborhood. I can't imagine this work on the Capri's stage in their proscenium theater, it's so much more suited to this intimate in-the-round staging (although the Capri also has a black box space where Ten Thousand Things regularly performs). The talented five-person cast, clear and smart direction, and almost immersive staging make for a very entertaining evening of theater. Mauritius plays Thursdays through Sundays until November 17.

"Ann" by Prime Productions at The Howard Conn Theater

I'm not sure I'd ever heard of Texas governor Ann Richards, only the second woman to hold that position. I didn't pay much attention to politics when I was in high school, so I missed her keynote address at the 1988 Democratic National Convention, which propelled her to being elected governor, a position she held for one term in the early '90s. Leave it to Prime Productions, a #TCTheater company that features women in their prime, to bring us this inspiring and extremely timely story of a woman leader who knew how to get things done. Ann premiered on Broadway in 2013, written by and starring Holland Taylor, and Prime has wisely tapped #TCTheater veteran Angela Timberman to play the role. Ann is funny and feisty and whip-smart, and Angela conveys all of that and more. Prime Productions is partnering with local "get out the vote" organizations, with information about how to vote included in the program, making this show about more than just theater. See Ann at the Howard Conn Theater in South Minneapolis now through September 22, get inspired, get involved, and vote!

"Roe" at Mixed Blood Theatre

I'm not sure there is a more controversial or hotly debate Supreme Court decision than the 1973 case Roe v. Wade that confirmed that the constitutional right to privacy includes a woman's right to decide whether or not to end a pregnancy. Every American has heard of this case, and every American has an opinion about it, usually a very strong one. In Lisa Loomer's brilliant new play Roe, receiving just its second production at Mixed Blood Theatre ahead of a possible Broadway premiere, she explores the life of the two women behind the case: Norma McCorvey, the originally anonymous plaintiff, and Sarah Weddington, the lawyer who successfully argued the case in front of the Supreme Court. It's a fascinating story, not just the journey to the Supreme Court, but the continuing journey since. Or rather, two intersecting journeys for these two very different but equally determined women who parted ways somewhere along the line. But this is no dry history or legal lecture, or a preachy lesson. The play is smart, funny, dynamic, and moving, telling very human and relatable stories about very real and flawed characters. The cast and creative team bring it to life flawlessly, with all elements combining in a way that makes Roe the best thing I've seen this year. It closes at the end of the month, with many performances at or near sell-out; act fast so as not to miss this important and exciting new work (click here for more info and to reserve tickets).

Prescient Harbingers: "Hype Man," "Hooded," and "Gloria" at Mixed Blood Theatre

As usual, Mixed Blood Theatre is doing something pretty remarkable right now. They're presenting three plays in rep, all written by young black men. Under the umbrella "Prescient Harbingers" (meaning: "having or showing knowledge of events before they take place;" "a person or thing that announces or signals the approach of another"), these three brilliant plays explore what it means to be a black man in America, directly or indirectly (one is even subtitled Being Black for Dummies), along with commenting on race relations in America and more generally on modern life in America. Young black men are dying at an alarming rate, and these are voices we need to listen to if we ever hope to understand the problem so that we can stop it from happening. If you are a young black man, I can only imagine how validating it must feel to see these voices and these stories on stage. If you're not, I encourage you to go see one, two, or preferably all three of these plays with an open mind and an open heart. Listen, hear, laugh, cry, be disturbed, get angry, join the movement for justice and equality. But don't go see these plays just because it's good for you, good for the larger community, but also because they're extremely well-written and beautifully produced by the team at Mixed Blood Theatre, and make for one entertaining and engaging day of theater. All three plays are presented on Saturdays and Sundays through December 2 with about an hour in between, during which you can get sustenance from the lovely sandwiches, salads, and snacks provided by Birchwood (also available for pre-order here), with single plays showing Wednesday through Friday evenings. You can see all three plays for just $35 (click here for information and to make reservations), or, as always, you can take advantage of Mixed Blood's "Radical Hospitality" program - free admission for available seats two hours prior to the performance. Please carve some time out of your schedule to see this important work.

"Sub/prime" by Media Blitz at Mixed Blood Theatre

In a note in the program for his new play Sub/prime, NYC playwright Beck Lee states that local director Peter Moore told him after a reading, "You haven't found the humanity in these people yet. They are not honest, vulnerable people... they're stick figures." I shudder to think what the early version of this play was like, because these four Minnesota tourists on vacation in NYC are the most miserable horrible people I have ever seen on stage. I kept waiting for some sort of redemption, where someone learns a lesson, or gets there comeuppance, or something. But it never came. Part of me thinks this play is one big prank on Minnesotans; that the playwright hates Minnesotans and tourists and this is his big joke to show how horrible we are. Either way I was not laughing; I've rarely been so offended at the theater.

"Sam's Son" by Bucket Brigade at Art House North

A new original musical is just about my favorite thing in the world, so the new musical Sam's Son by Bucket Brigade, a company that specializes in new work whose work I've enjoyed in the past, was on my must-see list in this busy #TCTheater October. Performed in the intimate, immersive space that is Art House North, I was not disappointed and found it to be a highly entertaining evening (complete with free intermission treats - root beer and a pretzel). While the plot points may be a bit cliche and predictable, the story is well told by the talented cast, with a fantastic original score tinged with gospel, bluegrass, and old-timey feel while still sounding like a modern musical. It's such a treat to see new work that is locally created (written by Bucket Brigade co-founders Vanessa and Jeremiah Gamble, and developed in part through Nautilus' "Rough Cuts" program) and showcases local talent in an intimate setting.

"Barbecue" at Mixed Blood Theatre

When you see as much theater as I do, you can often see where things are going. Not so with Barbecue at Mixed Blood Theatre. This play did something that theater rarely does - it surprised me. Surprised me in such a huge way that the play I ended up watching was not the play I thought I was watching at the beginning. Surprised me in such a wonderfully clever and challenging way that this post is going to be frustratingly vague and uninformative because I don't want to ruin that surprise for anyone. If you're intrigued, just go see the show and find out what I'm talking about. In addition to being surprising, Barbecue is also really funny and asks some tough questions. Questions about race, questions about our assumptions about race, questions about how different races are portrayed in the media, questions about truth, questions about drug and alcohol abuse, questions about family relations. There's a lot going on at this little family barbecue, and this incredible cast pulls it off brilliantly.

"The Christians" by Walking Shadow Theatre Company at Mixed Blood Theatre

Why do we believe what we believe? Can our beliefs change? What happens when those we love don't believe the same things we believe? How important is it to find a group of people that believe in the same things you do? These are just a few of the questions raised by Walking Shadow Theatre Company's excellent production of the thought-provoking play The Christians. In just 90 minutes or so, we witness the pastor of a hugely successful church lose everything because he preaches what he believes, which contradicts the teachings of the church, causing everyone in his life to reexamine their beliefs as well. And it just might have this same effect on the audience.

"Musical Mondays" at Hell's Kitchen, April 2016

Last night was the first Monday of the month, which means it's time for Musical Mondays at Hell's Kitchen! If you're a fan of musical theater, you need to attend one of these monthly cabarets featuring fabulous local talent performing musical theater songs, with a different theme each month. But be forewarned - like potato chips, once you attend one you won't be able to stop! Musical Mondays has also become a monthly gathering of the Twin Cities Theater Bloggers; this month I was joined by Gina from The Room Where it Happens, Laura from One Girl Two Cities, and Keith and Carol from Minnesota Theater Love. A good time was had by all as we discussed all things local theater (from impressive abs to impressive new musicals) and enjoyed some fun entertainment over yummy food and drinks. Join us on May 2, when the theme is "the lusty month of May!" Become a fan of the Musical Mondays Facebook page for information on schedule and performers.

"Only One Sophie" at Illusion Theater

They say that the more specific something is, the more universal it is. That's certainly the case with the new original musical Only One Sophie by Illusion Theater's Artistic Director Michael Robins. Based on the life of his grandmother, the musical tells a very specific story about an American family centered around a strong, independent, loving Russian Jewish immigrant woman. But this tale of love, grief, family, and memories is a universal one that brings to mind one's own family history and memories. The specifics may be different, but we all have family traditions and memories and, if we're lucky, a loving grandmother that will never be forgotten. Only One Sophie a beautiful, funny, poignant, inspiring story brought to life through lovely original music (by Roberta Carlson) and a terrific eight-person cast. If you're interested in sweet, simple, heartfelt stories told musically, head down (or rather, up) to Illusion Theater's 8th floor stage in the Hennepin Center for the Arts between now and March 5.

"Disenchanted" by Casting Spells Productions at Illusion Theater

The princesses of Disenchanted will cast their spell on you in a whole different way than their Disney predecessors. While Disney portrays such fairy tale princesses and historical figures as Snow White, the Little Mermaid, and Pocahontas as sweet, mild-mannered, passive ladies waiting for a prince to come along and save them, the salty, sassy princess of Disenchanted are smart, strong, and unwilling to put up with crap from anyone! This new musical comedy by Dennis C. Giancino has had several productions around the country in the last few years and is currently playing Off-Broadway, but more importantly, it's currently in its second production here in the Twin Cities. Casting Spells Productions has brought back three of the princesses from last year's fantastic production at the Ritz Theater, added a few new and equally fabulous princesses, spiffed up the costumes, and included a few tweaks by the creator. It opened at the Illusion Theater on Halloween and continues through November 23; I finally saw it this week, and it's still a super fun show for anyone who loves and/or hates Disney princesses. It also makes for a perfect girls night out; I went with a bunch of friends and spotted several tiaras in the crowd (princess attire encouraged). These are the kind of princesses little (and not so little) girls should emulate!

Our host for the evening is Snow White (Jen Burleigh-Bentz is perfection, reprising the role from last year's show). She's smart, strong, and determined to convey her message about "the Princess Complex" to the audience (she's also not afraid of singing unnecessary runs, to hilarious effect). Her back-up singers are Cinderella (the delightfully daft Bonni Allen, also returning from last year) and a very sleepy Sleeping Beauty (Katherine Tieben-Holt, a welcome newcomer to the cast). They each introduce their story, which of course ends with getting married. But these princesses are here to tell us what happens next - and it's not as pretty and idyllic as Disney would have us believe. We also hear the stories of an insane Belle, a drunken Ariel, a very German Rapunzel (Kim Kivens as all three, a true musical comedy genius as she sings in three distinct styles, each hilarious with spot-on vocals), a possibly lesbian Mulan, a misrepresented Pocahontas, a second-place Jasmine (another excellent triple performance, by Stephanie Bertumen), and last but not least, the frog princess (an underused Joy Dolo, also returning from last year's show). The princesses sing about body image, dieting, and the crazy marketing of the princess image that little girls are rarely able to escape.

All of the princesses have fantastic voices, singing solo or in harmony. The night I attended they were accompanied by the "Understudy" Musical Director, Steven Hobert (filling in for Lori Dokken), who did a great job with the music, and occasionally interacting with the princesses. The structure of the show is casual and tongue-in-cheek, with direct address to the audience, sing-a-longs, and a bit of ad-libbing ("Garth Brooks took all the parking spots!"). Since the show was written, one new Disney princess has risen above all others, and you all know who I'm talking about. While she doesn't appear in the show, the creator has added a "Let It Go!" moment that makes fun of the craze. And of course, you can't talk about princesses without mentioning what they're wearing! Which is a modern spin on each princess' traditional attire (costume design by Barb Portinga).

I'm so glad I had the opportunity to see this show again, and I stand by what I wrote last year: "Featuring catchy and melodic tunes, clever and funny lyrics, and a stellar cast, it's a really fun and fantastic 90 minutes!" Disenchanted continues this weekend and next - don't miss this hilarious and well-sung princess satire! (Buy your tickets here, or get the few remaining discount tickets on Goldstar before they're gone.)

Mulan, Snow White, Cinderella, the Frog Princess, and the Little Mermaid
(Stephanie Bertumen, Jen Burleigh-Bentz, Bonni Allen, Joy Dolo, and Kim Kivens)

This article also appears on Broadway World Minneapolis.

"Fair Game" at Yellow Tree Theatre

This is another late viewing of a local show due to my week-long NYC trip. Unfortunately Yellow Tree Theatre's new original play Fair Game (written by Theater for the Thirsty's Jeremiah Gamble) closes this weekend, but if you happen to be free and are looking for a cute, fun, and very Minnesota play, this is the one for you! There's nothing too deep or thought-provoking about this story of a fictional reality show that puts five Minnesotans in an ice house for the duration of the State Fair, but it's clever and entertaining with a great small cast that is obviously having as much fun as the audience.

The play begins with a voiceover, in which we learn about the five contestants of Fair Game, a radio and online reality show which awards $50,000 to the person with the most tickets by the end of their stay in the small but cozy ice house (this is not nearly enough money to get me to spend twelve days trapped in a small space with four strangers!). There's tough-talking working class Desi from a small town outstate (Bonni Allen, with a perfect rural Minnesota accent), her high school frenemy Brenda, a yogi from the suburbs whose life is not as perfect as it seems (Vanessa Gamble, bringing some heart and soul to the comedy), Rea, a spoiled teenager from Edina (the delightful Tara Borman), Zander, a thoughtful post-grad whose grand ideas of making the world a better place are put to the test (Nathan Cousins, transforming from sweet and sincere to ruthless and fed up), and typical Minnesota farmer Elden, who needs the money to care for his sick wife (an appropriately grumpy Peter Simmons). As in most reality shows, personalities clash and alliances form as the five compete in various tests for prizes and more of the coveted tickets, which must be spent for bathroom privileges, food, and water. Contestants scam, scheme, argue, and have heartfelt conversations. Not much else happens, and things are wrapped up a little too neatly at the end. But I was happy to spend a few hours with these quirky characters well-portrayed by the cast under the direction Kurt Schweickhardt, making his directing debut after starring in last year's excellent Circle Mirror Transformation. In fact I see some similarities between that play and this; both feature five people forced to spend time together, during which much is brought to light about their lives and relationships.

As always, Yellow Tree makes the most of their small performance space. Scenic Designer Katie Phillips has created a darling little ice house with bunks, bench, table, and biffy with walls that the audience (although not the characters) can see through. I would happily spend twelve days in this tight little cabin (although without the annoying reality show contestants). The cast fills out this space well, and during a clever montage of freeze-frame scenes (like the one pictured here), we witness the passage of time and some of the silly tests and prizes (a corn dog!).

As I'm sure is obvious, I'm a big fan of Yellow Tree Theatre and the community that its founders Jessica and Jason Peterson have created in a strip mall in Osseo. They make smart choices in plays, balancing more traditional works with plays that challenge their audience and new works such as this, many of which highlight our beloved state of Minnesota. If you can't make it to Osseo this weekend, don't worry, you'll have another chance to experience their unique brand of theater with The 39 Steps, opening at the end of the month. I've seen it a few times, and called it "a wild, zany, fun ride." Another great choice, and I can't wait to see what they do with it!

"The Pavilion" at Yellow Tree Theatre

This is the way the play The Pavilion by Minnesota playwright Craig Wright begins:

This is the way the universe begins. A raindrop (that isn't really a raindrop) drops, like a word, "rain" drops, into a pool (that isn't really a pool, more like a pool of listening minds), and tiny waves circle out in an elegant decelerating procession, -cession, -cession. Then, after a time, the pool of listening minds grows still once more.

Now, but backwards, this is the way the universe begins: the still pool of listening minds, the sudden shrinking circles dissolving at the center, conserving at the center until boom, sloop!, up goes the droplet, up towards the voice that raindrops words, up towards the voice and it hangs in the air — remember it there — because that’s the way the universe begins. A little pavilion. A momentary sphere. A word made of stars, dancing.

The play is filled with beautiful, poetic, profound, airy language such as this, interspersed with very real and grounded scenes of average humans at their 20-year high school reunion. The story itself is not very original (in life or literature) - high school girl gets pregnant, boy leaves her to deal with it alone, forever changing both of their lives. The original thing about this Pulitzer Prize nominated play is that this very common idea is used as the seed to explore themes of time, regret, happiness, letting go of the past, and second chances. It's funny and earthy at the same time that it's deep and philosophical. The Pavilion is another great choice by Yellow Tree Theatre - it shines on their intimate and homey stage.

Pine City class of 1977's "cutest couple," Kari and Peter, reunite at their 20-year reunion, and it's not a happy reunion. She's still deeply hurt and angry that he left her when she got pregnant, a situation that isn't soothed at all by his deep regret. Unfortunately neither of them have been able to leave this unhappy incident behind them; she is trapped in an unhappy marriage and he is dating a 23-year-old because she's too young to realize how messed up he is. They begin the evening by trying to avoid each other, but by the night's end they have put it all out there. A narrator tells us about this couple and where they fall in the creation of the universe. There is much fourth wall breaking, as the narrator says things like "this is a play about time," calls for lighting and sound from the crew, and speaks directly to the audience. At one point the characters in the story, mostly oblivious to his presence, speak directly to the narrator. It's a really clever construction and an innovative way to tell a story.

Bonni Allen, Jason Peterson, and Michael Lee

Yellow Tree co-founder Jason Peterson as the narrator speaks these beautiful words with clarity and meaning. He also has the fun of playing multiple characters at the reunion who function as sounding boards for our two main characters. Bonni Allen, whom I've previously only seen in musical comedies, proves that she's a great dramatic actor too as she brings life to the conflicted Kari. Michael Lee is earnest and sincere in Peter's love for Kari. Local actor Terry Hempleman (who starred with Jason in the gripping Fool for Love at the Jungle last fall) does a beautiful job directing the piece.

At intermission I had a discussion with my friends about who to side with. There's no question that Peter did Kari a great wrong, but she's been holding on to the grudge for 20 years. We agreed that she needs to find a way to get over it and let it go for her own sake, not his. Whether or not he deserves her forgiveness, she deserves to forgive him and be at peace about it. The play doesn't wrap things up so neatly. It's an ambiguous ending, as the evening ends and the play fades away into starlight, with no clear direction about what happens next. It's one of those plays that's so full, I wish I could see it again.

The set (designed by Jeffrey Petersen) couldn't be more simple - a large square wooden dock with the word "PAVILION" in lights behind it, the stage empty except for a few crates. But the language is so specific that the imagination can easily fill in the details so that you can almost feel the wind off the water and smell the fresh air. The lighting (by Courtney Schmitz Watson) creates some really lovely effects, from the blue light under the dock to the stars overhead.

Minnesota playwright Craig Wright (who has also written for such TV shows as Six Feet Under and Lost, and graduated from my alma mater) has set this play (and several others) in Pine City, and the play is filled with Minnesota references. The characters casually drop many Minnesota place names, and he has perfectly captured the way that out-staters talk about "the Cities." It's great to see the work of Minnesota artists represented on our stages, especially a play like this that's so funny, bittersweet, and wistful. (Playing now through March 2 at Yellow Tree Theatre in Osseo.)

Because the language is so beautiful, I'll leave you with another quote from the play:

At every single moment, the whole creation is beginning again, stretching the tent of the present moment to bursting. And the waves that push up through the oceans, and the waves that push up through the stars; and the waves that push upwards through history are the same waves that push up through us. And so we have to say yes to time, even though it means speeding forward into memory; forgetfulness; and oblivion. Say "no" to time; hold on to what you were or what she was; hold onto the past, even out of love... and I swear it will tear you to shreds. This universe will tear you to shreds.

"Disenchanted" by Casting Spells Productions at the Ritz Theater

If watching a Disney princess movie has ever left you feeling let down, betrayed, dismayed, frustrated, or downright pissed, Disenchanted is just the cure you need! In this new musical comedy by Dennis T. Giancino, the Disney princesses are allowed to tell their true stories about what living in a Disney fairy tale is really like, and what happens after the "happily ever after." Featuring catchy and melodic tunes, clever and funny lyrics, and a stellar cast, it's a really fun and fantastic 90 minutes! But hurry - there are only six performances left at the Ritz Theater!

The host of the evening is the sharp and bitter Snow White (a dynamic and commanding performance by Jen Burleigh-Benz), like you've never seen her before. Her back-up princesses are the ditzy Cinderella (a very funny Bonni Allen) and Sleeping Beauty (the always delightful Suzie Juul, with a voice as clear as a bell). They introduce us to the "P.C." problem - the princess complex - in which girls are taught they need to be pretty, simple, and obedient while they wait for their prince to come and save them. These princesses will cure you of that notion! Mulan (Pegah Kadhodaian, excellent in this and her second role as Pocohantas, a historical figure turned pin-up girl) makes an appearance and tells us "maybe I'm a lesbian" since she's the only princess who doesn't get the prince. Rapunzel is an angry German princess who won't accept her Disney transformation, and the Frog Princess is "the princess that's finally gone black" (Joy Dolo in both roles). We also meet an insane Belle and a drunken Little Mermaid (a scene-stealing Vanessa Gamble). The princesses lament about body image, dieting ("All I Wanna Do Is Eat" is a highlight), housework, and the commercialization of their image. In the end they declare that those days are "Once Upon A Time," and they're finally free to be themselves!

Friends, this is a really great show. Fun and original, turning fairy tales on their head, sung in solos and gorgeous harmonies by six talented women, tongue in cheek, a cast that's so comfortable in their roles and with each other, Ivey-winning Music Director Raymond Berg in perfect musical conversation with the cast, costumes by A. Emily Heaney that are a modern take on princess attire (my favorite: Snow White's dress!), performed in a kitschy old theater, and only 90 minutes long so it's short, sweet, and to the point, leaving you wanting more rather than outstaying its welcome. Catch it this weekend while you still can!

the princesses

"The Ultimate Pajama Party" at the Lab Theater

I tend to be a little leery of things referred to as "for girls only!" I'm afraid that it'll be chock full of gender stereotypes that will offend my feminist sensibilities more than entertain. But when I received an invitation to the opening night of The Ultimate Pajama Party at the Lab Theater, I couldn't resist the idea of going out to the theater in my comfiest and cutest pajamas (I have a weakness for pajamas, and can never walk through the Target pajama section without throwing something into my cart). The Ultimate Pajama Party is more party than theater, and since I'm a theater geek who enjoys theater more than parties, it's not really my thing. But everyone seemed to be having a great time, and I can see that it could be a really fun thing for a group of girlfriends who like this type of thing. The gorgeous space at the Lab Theater is decked out to full effect and everyone involved has worked really hard to create a fun and welcoming space for this experience.

As expected, this "girls night out" event does play on every stereotype of What Women Like, from the Kardashians and Fifty Shade of Grey (no, thank you) to shopping and jewelry (yes, please). Even the cast of characters assembled fit into stereotypes - the frazzled mom, the single girl, the gay best friend. The evening is set up as a party for Lisa, who is late in arriving to the party (allowing us party-goers time to visit the tiki bar and enjoy the free snacks). Lisa has invited her friends to celebrate, and the evening continues with a few skits and musical numbers interspersed with party games. I wish that the scripted play parts were more developed. They've assembled a fantastic cast of local actors whose talents I would like to see more of. What's there is good (written by James Detmar, who brilliantly played many roles in Spring Awakening last year), there's just not enough of it. The website says "After a bad breakup with Steve, a dead-end job and years spent not pursuing her dreams, Lisa is ready to celebrate new beginnings," but I didn't really get that from the show. I would prefer more scripted parts and less interactive games (diet bingo, walk like a Kardashian). But again, I'm a theater geek so maybe that's just me.

On the plus side is that fantastic cast of local actors I mentioned:

• Bonni Allen - I got a kick out of her presiding over the strange puppet show since she played Kate Monster in Avenue Q.
• Doug Anderson - he makes a smooth transition from playing the stereotypical Minnesota guy in A Don't Hug Me Christmas Carol to the stereotypical gay best friend.
• Betti Battocletti - always musically comedic in such shows as 42nd Street and The Full Monty.
• Dawn Brodey - one of the standouts in last year's fantastic Fringe show Joe Dowling's William Shakespeare's Romeo and Juliet...
• Janet Paone - I've never seen her before but she's very funny and bawdy in the show.
• Melanie Wehrmacher - the guest of honor Lisa, a totally different role from the last time I saw her in Diary of Anne Frank.
• Lisa Weiland - the frazzled mom, which I'm sure many women in the audience can relate to.

Many of them go by their real names in the show, and seem to be sharing some real stories about their lives, so I'm not really sure where the actor ends and the character begins. They all meander through the audience during the show, chatting with guests, and are all very fun and open, creating that party atmosphere. The evening concludes with a performance by Lisa's favorite local band (and actual local band), Belladiva. They sing a collection of current pop hits (which I like to call Glee songs) as well as classic female power pop anthems like "I Will Survive" and "It's Raining Men." This loosely theatrical interactive event turns into a dance party.

the Lab Theater all decked out for a party

I love the Lab Theater - it's like a big, beautiful blank slate. Joshua Barnd has transformed it into an elegant space, with comfy white couches and chairs, black tables, zebra print floor, gorgeous drapery, and a fun setup for photo shoots (if that's your thing). It's just an all around lovely space to be in. There are also party favors and t-shirts to be had, and free food - always a plus at a party!

The Ultimate Pajama Party is super cheesy, both literally (snacks!) and figuratively. They're definitely targeting a specific market and might become a huge success. Personally, I prefer more traditional theater (did I mention I'm a geek who would a million times rather go to the theater than a party?), but if you're looking for a fun and silly night out with your girlfriends, you might want to give this one a try. The party continues through February 10, and don't forget to wear you favorite pajamas! (Half price tickets available for select dates at Goldstar.com.)

"A Don't Hug Me Christmas Carol" at New Century Theatre

I purchased a three-show package at New Century Theatre (the newest of the Hennepin Theaters), mostly because I really wanted to see 2 Sugars, Room for Cream, and the other two shows in the package looked interesting: Deer Camp The Musical (starring Newhart's brothers Darryl) and A Don't Hug Me Christmas Carol. I found 2 Sugars, Room for Cream to be a delightfully original sketch comedy, and the other two... well, let's just say they didn't quite live up to what I believe musical theater can do (see this and this). That being said, I chuckled more than once, and the audience seemed to be having a great time. A Don't Hug Me Christmas Carol is very similar in structure and feel to Deer Camp The Musical, but since I can relate to the traditional Minnesota Christmas more than I can relate to a weekend getaway based on killing animals, I enjoyed this one a little more. It's a very loose retelling of the Dickens classic A Christmas Carol, set in small town Minnesota. Local bar owner Gunnar falls in the frozen lake and is in a coma, whereupon he's visited by his romantic and musical rival, Sven Jorgenson, showing him his past, present, and future. And like in the classic story, this Scrooge learns to be a little more kind and grateful, and yes, even allow his wife to hug him every once in a while.

Highlights of the show, such as they were, include:

• A very enthusiastic and talented cast make the most of the material they're given. Number one among them is Bonni Allen as Gunner's long-suffering wife Clara. Bonni played Kate Monster in Mixed Blood's delightful production of Avenue Q last year, and I was quite amused when she once again put on a puppet, this time in the form of Barbra Streisand (it's a long story). Ross Young also appeared in Deer Camp, and once again he puts everything he's got into grumpy but loveable Gunner.
• Like Deer Camp, Don't Hug Me's original songs are sung live by the cast to canned music, but at least there's an excuse for it this time - the music comes out of the bar's karaoke machine. Most of the songs are cute and amusing (except for one disappointingly homophobic song). And I can never resist a singalong, even if it's to a stupid song about Grandma cutting the cheese.
• The dancing that accompanies the songs is also quite amusing (choreographed by Doug Anderson, who also plays the dimwitted bar patron Kanute, perhaps a nickname for Knutson?).
• The spirit Sven Jorgenson (Michael Lee) gives an amusingly bad Robert Goulet impression.
• The set is a very realistic looking small town Minnesota bar, judging by the responses I got when I posted a picture of it on Facebook with the caption "guess where I am?"
• A Christmas Carol wouldn't be A Christmas Carol without Tiny Tim, and he appears here in a very wacky version - actress Emily Moore (who also plays waitress and aspiring singer Bernice) on her knees with a Cockney accent.
• Again like Deer Camp, this show does not take itself at all seriously, and doesn't try to be more than it is - a silly, entertaining, mindless romp through bad jokes and cheesy story. You gotta respect that.

I've heard about these Don't Hug Me musicals (there are several in the series) and often wondered about them. Now I know they're not really my kind of musical. But they serve a purpose I suppose, and less adventurous theater-goers might enjoy them. A Don't Hug Me Christmas Carol is playing now through January 6. (But in the genre of Minnesota-themed holiday shows, I highly recommend Yellow Tree Theatre's Miracle on Christmas Lake II.)

the lifelike bar set of A Don't Hug Me Christmas Carol

"Avenue Q" at Mixed Blood Theatre

The Tony award-winning musical Avenue Q is Sesame Street for adults.  Particularly young adults in their early 20s who are transitioning to adulthood and realizing that Sesame Street didn't tell the whole story.  The happy sing-song-y score sounds like something you would hear on a kids' show, but with songs like "Everyone's a Little Bit Racist," "Schadenfreude," "It Sucks to Be Me," "If You Were Gay," and "The Internet is For Porn," you know you're not in kids territory anymore!  The show is delightfully irreverent and non-PC; pretty much every ethnicity and social group gets skewered.  But in the end it's a hopeful story about friendship and enjoying what you have in life when you have it, because "everything in life is only for now."  I've seen the show on Broadway and on tour, and Mixed Blood's production (directed by Artistic Director Jack Reuler) is just as wonderful and inventive.

Like Sesame Street, many of the characters in Avenue Q are puppets.  Mostly human puppets but a few monsters as well (aka people of fur).  But unlike Sesame Street, the actors portraying the puppets are completely visible.  The puppets were designed to look like their human counterparts and they wear identical clothing, so it's almost like you're seeing double.  This amazing cast does a fantastic job of matching their human emotions and movements to their puppet's emotions and movements.  The human emoting complements the puppet's movements so the puppet actually looks sad or confused or upset.

The show is perfectly cast, not a weak link among them.  In the Broadway/touring version several of the actors do double duty as more than one character.  There's less of that here; instead, several of the actors join the band (led by Jason Hansen) when they're not onstage.  In fact, there's only one member of the band who doesn't also play a character onstage.  The most ingenious example of this is Eric Mayson, who plays Trekkie Monster and also plays bass in the band.  He's dressed in black with a full-sized monster puppet strapped to his back.  He walks around backwards onstage, and then goes back to the band with Trekkie still on his back while he plays the guitar.  There is one instance of an actor playing dual roles; like in the Broadway version, the same actor plays our monster heroine, Kate Monster, and her nemesis, the sleazy lounge singer Lucy T. Slut (her name says it all).  Bonnie Allen does this brilliantly, at times having conversations with herself, smoothly going back and forth between the boozy, throaty voice of Lucy and the girlish voice of Kate (Ruth Christianson inhabits the puppet Kate when Lucy's on stage).  The center point of this triangle is Princeton, the naive and idealistic newcomer to Avenue Q who learns that adulthood isn't as easy as he thought.  I've seen Tom Reed before in a different incarnation - as Lounge-asaurus Rex, host of Sample Night Live (a monthly showcase of the local arts/music/theater scene), which I saw once last fall and am still hoping to get back to sometime soon.  Tom is very funny and clever as Loung-asaurus Rex, ad libbing songs and entertaining the audience between the acts.  But I could hear a great voice behind the comedy, which he shows off in this show.  Other puppet residents of Avenue Q include roommates Rod and Nicky (think Bert and Ernie).  Seth Tucker will break your heart as Rod, the closeted gay Republican investment banker who wants nothing more than to be loved.  He dreams one night of having his love for Nicky (Brian Skellenger, one of my Chanhassen faves) returned, and it's a beautifully cheesy and romantic scene with the puppets flying and twirling through the air (Lauren Chapman choreographed the puppet and human movements).  The non-puppet residents of Avenue Q include engaged couple Brian ("unemployed and turning 33") and Christmas Eve (a stereotypical Japanese immigrant who has two masters degrees but can't get a job), played by Shawn Hamilton (who also plays the sax, onstage and off) and Rose Le Tran.  The superintendent of Avenue Q is none other than Gary Coleman (Brittany Bradford) - "I had a lot of money that was stolen by my folks."  Rounding out the cast of characters are the adorably sinister "bad idea bears" who represent that little voice inside of us that says things like "spend all your money on beer!" or "have a long island iced tea, they're yummy!"  You know it's a bad idea, but they're so darn cute they're impossible to resist!

I didn't realize the Mixed Blood Theatre was a black box theater until I walked in and the stage was on the opposite end of the room.  The brick townhomes of the Broadway/touring production have been replaced by simple black and grey boxes with sliding sections that reveal the various apartments in the building.  It's an efficient and clever use of space, with scene changes accompanied by drum solos by Andy Mark.

This is a fabulous show.  If you're familiar with this blog, you know I love everything.  But really, this production is fun, hilarious, accessible, light-hearted, and heart-warming, with great performances of catchy, singable songs.  The house was packed last night and the audience was clearly having a good time.  It's playing through the end of the month, so get your tickets now!

Update: the show has been extended through May 29.