"Sugar in Our Wounds" at Penumbra Theatre

In the beautiful and brutal play Sugar in our Wounds, two enslaved men fall in love, finding a song of love that sings in both of them. But this is the American South, shortly before the Emancipation Proclamation, so we know how this story ends. Still, it's a beautiful story to tell, one of love in the face of great danger, that reminds us of our ugly past, and also of the beauty that those who found themselves trapped in the ugliness were able to make for themselves. Penumbra Theatre's production of this play is gorgeous in every way - the design, the true and real emotions of the actors portraying these characters, and the light that it shines on the story of "queer Black love against a backdrop of imminent freedom." See it at Penumbra Theatre through March 19.

"Luna Gale" by Underdog Theatre at the Southern Theater

Exciting new theater company Underdog Theatre, founded by rising #TCTheater star Kory LaQuess Pullam, is presenting their third work, the first one that's not an original play written by Kory. And it's a tough one. Luna Gale is a sobering look at the system that's supposed to help young people in trouble, and the ways that it fails them. It's a heart-breaking story, but not without a glimmer of hope, thanks to the caring people who work within this broken system. And this really wonderful cast makes you feel every emotion of the story, which is sometimes unpleasant, but very effective in creating empathy for these humans and the difficult situation they find themselves in. Underdog's mission is to "create art for the underserved, underrepresented, and unheard," which is beautifully accomplished here.

"FIVE" by 20% Theatre Company at Dreamland Arts

One of the things I most admire in theater is artists who tell their own very personal and often difficult story through their work. I find it incredibly brave to expose your life, heart, soul, heartaches, and triumphs on stage in front of a bunch of strangers, and this sharing of truth often results in the most affecting theater. The audience can sense the realness and the raw emotion they're witnessing. Such is the case with 20% Theatre Company's new work FIVE, written by Claire Avitabile. Claire is the founder and Artistic Director of 20% Theatre, named after a 2002 study which found that 20% of professional theater artists are women. 20% Theatre is "committed to supporting and vigorously promoting the work of female and transgender theater artists, and celebrating the unique contribution of these artists to social justice and human rights," work that is perhaps more important now than it ever has been in the company's 10-year history. FIVE is one person's specific story of overcoming childhood trauma, universal in its themes of loss, search for identity, and healing.

"Happy Days" by Minneapolis Musical Theatre at New Century Theatre

In the space of 24 hours I traveled from 1960s Detroit to 1950s Milwaukee, separated by about 400 miles and 10 years, but worlds apart. Penumbra Theatre's Detroit '67 is a sobering look at the musical highs and violent lows of that time and place, while Minneapolis Musical Theatre's production of the musical adaptation of the TV classic Happy Days presents an idealized version of the past, where people can't imagine the price of gas going above 12 cents, the worst insult is "sit on it," and fights are settled with a pie in the face and a wedgie. As such, it's faithful to the beloved TV show that I, and many Americans, grew up with. Not surprising since it was written by the show's creator Garry Marshall, with songs by Paul Williams, who's written many hits for The Carpenters and others. While the plot's a bit thin (it is based on a sitcom, after all), the familiar characters are there with their signature catch phrases and the songs are catchy in that '50s style, resulting in a fun and frivolous evening of happy nostalgia theater.

In what amounts to an extended episode of Happy Days, our gang is facing a crisis when beloved diner hangout Arnold's is in danger of being bought out by a large corporation. Richie and Fonzie and friends come up with a couple of ideas to raise money to match the bid, including a dance contest and a wrestling match. (How they're supposed to raise thousands of dollars through this, I'm not entirely sure, but I'll go with it.) Fonzie's ex, the super cool motorcycle-riding Pinky, returns to judge the dance conflict, and tensions run high with unfinished business between them. Fonzie agrees to wrestle his nemeses the Mallachi brothers, despite a secret shameful weakness - he has a bum knee. (Fonzie's getting old? How disappointing.) It takes Richie longer than his usual 30 minutes to solve this problem, but in the end our gang comes out on top and continues living those happy days.

Highlights of the show include:

Pinky and the Fonz
(Quinn Shadko and John Zeiler,
photo by Heidi Bohnenkamp)

• The six-piece band just to the right of the stage sounds great playing these '50s pop tunes, both uptempo and ballad, as directed by Lori Maxwell.
• The large cast is talented and enthusiastic, bringing great energy to the show.
• Fonzie and Pinky are the most recognizable and specific characters. Quinn Shadko is a standout as Pinky. She always sounds lovely, but she also has Pinky's attitude, walk, and voice down pat - tough and smart on the outside, hiding a tender heart underneath. John Zeiler is her match as Fonzie, channeling Henry Winkler. Together they have a sweet and spicy chemistry as the central love story.
• As boy next door Richie, Eric Heimsoth has the red hair, earnestness, and likeability needed for the character. Richie and his pals Ralph Malph (an expressive Matthew Englund), Potsie (an appropriately reserved Andrew Newman), and Chachi (a charming Kory LaQuess Pullam) create some great doo-wappy four-part harmony.
• Lisa Denninger's Mrs. C and Briana Patnode's Joanie are a believable mother/daughter pair, and bring sweet harmony to the song "What I Dreamed Last Night."
• I don't know anything about motorcycles, but what looked to be an authentic vintage bike was rolled out onstage, rounding out the character of Fonzie.
• The musical is chock full of catch phrases, familiar to anyone who's watched the TV show: Richie's angry "bucko," Ralph Malph's gleeful "I still got it!," Chachi's admiring "waa waa waa," and of course, the Fonz with his "aaayyyy," "correctamundo," thumbs up, and signature comb movement.
• While the mostly empty set leaves something to be desired, the period costumes are fun and bright; the leather jackets, blue jeans, bobby socks, poodle skirts, and saddle shoes perfectly represent the era. If some of the girls' dresses look like bad prom dresses, perhaps that's appropriate. Pinky outshines the rest in her fabulous pink frocks, as she should.

While there are a couple of strange jokes that didn't land well (including one about Bill Gates, who was 4 years old in 1959), and the show goes a bit too far into camp territory at times, on the whole it's joyful homage to a beloved TV show and iconic characters. These Happy Days are yours and mine, and continue at the New Century Theatre through May 17.

the Dial Tones - Kory LaQuess Pullam as Chachi, Eric Heimsoth as Richie,
Andrew Newman as Potsie, and Matthew Englund as Ralph Malph
(photo by Heidi Bohnenkamp)

"The Coward" by Walking Shadow Theatre Company at Red Eye Theater

Nick Jones' 2010 play The Coward is a spoof of that gentlemanly period in England when it was appropriate, nay necessary, to challenge a man to a duel if he in any way besmirched your honor. It's a play with a lot of men fighting, and one woman to fawn over them as they fight. Walking Shadow Theatre Company has turned this idea on its head, casting women in all the male roles and a man in the one female role. It's an interesting twist that makes these proud and silly men look even more silly, maybe because we all know women are too smart to get involved in such petty and deadly disputes. It all amounts to a lot of bloody good fun.

The young gentleman Lucidus is pressured by his father to participate in duels to defend the family honor (which, by the way, got his two older brothers killed). But Lucidus would much rather classify butterflies by their beauty or go on a pie-tasting picnic with his friends, dressed in top hats and tails. He eventually agrees to a duel, but is afraid to fight it. He goes to the town pub to hire a man to fight for him, and finds Henry, who is happy to fight as long as he can do it by his rules. I don't want to spoil the outcome of the duel, but when there's a "blood designer" and two "blood assistants" listed in the credits, it's safe to say there will be blood. And lots of it. Henry gets a taste for dueling as Lucidus, and begins challenging people all over town, much to Lucidus' dismay. The situation gets even worse when Lucidus' father discovers the ruse and decides he likes Henry better, and adopts him as his son while disowning Lucidus. Lucidus agrees to one final momentous battle to settle the matter once and for all.

Linda Sue Anderson, Briana Patnode, Suzie Juul, and
Shelby Rose Richardson (photo by Dan Norman)

This wonderful cast of women (and one man) gleefully revels in the concept and the bloodletting, under the direction of Walking Shadow's co-Artistic Director Amy Rummenie. The always excellent Briana Patnode makes Lucidus likeable despite his cowardice. Jean Wolff is strong and pompous as his stern father, and Charlotte Calvert is a delight as the duel-loving Henry. Also having great fun are Suzie Juul and Shelby Rose Richardson as Lucidus' pals, and Chase Burns, the lone man in the cast, as Lucidus' haughty love interest. Last but not least, Linda Sue Anderson is a hoot as an addled old man and Lucidus' loyal butler.

This very pretty and proper set, in shades of red and pink surrounded by a in gilt frame (designed by Eli Schlatter), becomes the backdrop for some beautifully disgusting blood flow. Let's hope they have a dry cleaner on standby for Sara Wilcox's gorgeously rich costumes.

The Coward is a silly, fun, lighthearted romp through proper English duels, highlighting just how ridiculous the concept is, with a terrific cast that appears to be having as much fun as the audience. Playing through February 28 in the Red Eye Theater.

"New Jerusalem" by Minnesota Jewish Theatre Company at Hillcrest Center Theater

Minnesota Jewish Theatre Company has introduced me to a fascinating man in New Jerusalem. I'd never heard of 17th century Portuguese-Dutch-Jewish philosopher Baruch De Spinoza before, but his thoughts on God, Nature, religion, science, and society, as expressed through one historical incident in his life, feel so familiar it's as if I did already know him. This play by David Ives focuses on Spinoza's expulsion from the Jewish community, called cherem, in 1656. The interrogation plays out before the audience, who plays the part of the congregation. Spinoza tries to explain his beliefs to his friends, family, and rabbi, but is unsuccessful in convincing them he is not a heretic. It's a dense play, with much to digest and contemplate, brought to vivid life by the cast.

The mid-17th century was a time of persecution of Jews (not unlike most times in European history). Amsterdam was relevantly tolerant, but as is stated in the play, there are limits to this tolerance. Meaning no public worship and no talking about religious matters with Christians, sort of a "don't ask, don't tell" policy. Which is a problem for Spinoza, because there's nothing he likes better than discussing religion, God, nature, science, and philosophy with anyone who will listen, including his friend Simon and the (Christian) woman he loves, Clara. This lands him in hot water with the city as well as Rabbi Mortera, his beloved teacher and father figure. He is called to the synagogue to answer for his crimes, where he is interrogated by Jewish and Christian officials, and his opinionated sister. The house lights come up, as we the audience are meant to play the role of the congregation, listening to Spinoza's arguments and eventually passing judgement on him. As history tells us, he is expelled, and that's where the play leaves us. But I wasn't quite able to let him go, so I went to Wikipedia to find out the rest of the story. He continued to philosophize for another 20 years but never joined another religion, becoming "the first secular Jew of modern Europe."

Spinoza was an early advocate of the separation of church and state, the idea upon which this country was founded (although some people like to forget that if it suits their particular religion or belief). In the play, he is quoted as saying, "a state without religion is the only state in which religion can flourish." He also speaks of the unity of God, nature, and all things, "nothing is not God," which sounds like a Unitarian to me (no wonder I found myself agreeing with much of what he says). He often talks of the French philosopher and mathematician Descartes and the interrelatedness of science and religion, which seems to coincide with my personal belief that science and religion are flip sides of the same coin, and the laws of science and math can help inform and explain our understanding of the spiritual world. Or as Galileo said, much more elegantly that me, "mathematics is the language with which God has written the universe." Sorry for the digression, but this is the kind of thinking and discussion and philosophizing that this play engenders.

James Ramlet, George Muellner, Michael Torsch, and Rachel Weber
(photo by Sarah Whiting)

Under able the direction of Kurt Schweickhardt, the cast does a great job with this heavy material, injecting life and humor into it. Michael Torsch plays Spinoza as a wide-eyed idealist and a dreamer, and makes Spinoza's words and ideas make sense in an appealing way. As his friends, Briana Patnode and Alex Brightwell showcase the human side of Spinoza. Rachel Weber is a spitfire as his sister Rebekah, barging into the proceedings and letting her opinion be known. James Ramlet and Skyler Nowinski play Spinoza's interrogators, at times frustrated, angered, bewildered, and silenced by his answers to their questions. Last but not least, George Muellner gives a sympathetic performance as the rabbi torn between this young man he thinks of as a son and his lifelong beliefs.

New Jerusalem continues through November 9 at St. Paul's Hillcrest Center Theater (construction appears to be nearly complete and the parking lot on Ford is open again). I highly recommend it if you enjoy thought-provoking discussions about God, Nature, science, religion, philosophy, and everything in between. I will warn you that it's long, nearly three hours, so take a nap or have some coffee before the show, especially if you go to an 8 pm performance. As fascinating as it is, it's a challenge to stay engaged in a philosophical discussion for that long, but it's well worth the effort.

"One Flea Spare" by Theatre Coup D'Etat at the Soap Factory

"Our lives are but a splash of water on a stone. I am the stone they fell upon, and they have marked me." So ends the hauntingly beautiful play One Flea Spare by Naomi Wallace. Theatre Coup D'Etat's production, currently playing in the cold dark basement of The Soap Factory*, an art gallery near St. Anthony Main, is one of those theater experiences that will stay with me long after the lights go up. Focusing on four people trapped in a house together in 1665 plague-infested London, the play takes a hard look at who people really are when the everyday distractions of life are removed, and there's nothing left but themselves and each other. It's a harsh but beautiful view of humanity.

A 12-year-old girl named Morse begins and ends the story for us. She has broken into her neighbor's home, that of the well-to-do Mr. and Mrs. Snelgrave, after everyone in her home perished from the plague. A sailor named Bunce has also sought refuge in the house, which has all been boarded up except for one room, the only room in which no one has died. After discovering this break-in, the guard Kabe, their only contact with the outside world, has ordered them to say inside for 28 days to ensure none of them are infected. So begins a long process of these strangers getting to know each other, and the long-married couple facing their long-buried issues. We're told by Morse at the beginning of the play that not everyone survives, so we wait to see who dies and how, like a 17th Century deadly version of Survivor.

Morse (Briana Patnode), Mr. Snelgrave (Jim Ahrens),
Bunce (Peter Beard), and Mrs. Snelgrave (Ellen Apel),

It doesn't get much more intimate than this space, with just a few rows of seats on three sides of the small square that serves as the stage. There's nothing between the audience and the actors, and all of their performances are almost too real. I was completely drawn in by them, almost to the point of feeling uncomfortable as if you're eavesdropping on some very intense conversations. As their true colors begin to show in this small room with nowhere to go and nothing to do, we learn that Mr. Snelgrave is hard and cruel, Mrs. Snelgrave is lonely and suffering from a long-ago hurt, Bunce the sailor is kind and tender-hearted, yet unwilling to tolerate Mr. Snelgrave's classist attitude, Kabe the guard is a selfish opportunist, feeding off the dead, and little Morse is curious and precocious, innocent yet knowing more of the pain of the world than any little girl should.

James Napolean Stone does a beautiful job directing this fine cast and so vividly creating this world. As Morse, Briana Patnode is utterly captivating and appealing, with her ever-changing emotions displayed plainly on her open face. Peter Beard's Bunce has a raw intensity boiling just below the surface of his calm demeanor. Ellen Apel is as sympathetic as Mrs. Snelgrave as Jim Ahrens is vicious and appropriately unlikable as her cruel husband. Last but not least Brian Joyce brings the right mix of humor and creepiness to the guard who occasionally shows up at the window. Helping to set the tone is the sparse set by Meagan Kedrowski, which consists of two chairs and one boarded up wall with a window. The surroundings are well-incorporated into the set, most effectively in the concrete floor of the basement that is momentarily marked by the water that is splashed on it, until it drinks it up. The beautiful period costumes by Barb Portinga range from shabby to elegant and help to define the characters (there's even some clothes-swapping as roles are reversed). I particularly loved Morse's too-large dresses, ragged and dragging on the floor.

"Our lives are but a splash of water on a stone. I am the stone they fell upon, and they have marked me." And this play has marked me. You can't ask for much more than that from theater - a beautifully written, thought-provoking, disturbing play with wonderfully real and raw performances by the small cast in a space that adds to the tone of the show, that has a lasting impact on the audience. It's playing for two more weekends and I highly recommend that you check it out as one example of the fine work being done by small theater companies in unusual spaces.



*It really is chilly in the basement, so bring a sweater. There is street parking around The Soap Factory, but leave a little extra time to drive around and find a spot.

"Romeo and Juliet" by Theatre Coup d'Etat at the Southern Theater

In Theatre Coup d'Etat's production of Shakespeare's classic tragic love story Romeo and Juliet, there's a big twist: Romeo is a woman. But the surprising thing is that it doesn't change the story one bit. It's the same beautifully tragic, frustratingly doomed love story we all know and love. The only language that's been changed are the pronouns referring to the lady Romeo. The problem everyone has with Romeo and Juliet being together is not because of their gender, but because they belong to warring families in Verona. It's a very quick and easy transition to get used to a female Romeo, and from there, the power and drama of the classic story take over.

But before we get to the play, there was a strange but fascinating pre-show show. First, the cast gathered onstage for a yoga and vocal warm-up, which was kind of fun to watch. Then all of the actors transformed into animals, crawling around the stage sniffing and growling at each other. I had a brief moment of fear - they're not going to do Romeo and Juliet as animals, are they? Fortunately that was not the case, and the exercise ended as quickly as it began. The actors/animals left the stage, and after a moment, the Prince entered, and the story began. I still have no idea what that was about; it was a strange preamble that seemed to have nothing to do with the play, but it certainly was interesting!

the Friar (Paul Schoenack)
with the (momentarily) happy couple
(Christina Castro and Briana Patnode)

On to the main event. Strong performances by the entire cast are led by our Romeo and Juliet. Christina Castro is a strong and likeable presence as Romeo, believably falling in the love with the girl across the room at a party, who just happens to be the daughter of her family's enemy. Briana Patnode's Juliet is all sweet wide-eyed innocence, until her new love kills her cousin and is banished from Verona, and her innocence turns to despair. Meri Golden provides some comic relief as Juliet's story-telling nurse. Also notable are Alec Barniskis as the Prince, with appropriately imposing height and commanding voice; James Napolean Stone as Mercutio, especially his entertaining fight and death scene ("a curse on both your houses!"); and Paul Schoenack as the friar who tries to do right by the young lovers.

The Southern Theater contains the most beautiful stage in the Twin Cities. With the cavernous space in front of the original arch, the possibilities are endless, and it's perfectly suited to a classic story like Shakespeare's. Theatre Coup d'Etat makes good use of the space with just a few necessary and basic set pieces. The costumes (by Tyler Stamm) are simple but beautiful, classic with a modern twist. I appreciate that the Capulets wear a bit of red, while the Montagues wear a shade of blue, because sometimes I have a hard time remember who's on which side. Romeo's look - boots, leggings, and jacket - is not overly feminine, but not that different from what women wear today. Juliet's wardrobe is as lovely and sweet as she is.

This is a great production of a classic piece of theater. Romeo and Juliet is a show that's done so often, you almost need a new take on it to justify doing it again. Or rather, I need something different and interesting to make me want to see it again. Re-imagining Romeo as a woman is just that twist that makes you see and appreciate the story in a new way, without significantly changing it.

the gorgeous wide open stage at the Southern Theater