"A Play by Barb and Carl" by Illusion Theater at the Center for Performing Arts

Illusion Theater is returning to live performances and christening their new space with a new play by Carlyle Brown, Playwrights' Center Core Writer and playwright in residence with Illusion. You've likely seen a play or three by this prolific local playwright at any number of theaters around town, but I venture to say that A Play by Barb and Carl is his most personal. In it, he and his wife and dramaturg Barbara Rose Brown tell the story of their marriage, and how it was affected by Barb's stroke which left her unable to speak. It's an incredibly moving and poignant story, well and succinctly told in just 70 minutes, with raw and real performances by the cast. You can see it at the newly expanded Center for Performing Arts in South Minneapolis through the end of the month (click here for info and tickets).

"Pink Unicorn" at Illusion Theater

When you need to dig in your purse for a tissue to blow your nose after seeing a play, you know it was a good one. I don’t cry, but @IllusionTheater #pinkunicorn made me cry with its beautiful message of love, hope, & acceptance.
#tctheater #bringtissues #openheart #walkwithme

Thus reads my 280-character immediately post-show Twitter review of Illusion Theater's production of the one-woman show The Pink Unicorn. Kate Guentzel plays the widowed mother of a teenage girl who one day says she doesn't identify as a girl, she's gender queer. In Elise Forier Edie's beautifully written play, we witness this small town woman's journey to reluctant activist, all for the love of her child. With this very personal script in Kate's deft hands, it's an incredibly moving experience. The Pink Unicorn plays for three weekends only, so waste no time in making your way to Illusion's inviting space on the 8th floor of the Hennepin Center for the Arts in downtown Minneapolis (click here for more info and to purchase tickets).

"Dancing with Giants" at Illusion Theater

I'll admit it. Before I was a theater geek, I was a TV geek. I grew up watching TV, and my best friends were characters on TV shows. I'm still a TV geek, and I still consider TV characters* my friends. So when I heard that an actor from two of my favorite current shows was doing a play in Minneapolis, I didn't even care what or where the play was. I was going to see Rebecca Bunch's mother / Deanna (who's Deanna?) no matter what. As it turns out, Tovah Feldshuh has some ties to the #TCTheater community, having studied and worked at the University of Minnesota and the Guthrie back in the day. Her brother, playwright/director David Feldshuh, has an even deeper connection, specifically with Illusion Theater, which is premiering his new play Dancing with Giants. I'm happy to report that not only is Tovah a delight live on stage, but this is also an entertaining, educational, funny, and sobering play. It's obviously a labor of love for the Feldshuh family, and Minneapolis/St. Paul theater-goers are lucky to be able to experience it first.

"Miranda" at Illusion Theater

The titular character of James Still's new play Miranda is like Homeland's Carrie Mathison, but more grounded in reality, without all of the soap opera drama. A CIA operative currently based in Yemen after years of working in the Middle East, she's good at her job, but has begun to grow weary with all that her job entails. The playwright notes, "While the pursuit of happiness may be one of the inalienable rights guaranteed in our Declaration of Independence, Miranda is too smart not to know that happiness is elusive. She's thrived during her years in the CIA in the pursuit of meaning, not happiness. But what if that meaning and sense of purpose has faded with time and age - what now?" Miranda is a dense and fascinating play about the women and men who immerse themselves in foreign lands to secure intelligence for the US government, but also find themselves getting entangled in the lives of the people they live among.

"The Soul of Gershwin: The Musical Journey of an American Klezmer" at Park Square Theatre

At Park Square Theatre, the soul of Gershwin is alive and well. Specifically, composer George Gershwin, who in his 38 short years was one of the most prolific, influential, and important American composers of the first half of the 20th Century. Joseph Vass's creation The Soul of Gershwin: The Musical Journey of an American Klezmer, which premiered at Park Square in 2011 and for which he won an Ivey Award, is history lesson, play, music theory dissertation, and fantastic concert all rolled into one. This is my first time seeing the show, although I did see the companion piece about George's lyricist brother Ira, the lovely (and awkwardly titled) Words By... Here in The Soul of Gershwin we learn about George's Jewish heritage and how he wove the melodies of the synagogue and the klezmer street musicians into his songs. It's a fascinating examination of how Gershwin's music, so much a part of our culture, came to be. And maybe we need to be reminded of George and Ira's story, the children of Jewish immigrants who became some of the most notable American artists, at this moment in time, when anti-semitism and other forms of bigotry seem to be on the rise. Maybe now is the perfect time to celebrate Jewish music and culture and what a huge influence it's had on shaping American as we know it.

"Finding Fish" at Illusion Theater

Did you know that there's a fishing crisis in New England? Being a vegetarian who never really liked to eat or catch fish, living in land-locked Minnesota, I've never heard about this issue. I've never even thought about how environmental issues affect those making their living off the sea. But I'm thinking about it now, thanks to Carlyle Brown's new play Finding Fish, now receiving its world premiere at Illusion Theater. Rather than just being a boring recitation of facts (like "from 1991 to 2003 the cod catch fell 99%," as noted in the thick program that has tons of information and resources about environmental issues, particularly those related to water), Finding Fish combines the realism of family drama with fantastical elements to create a story that's both thought-provoking and entertaining.

"Jeffrey Hatcher's Hamlet" at Illusion Theater

Jeffrey Hatcher's Hamlet is not a one-man show of Shakespeare's Hamlet, starring one of Minnesota's best and most prolific playwrights. Rather it is said playwright's story about when he adapted Hamlet (with the help of an issue of Classics Illustrated, a comic book series that adapted classic works of literature into comic books) into a one hour play for his 5th grade class in the late '60s. The result is a funny, entertaining, relatable story about elementary school and its strange politics, as well as a glimpse into a young future playwright's mind.

You may know Jeffrey Hatcher as the author of such locally produced plays as Compleat Female Stage Beauty or Turn of the Screw, or the films Stage Beauty or the upcoming Mr. Holmes (in which Ian McKellan plays an aging Sherlock). But in the late '60s he was a precocious and somewhat nerdy 5th grader in Steubenville, Ohio (which he later used as a setting for several of his plays). A series of coincidences prompted him to suggest to his teacher that their class do Hamlet for their annual play, to which she agreed on the condition that he adapt and direct it. And so a playwright was born. Over the course of about 80 minutes and with great detail and enthusiasm, Jeffrey recounts the entire month long episode of adapting, casting, rehearsing, and performing the play. We learn about his classmates, and why each was perfectly suited for their role. We learn about the young playwright/director's struggles with crises including his leading lady losing her voice, and just what exactly is an arras and how can it be represented in a classroom? We also learn a bit about his relationship with his parents and what it was a like to be a kid in America at that time.

Jeffrey Hatcher reenacting his role of Laertes in his 5th grade play
(photo by Aaron Fenster)

Walking into the Illusion Theater I was a bit taken aback. Set designer Dean Holzman and crew have built a stage over what is usually the front section of seats, on which a detailed vintage classroom is constructed. The desks open up to reveal neat tricks and props, including what look like vintage toys and books that must have been dug out of attics or bought on ebay. On the blackboard is projected a series of images of the places and people discussed in the play. It feels a little like sitting with Jeffrey in his living room, looking through old yearbooks and photo albums as he describes what is obviously an important moment in his past.

Jeffrey Hatcher's Hamlet is not some dry lecture on Shakespeare, it's a celebration of the love of drama, and a nostalgic look at growing up in the '60s, as well as at that time in your youth when school is your entire universe, and your only worries involve the class project and the classmate you have a crush on or a vendetta against. Playing through October 25, Jeffrey Hatcher's Hamlet is a great way to open Illusion Theater's 40th anniversary season. Illusion's Producing Directors Michael Robins and Bonnie Morris just won the Ivey Lifetime Achievement Award, a deserving tribute to the great work they do at Illusion, so this is a great time to pay a visit to their lovely theater on the 8th floor of the Hennepin Center for the Arts. (Check out the great ticket deals available on Goldstar.)

"Naked Darrow" at Illusion Theatre

Friends, I have a confession to make. If you had asked me last week, "Who is Clarence Darrow?" I would have answered, "Um... a lawyer?" I didn't know much about one of America's most famous lawyers, but in the tradition of "everything I know I learned from theater," after seeing the one-man show Naked Darrow at Illusion Theater, my eyes have been opened. Gary Anderson has spent years perfecting his performance as the famous lawyer in the play that he wrote, and it shows. He's not so much acting as being Clarence Darrow.

Naked Darrow takes place in 1937, near the end of his life, when he was deep in the clutches of dementia (and possibly Alzheimer's disease). In a 90-minute stream of consciousness, Darrow talks to people who aren't there (including his wife and mistress), relives some of his more famous trials (including his own, for jury tampering), and gives some of his most compelling closing statements. He recalls moments from his childhood, time with his first and second wives, and in the most touching sequence, he visits his newborn granddaughter and sings her to sleep with "Solidarity Forever" (Darrow was a prominent labor lawyer). The play shows us the personal side of the famous public figure and the personal costs of being a lifelong public servant. The most compelling scenes are the ones in which Darrow delivers his famous speeches. He was an eloquent and persuasive speaker, and Gary Anderson portrays this very well. This is where he really shines as he commands the theater as Darrow legendarily did the courtroom. He transforms into the character so that no "acting" is visible to the audience; it's like you're watching the man himself.

The play was last presented in the Twin Cities at Park Square Theater in 2011. It has since been revised and performed around the country, including Off-Broadway. This production features direction by Illusion's Artistic Director Michael Robins, and a sparse set by Dean Holzman, with set pieces of a desk, a few chairs, a window, and a bookcase floating in the empty space as if in a dream. Lighting by Michael Wangen helps set the mood, and images projected on the window give us a visual of the various defendants and places being described (projection design by Jonathan Carlson).

If you're a legal buff, or just want to learn a little bit more about this famous and influential American, with a lived-in portrayal by Gary Anderson, get to Illusion Theater's lovely 8th floor theater space in the Hennepin Center for the Arts before Naked Darrow closes on April 12 (bonus - discount tickets on Goldstar).

"the road weeps, the well runs dry" at Pillsbury House Theatre

There's a new theater project called "Launching New Plays into the Repertoire," led by The Lark Play Development Center in NYC. The idea is to produce a new play in several regional theaters around the country, because "good playwrights become great playwrights in front of audiences, and good plays become great plays through multiple productions in multiple venues." One of the pilot projects is currently playing at Pillsbury House Theatre in South Minneapolis - the road weeps, the well runs dry by Marcus Gardley. The only previous production of this play was in Juneau Alaska, and after the Minneapolis run it will also be produced at theaters in LA and, most appropriately, Florida. It's a fascinating and epic play about the Seminole Indians and the runaway slaves and free black people who joined with them in Florida in the 19th Century. With a dynamic cast of 11 and the excellent award-winning director Marion McClinton, this mythical and historical drama comes alive. This successful production bodes well for the new project.

This play is difficult to describe because of the huge cast of characters, the several decades of history it covers, and the mythology it presents. It feels like a Greek tragedy, in which the characters are destined, or cursed by the gods, to live these difficult, troubled, and interconnected lives. The main character bears a birthmark of a white sun on his chest, and is told that he cannot be killed except by blood (spoiler alert). We witness the establishment of Freetown by a group of Seminoles and free blacks in 1833, the flourishing of the town and its hard working people, the devastation that comes with a drought and wars, and the ultimate redemption and hope as rain comes again after tragedy.

Number Two (Ansa Akyea) and
Trowbridge (Jake Waid)

Our story centers on two men, the "full-blood" Seminole Trowbridge (Jake Waid, reprising the role he played in his native Juneau) and escaped slave Number Two (another powerful performance by recent Ivey-winner Ansa Akyea). The men become friends friends, companions, partners, and then enemies (there is much discussion of the interconnectedness of love and hate and how that manifests in their relationships with each other and their families). There's also a town shaman called Horse Power (a colorful James Craven), the reverend (Harry Waters, Jr.) and his wife (Regina Marie Williams), the town Casanova who goes through a bit of a transformation (H. Adam Harris), young lovers (sweetly played by Traci Allen and Santino Craven), and warring mothers, one soft and the other tough (George Keller and Keli Garrett). We also see flashbacks of the young Trowbridge (Santino Craven again) and Number Two (Darius Dotch). There's just too much going on to describe it all - death, murder, birth, abuse, love, preaching, punishment, an extremely awkward Sunday dinner - in fact it's a little hard to follow chronologically at times, but the timeline in the playbill helps clear things up. the road weeps, the well runs dry is something that really has to be seen to be fully experienced.

The world of Freetown is successfully created by the sparse set (by Dean Holzman), with just a few suggestions of trees, the town well, and wooden crates to sit or stand on. The costumes are beautiful, with full layered dresses for the women, dandy suits for some of the men in town, and more traditional Seminole garb. The cast makes full use of the intimate space at Pillsbury House, including the aisles and the back of the theater; it's a 360 degree experience.

the road weeps, the well runs dry is an ambitious and epic new play, and perfect for Pillsbury House Theatre that often produces work that is challenging to the audience. Whenever I see a Pillsbury House production, it's never just a pleasant, nice night out at the theater. Challenging, awkward, difficult, but always thoroughly engaging and rewarding. At the end of the play there's a rain dance to end the long drought, and whatever they were doing on that stage worked. When I left the theater it was raining like it hadn't rained in months. By the time I got to my car I was soaked and freezing, but it somehow felt appropriate, like it was part of the experience to be cleansed by the waters that Horse Power called down upon us all. Playing through the end of the month, I can't guarantee rain, but I can guarantee a fascinating and epic experience.

"A Streetcar Named Desire" by Ten Thousand Things at Minnesota Opera Center

Ten Thousand Things does theater like no other company I've seen, and Tennessee Williams wrote some of the best American plays of the 20th Century - full of drama and tragedy and beautifully written characters. Combine these two powerhouses and you have a pretty remarkable experience at the theater. A Streetcar Named Desire is one of Williams' best-known plays and deals with complex issues of family relationships, spousal abuse, rape, poverty, and mental illness. My first introduction to the work was a beautiful production at the Guthrie three years ago, a memory I try to hold on to in an attempt to displace the memory of last year's unfortunate Broadway production, which had audiences laughing at inappropriate moments. It was like Streetcar, the Comedy, and it was not good. The concept was a good one - an ethnically diverse cast - but the tone of the production was much too light. I thought perhaps it was also due to the unsophisticated audience that the TV actors on stage brought in, but I've learned from Ten Thousand Things that it doesn't matter if an audience member has never seen a play before in their life, or has seen hundreds. If you do it right - they'll get it. In addition to performing for the typical theater-goer like myself, TTT takes their shows into prisons, homeless shelter, schools, and community centers in an effort to bring theater to a wider audience. And they have a really wonderful and unique way of stripping the work down to the essentials and presenting it in a way that anyone can relate to, regardless of prior theater experience. They've done that with Streetcar, and the result is 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.

Austene Van as Blanche

This production of Streetcar focuses on the four main characters and removes several minor characters that don't factor into the main plot. The play begins with Blanche visiting her sister Stella and her husband Stanley in New Orleans. Blanche and Stella grew up in a wealthy Southern family, but hard times have caused Blanche to lose the home place, while Stella and Stanley live in two small modest rooms. Blanche is high-strung, to put it mildly. She takes long baths and drinks to calm her nerves, and can't possibly speak about the troubles in her past. She's a woman who's all about appearances; if things look pretty and put together, then everything must be all right. Reality is much too harsh for the world that Blanche lives in. Her young husband died tragically years ago, which, along with her family's financial hardship and the deaths of her parents, sent her on a downward spiral. No where else to go, she lands with her sister, with a trunk full of pretty clothes, fur, and jewelry, mementos of her past. Blanche finds companionship with Stanley's buddy Mitch; they're two lonely people who need someone. It's the beginning of what seems like could be a quiet, simple love, as opposed to Stella and Stanley's passionate but abusive love. Stanley is suspicious of Blanche and thinks that she's holding something back. He learns some gossip about her and uses it against her. In the end, Stella must choose between her husband and her sister. It's a tragic story with no happy endings.

Stella (Elizabeth Grullon) and
Stanley (Kris Nelson)

This fantastic four-person cast is directed by the equally fantastic Randy Reyes. All of these characters are interesting and complex, but none more so than Blanche, and Austene Van plays every layer. Blanche becomes more and more unhinged as the play goes on, and by the end, her eyes are just vacant; she's gone. Elizabeth Grullon is also great as Stella, always hot and frazzled and wanting to believe in her husband and sister both, until she has to make the terrible choice. Kris Nelson may not look like the Stanley Kowalski type, but he's got that sinister attitude in every word and look. He's one of my favorite local actors and usually has this great positive energy, but in this case he's turned that energy much darker in an almost scarily realistic way. Rounding out the cast is Kurt Kwan as the sweet and charming Mitch. All four of these actors have great chemistry with each other and play well together.

This is a fairly elaborate set by Ten Thousand Things standards. In case you've never seen a TTT show before, they create a "stage" by placing a few rows of chairs in a square. The space in the middle is where the story takes place, but it also spills outside the square as the fully lit room allows you to follow the actors as they leave the space. Dean Holzman has effectively transformed this empty square into the two rooms, with an imaginary curtain separating the tiny bed in one corner from the kitchen table in the other. Peter Vitale adds a soundtrack to the play, adding in jazz music playing on the radio or creepy carnival music when Blanche remembers her difficult past.

The last several shows that TTT has done have been on the more light-hearted side, which allowed the cast to play with the audience a little. But not so with Streetcar. The actors keep the intensity of the story and reside in the world they create, as if the audience isn't even there. Not since Doubt two years ago (also starring Kris Nelson) have they tackled such a serious drama. As always, I highly recommend that you go see it. I went with a friend who had never seen TTT before, and we're already talking about getting season passes next season (which includes A Midsummer Night's Dream, The Music Man, and a new play by Kira Obolensky). Warning: the kind of real, raw, intimate theater that Ten Thousand Things does can be addictive.

"I Love to Eat" at Illusion Theater

Everything I know about the culinary world I learned from watching Top Chef. The name James Beard is often heard on the show, in terms of the awards his Foundation bestows on promising chefs, but I never really knew much about the man himself. I'm not really what one would call a foodee; my favorite meal is a veggie burger, fries, and beer. But I do love to eat, as do most people, and we have that in common with James Beard, the subject of I Love to Eat: A Love Story with Food at the Illusion Theater. This one-man show, written by playwright James Still and directed by Michael Robins) is a sort of hallucination/dream/stream-of-consciousness in which James talks to us, the audience, telling stories about his life and love of food and cooking. Not much happens, but by the end of the 75-minute play, I had grown quite fond of this man who was a pioneer of American cookery.

The play consists of James in his kitchen telling stories, preparing food, reading letters from fans, and talking on one of three phones to fans or friends (including Julia Child). He is alone on stage, but you get the feeling that he craves connection, hence his generous contact with fans. We learn a little about his childhood in Portland (an ideal childhood is not necessarily a happy one), his travels, and his TV show. James hosted the first TV cooking show in the late 40s, and we see a few scenes from the show, talking to a cow puppet, the sponsor of the show. He makes his beloved onion sandwiches (with homemade mayonnaise), and a few lucky audience members get a taste! He focused on "every day American cookery" rather than pretentious fancy meals, encouraging his fans and students to use the preparation and eating of food to bring people together, as it has throughout human history.

James Beard (Garry Geiken) with his co-host

Garry Geiken has shaved his beautiful head of hair to play James, and fully embodies not only his bald head but also his love of life, food, and connection. He moves in and out of the various scenarios (TV show, phone conversations, memories, reading letters) with ease. He has an infectious laugh and easy smile, but also gives us a sense of loneliness under the jolly exterior (it's impossible not to cry when you're chopping onions). He has the audience in the palm of his hand, as we dutifully repeat tips like "only fresh lemons always." The set, designed by Dean Holzman, is a detailed and homey kitchen that's slightly fantastical - the floor slopes towards the audience - giving the sense that this is not quite reality. The lighting (designed by Mike Wangen) tells us when we're entering the wacky world of the TV show.

James believed in "good food, simply cooked," and using the best ingredients. I Love to Eat is a theatrical meal James would approve of - the best ingredients combine in a story simply told. Sometimes sweet, sometimes bitter, but always tasty. The title says it all - he loved to eat, and he conveyed that love through his cooking and through his teaching. Like a good meal, you'll leave the theater feeling happy and satisfied. Playing now through May 18, with half-price tickets available on Goldstar.

"Buzzer" by Pillsbury House Theatre at the Guthrie Studio Theater

The new play Buzzer by Tracey Scott Wilson premiered at Pillsbury House Theatre last year. It explores issues of race, class, gender, and gentrification in this seemingly post-racial world. It's one of those plays that'll leave you with a slightly uneasy feeling because of the very real and intense issues it brings up. Like all theater by Pillsbury House, it's more than just a play, it's an exploration of ideas, conflicts, and issues that are extremely relevant to the world we live in, but that we may be reluctant to face. That's what great theater does, make us face those issues head on. If you missed it last year, you have a second chance to see it at the Guthrie studio (playing now through March 3), where the entire cast and creative team has reassembled. The play may have been tweaked a bit since its last run, but I didn't notice any drastic changes from when I saw it last year; it's as if the entire production was plucked out of Pillsbury House and placed intact in the Guthrie Studio. It was one of my favorite plays last year, and the kind of play that almost requires repeat viewing, so I was more than happy to see it again.

Tracey Scott Wilson has crafted an intense one-act drama, with the action and the tension constantly building. Scenes overlap; a character will be having a conversation, then turn and begin a new scene and conversation with another character without taking a breath. It never lets up, until the final painful confrontation. Here's the plot summary I wrote last year:

Jackson is a successful lawyer who grew up poor in a neighborhood filled with drugs and violence, and was able to get himself out and make a better life for himself. He rents (to own) a newly remodeled apartment in his old neighborhood, which is transitioning from a "bad neighborhood" to one with coffee shops and lofts and restaurants. He and his girlfriend Suzy, a teacher in the inner-city schools, move in. Jackson convinces Suzy to let his down-on-his-luck best friend Don move in with them, despite her reluctance. Don is from a privileged background, and despite constantly getting himself into trouble, has been able to get out of it thanks to his rich and powerful father. Jackson was given nothing and worked hard to achieve the life he wanted, while Don squandered every opportunity he had. But somehow the two men remained friends. Their friendship is tested when Suzy tells Don that she's being harassed on the street, and they grow closer. Each member of the trio has their own plan to end the harassment. Suzy thinks that if she stays strong and ignores the bullies, they'll eventually stop. Jackson wants to threaten them with violence, while Don thinks reasoning with them and being friendly will solve the problem. The conflict grows inside the apartment and outside on the street.

Namir Smallwood, Sara Richardson, and Hugh Kennedy

Hugh Kennedy won an Ivey Award for his performance as Don, and seeing it again it's even more clear why.  He completely embodies this damaged character struggling with his demons and trying to live a better and sober life. It's a very physical performance; Don's addiction is apparent in his jittery hands and frenetic energy as he moves uneasily around the apartment. Namir Smallwood and Sara Richardson are also great as the troubled couple Jackson and Suzy. Each of these three actors creates a complex character, all of whom make bad choices at times but are very real and relatable. Marion McClinton returns as director and brings all of this complexity together in a cohesive way (check out this feature on MN Original about his amazing career journey). Lastly, the simple and elegant set by Dean Holzman (which looks very similar to what I remember from last year's production) provides a great space for the story to take place.

The title refers to the broken buzzer in the apartment building, and who the residents are willing to let in based on their own prejudices and assumptions, which may not agree with what they claim to believe. In the program notes, the playwright says, "The young characters in Buzzer think they are beyond race. They were raised on ethnic food, multi-cultural TV and hip-hop. They don't discuss race because they don't see race. They know slavery was an abomination and all men are created equal. What's to discuss? They discover that there is a lot to discuss and keeping silent is much more destructive than speaking the truth." This play breaks through the silence and speaks the truth, at least from the point of view of each of these three complex characters. It doesn't offer any solutions, but addressing the issues and bringing them to light is a great beginning.