"These Old Shoes" by Transatlantic Love Affair at Illusion Theater

I didn't realize how much I've missed Transatlantic Love Affair until I saw their remount of These Old Shoes last weekend, one of my favorite shows of theirs. There's simply no one like them. An ensemble of seven people plus one musician creates an entire rich world using only their bodies, voices, and souls. It's simply exquisite. With origins in the Minnesota Fringe Festival (like many of our great small companies), TLA is a physical theater company that often adapts fairy tales or myths with their unique brand of storytelling. But this show, their first in three years, is an original story about a man moving into a retirement community, which allows for an exploration of aging, memory, relationships, and loss. It premiered at the 2013 Fringe Festival and was produced by Illusion theater in 2015, when it won Twin Cities Theater Blogger Awards for Favorite Play and Favorite Actor in a Play (Derek Lee Miller). I've always loved this show, but having spent some time in a nursing home recently, it was particularly resonant for me this time. It's heart-breakingly beautiful, and I cannot recommend it highly enough. See it at Illusion Theater in their new home in the Center for Performing Arts in South Minneapolis, Wednesdays through Sundays for the next two weeks only.

"Promise Land" by Transatlantic Love Affair at Guthrie Theater

Twin Cities Theater Bloggers' favorite theater of 2016, the charmingly named Transatlantic Love Affair, is making their Guthrie Theater debut as part of the Guthrie's new Level Nine Series. This series makes theater more accessible (all tickets for shows in the Dowling Studio are just $9), and also endeavors to engage theater-goers with what they call "community engagement activities," which often include post-show discussions or displays in the golden lobby. Hopefully TLA's participation in this series will allow people who don't know that TCTB knows about them to get on board with this truly unique and special physical theater company.

"105 Proof; or, the Killing of Mack 'The Silencer' Klein" by Transatlantic Love Affair at Illusion Theater

Since being mesmerized by Ash Land at the 2012 Minnesota Fringe Festival, I've been a loyal follower of Transatlantic Love Affair, the physical theater troupe that casts a spell and weaves a dream by using nothing but their bodies, voices, hearts, and souls to tell stories. Their subjects are typically very loose retellings of fairy or folk tales (Cinderella in Ash Land, Little Red Riding Hood in Red Resurrected, the legend of the Selkie in The Ballad of the Pale Fisherman), but recently they've developed original stories including the memory play These Old Shoes and the modern-day love story emilie/eurydice. Most of their shows premiere at the Fringe, but thanks to their partnership with Illusion Theater, they, and we the audience, often get a chance to revisit the stories in a slightly expanded version. Such is the case with 105 Proof; or, the Killing of Mack "The Silencer" Klein, which debuted at the 2015 Fringe. 105 Proof is another original story, but one with a decidedly different tone than their other work. The tale of a small town boy who becomes a Chicago mobster in the Prohibition era is darker, grittier, more suspenseful, and also funnier than their usual dreamy tales. But what's not different is the way the cast (most of whom were in the original production) and live musical soundtrack create an entire world of the imagination that feels real and all-encompassing.

"Ballad of the Pale Fisherman" by Transatlantic Love Affair at the Southern Theater

Devised physical theater company Transatlantic Love Affair won an Ivey in 2012 for Ballad of the Pale Fisherman, an original work based on the legend of the selkie, a seal who takes human form. I did not see that production (part of Illusion Theater's "Fresh Ink" series), having only "discovered" TLA shortly before their Ivey win through their Fringe show Ash Land. I saw it at the final "audience pick" show because it was the talk of the festival that year. Seeing TLA for the first time was one of the most moving theater experiences I've had, and I haven't missed a show since. I'm thrilled they're bringing back Ballad of the Pale Fisherman as part of the Southern's ARTshare program. Seeing it last night, it's obvious why it won the Ivey (but then, I would give them an Ivey for every one of their shows, and in fact the Twin Cities Theater Bloggers awarded them two "favorites" last year). No one casts a spell like Transatlantic Love Affair, as they tell a story and create an entire world with nothing but their bodies, voices, and souls. Ballad of the Pale Fisherman is an achingly beautiful and completely engrossing 75 minutes of storytelling.

Fringe Festival 2015: "105 Proof or The Killing Of Mack "The Silencer" Klein"

Day: 6

Show: 25 

Title: 105 Proof or The Killing Of Mack "The Silencer" Klein

Category: Drama

By: Transatlantic Love Affair

Created by: Diogo Lopes and the ensemble

Location: Ritz Theater Proscenium

Summary: A young man from a small town gets involved with a Chicago mob when he begins to sell his grandfather's moonshine during Prohibition.

Highlights: Transatlantic Love Affair applies their beautiful and evocative physical theater style to an original story that's a bit darker and more dangerous than their past shows. This story of how a small town boy becomes a Prohibition bootlegger still has plenty of lovely moments in the way this eight-person cast creates everything in this very specific world using just their bodies and voices, with no props or set. But there's also a sense of danger and suspense as the stakes keep getting higher for the ambitious Jonathan and his brother as they get deeper into the world of the Chicago mobsters. The human moonshine still is impressive, the car chases are playful, the creak of the door is consistant, and the gunfights are so fast and sudden and lifelike that I wanted to hit the rewind button and watch them again. 105 Proof has all of the playfulness and inventiveness we've come to expect from TLA, but applied to a story that's not so dreamy and more sinister, deepening the range of stories TLA can tell. The cast is, as always, beautifully specific in their creation of multiple characters and inanimate objects, and it's nice to see some new faces (Amber Bjork, George Dornbach, and Eric Marinus) alongside TLA veterans (Heather Bunch, Peyton McCandless, Derek Lee Miller, Allison Witham, and Nick Wolf). If you've never seen a TLA show before, what are you waiting for? And if you're a die hard fan like I am, 105 Proof will show you another side of them.

"Nature Crown" by Theatre Forever at the Guthrie Studio Theater

I went to see Theatre Forever's newest creation Nature Crown not knowing what it was about. I left the theater still not knowing exactly what it was about, except that it's lovely, delightful, innovative, poignant, creative, and incredibly moving. The original fairy tale deals with the ideas of home, place, and change, but I'll let creator and director Jon Ferguson explain it: "It's about returning to a source or place of origin, honoring that place and letting it go, all at the same time. It's about love and change and re-connection. And that's what I hope for everyone. Through the experience of this play I hope that this story and this place becomes yours. I hope that we find parallels between us, to better understand each other, and ourselves, in order to live better together."

The story centers around a typical working man named João (Diogo Lopes) who is fired from his job, sending him off on a life-changing adventure (or dream?) in a village on the other side of the woods. He meets a mysterious woman (Aimee K. Bryant) who he later learns is Nature or the Earth herself, and chases a boy (13-year-old Lorenzo Reyes) to a quaint little village preparing for a once in a century celebration, at which point everything is destroyed and life begins anew. After presenting himself to the King (Brant Miller) and Queen (Catherine Johnson Justice), João remembers the village and doesn't want it to change, so he believes the royal assistant Rupert (Tony Sarnicki) when he tells him he must slay a monster in the woods to prevent the village's destruction. Things don't go as well, but "this is a fairy tale, so everyone gets what they need." João returns to his life forever changed, with the memories of this place and this experience bringing a new energy and joy to his life.

the villagers (photo by Eric Melzer)

But this plot summary does not even tell one-tenth of the story. This is one of those pieces that's difficult to put into words, because what is created in that in-the-round space by the 14 members of the ensemble, four musicians, and the six-member Artemis Chamber Choir* is beyond words. It's so creative, and playful, and physical, and fun, and unabashedly sincere and hopeful. The village is created by little houses mounted on backpacks, so of course the castle is a suitcase. It's England so there's lots of tea pouring and drinking. Two young villagers (Paul Rutledge and Ben Mandelbaum) learn to transform themselves into trees and logs and rocks. A mysterious backpacked man (Peter Lincoln Rusk) and his apprentice (Nick Saxton) help to guide the events as they're supposed to happen. Flower petals represent leaves and blood, depending on what's called for. Things pop up out of the floor when needed. A spoon is a recurring motif. None of it makes any sense, but somehow it all makes sense.

"Home is where the heart is," the saying goes. Or perhaps the heart is where home is. We all carry places around inside of us, places that meant something to us at different times in our lives. Places that we may never see again, or places that we may return to and find them not at all how we remember them. "You can never go home again," goes another saying, but this piece seems to say that we can carry the memory and spirit of that place inside us, to give us courage for what lies ahead.

If exploring the ideas of home and change and courage ("be brave or you'll miss everything") with music, movement, delightful props, heartfelt performances, and much theatrical innovation is intriguing to you, go see Nature Crown, and be reminded of those places that lie inside your heart (continuing in the Guthrie's Dowling Studio through April 4).



*The Artemis Chamber Choir performs in the lobby of the Dowling Studio before the show, and the acoustics of the space combined with lovely harmonies create something quite haunting.


This article also appears on Broadway World Minneapolis.

"These Old Shoes" by Transatlantic Love Affair at Illusion Theater

I'll never forget the first time I saw Transatlantic Love Affair. It was the "Audience Pick" show at the end of a long and exhausting 2012 Fringe Festival. I was tired and crabby and fringed out, but from the moment the lights went down on Ash Land, TLA transported me to another world, a world so specifically and beautifully created on a bare stage by a group of performers using nothing but their bodies, voices, and souls to communicate the story. I've seen them a number of times since then, both at the Fringe and as part of Illusion Theater's "Lights Up" series, and they continue to move me beyond what just "ordinary" theater is able to do. TLA returned to Illusion Theater last night with a remount of their 2013 Fringe hit These Old Shoes, a touching story of time, memory, regret, second chances, and long lost love rediscovered. In everything they do, TLA is nothing less than exquisite (not a word I use lightly, usually reserving it to describe the epitome of the art form that television can be, aka Mad Men). But disappointingly, the theater last night was not as full as it should have been. My goal in writing this piece is to get as many people as possible to go see These Old Shoes. You cannot call yourself a true Twin Cities theater fan if you've never seen Transatlantic Love Affair, and there's no better place to start than with this achingly lovely show.

In an original story conceived and directed by co-Artistic Director Diogo Lopes, These Old Shoes introduces us to a group of people living at a retirement community, and a man named Jim (Derek Lee Miller) who is reluctantly moving in. Jim's granddaughter Beatrice (Adelin Phelps) comes to town to help him pack up his house and move into the community. As Jim goes through his things, memories of days and people long past are stirred up. He remembers a young woman named Marjorie (Peyton McCandless) whom he once loved and planned to spend his life with, until his experience in the Korean War changed him and came between them. They both went on to live seemingly happy lives apart, but never forgot each other. I don't think it's a spoiler to say that Marjorie lives in the community that Jim is joining; the true beauty of the piece is watching the two stories unfold - past and present - and how they come together again.

In typical TLA style, there are no props or set pieces on stage. Barefoot actors in simple clothing create everything in this world - furniture, a grandfather clock, trees, doors, gravestones. They mime with invisible props. Sometimes you don't quite know what action they're miming or inanimate object they're embodying, but at other times, it's so clear you can almost see it. As we move from the past to the present, each of the ensemble members (also including Heather Bunch, Eric Nelson, co-Artistic Director Isabel Nelson, and Allison Witham) physically transforms from a young person to an old person, each in their own unique and specific way, whether it's the subtle droop of the shoulders and sinking inward, or a back that's fully bent over, or a slower less stable way of walking. Age affects people differently, and this cast allows you to see those differences. One addition to the piece since the Fringe version is that we get to see each of the members of the retirement community in their past, whether as an actor, or a secretary, or a doctor. This glimpse into the past helps to flesh out each of these characters and inform who they are in the present story.

Jim polishes these old shoes of Marjorie's
(Derek Lee Miller and Peyton McCandless)

Transatlantic Love Affair also knows how to harness the power of music to maximum emotional effect. Dustin Tessier provides the soundtrack to this story on electric guitar, alternately melancholy and hopeful as the story requires. The one theatrical "trick" that's employed is the lighting (by Michael Wangen), which along with the music helps to accentuate the mood created by the ensemble. All of these pieces combine to create a world that feels so real and specific, it's positively jarring to the soul to leave the theater and go back into the real world, a world that now feels too bright and garish, and somehow colorless at the same time, compared to that sparsely beautiful world experienced on stage.

It's not possible to adequately describe what it is that Transatlanctic Love Affair does. It's a style so unique and specific, you just have to see it for yourself. Let go of what you think is reality, let your imagination take over, and let them take you on this exquisitely lovely journey. These Old Shoes is playing now through February 14. Trust me when I tell you you need to see it, and be sure to take advantage of the discount tickets on Goldstar.com.


This article also appears on Broadway World Minneapolis.

"Ash Land" by Transatlantic Love Affair at Illusion Theater

On the last night of the 2012 Fringe Festival, I went to see an "Audience Pick" show that I had been hearing a lot about. A play called Ash Land by a theater company called Transatlantic Love Affair, with which I was unfamiliar at the time. By that point in the fest I was fringed out - sick of the crowds and lines and parking and traffic. But sitting in the Rarig Center, I was completely transported by what was happening on stage in front of me and moved to tears. Such is the power and beauty of what Transatlantic Love Affair does, a style of physical theater that is so unique and special. They are currently remounting an expanded version of Ash Land as part of Illusion Theater's "Lights Up!" series, and it's just as heartbreakingly beautiful as it was the first time I saw it.

Conceived and directed by TLA's co-Artistic Director Diogo Lopes, Ash Land is a very loose re-imagining of the classic Cinderella tale, in which our heroine is now a farmer's daughter somewhere in the plains of middle America in the last century. Ellie's beloved mother dies, leaving her and her father devastated and with a farm to care for in a drought. Ellie's aunt marries her father in order to help care for her and the farm, but decides to sell it. Ellie goes to the town banker's party to try to stop the sale, where she meets his kind and handsome son. And then, it begins to rain.*

On a completely bare stage, this wonderful cast of eight (seven of whom were in the original production) create everything in the world of the story with their bodies and voices. They are the doors and windows, the waving wheat, the wind, the livestock, the water pump, furniture, a car, and most poignantly, the rain. Along with the subtle lighting (by Michael Wangen) and the melancholic sound of a steel guitar (played by Harper Zwicky), the movement of the cast is so evocative of a specific time and place that you can feel the dry heat, see the tumbleweeds blowing, and revel in the release of the long-awaited rain. The cast also sings a few songs from the traditional Americana canon that I love so much, including "Who's Gonna Shoe Your Pretty Little Foot," "Ain't No Grave," and "Poor Wayfarin' Stranger." The show has been expanded from its original Fringe length (under an hour) to about an hour and a half, which has allowed them to add a few new scenes, as well as given other scenes the room to breathe and expand a little.

Ellie (Adelin Phelps) and her mother (Isabel Nelson)
drinking lemonade on the porch swing

At the heart of this piece is the relationship between Ellie and her mother, which continues long after she dies. This relationship is beautifully expressed by the actors - Adelin Phelps as Ellie and Isabel Nelson (the other co-Artistic Director) as her mother. Along with Derek Lee Miller as Ellie's father, you can truly feel the love and loss in this family trio. Adelin is just wonderful as our heroine, with an open expressive face. Heather Bunch brings a gritty humanity to the role of the "evil stepmother." Nick Wolf, as the banker's son, is the one new ensemble member and fits right in, tall and lanky and adorably awkward when confronting Ellie. All of the other roles of the animal, vegetable, and mineral variety are filled by these actors along with Peytie McCandless, Eric Nelson, and Allison Witham.

Ash Land plays through February 22, and if you've never seen Transatlantic Love Affair before, you really need to experience their unique and beautiful style of theater. And with tickets for as low as $5 on Goldstar, you'd be a fool to miss this one! (Tip: bring tissues.)

I'll leave you with how I concluded my blog the first time I saw the show.

Friends, this one really touched me. And that's all I ask from theater - to move me in some way, whether it's to laughter or tears, or a different way of thinking about something, or a different way of seeing something. To leave the theater knowing that I'm different than when I walked in, that I've been forever changed (in some small way) by what I've seen. That's what this show did for me. 

*Yes, I plagiarized myself by copying the plot summary from my previous post about the show.

Fringe Festival: "These Old Shoes"

Day: 4

Show: 12

Title: These Old Shoes

By: Transatlantic Love Affair

Created by: Diogo Lopes and the ensemble

Location: Music Box Theatre

Summary: Using their trademark physical theater style, Transatlantic Love Affair tells the story of a man packing up his belongings and memories as he prepares to move into an "old folks home," with the help of his loving granddaughter.

Highlights: Transatlantic Love Affair never fails to make me cry. The pictures that they create and the emotions that those pictures evoke are so beautiful; it's difficult to describe if you haven't seen them. The seven actors are on a completely bare stage with no set or props, dressed simply, but manage to create a rich and varied world in which to tell their stories. With only their bodies, voices, and facial expressions, they represent everything from furniture to trees to the characters in the stories. And they always use music very wisely to enhance, but never distract from, the story (Dustin Tessier on an expressive electric guitar). Without giving away too much, the story they tell here is one of aging, memory, regrets, and second chances. The entire cast is wonderful, but Derek Lee Miller and Peytie McCandless are especially lovely as they portray characters at various times in their lives. There's so much going on, such exquisite attention to detail, that it's impossible to see everything. I wish I had time to see this again* so I could drink it all in. My favorite of the Fringe so far, and I doubt anything else I see will top it.

Read more of my fringe fest reflections…

… including my top 5 shows

*And maybe I will see it again. They're continuing their trend of expanding Fringe shows at Illusion Theater with last year's Ash Land, to be presented at Illusion in February 2014. Dare I hope for These Old Shoes at Illusion in 2015?

"Red Resurrected" by Transatlantic Love Affair at Illusion Theater

My favorite show of the 2012 Minnesota Fringe Festival was Transatlantic Love Affair's Ash Land. I was incredibly moved by their simple and eloquent storytelling; the company of actors created a rich and complex world using nothing but their bodies and voices. I was completely transported into another world, which is all I ask for from theater. Transatlantic Love Affair's 2011 Fringe hit Red Resurrected is currently being presented as part of Illusion Theater's "Lights Up!" series. Like Ash Land, it's another innovative piece of theater, and it deserves a much larger audience than the one at the Illusion Theater last night. At just 70 minutes, it's well worth your time to see something fresh and unexpected and completely lovely.

Red Resurrected, written and directed by 2012 Ivey emerging artist Isabel Nelson, loosely re-imagines the familiar fairy tale of Little Red Riding Hood, combining it with other myths and legends in a way that makes it feel like a completely new story, yet familiar. Red lives in a small town called Primrose in the hills of Appalachia; she has no family of her own, and instead is literally being raised by the village. She's a happy child, doing chores and playing with her friends, but warned never to go down to the woods. Red is fascinated by the woods, and as she grows up she begins to find that the woods are the only place she feels at home. When her safe and familiar world is shaken (the wolves that young women face are not always of the canine variety, but are just as dangerous), she escapes into the woods on a path that runs west out of Primrose. There she meets a woman who can heal the broken, and learns from her. Eventually she decides to return home to see if she can bring healing to her friends and family in the village.

the wise woman and Red in her hut in the woods

In Transatlantic Love Affair's signature style, this seven person cast tells their story on a completely bare stage with not a single set piece or prop. This is a true company; all of them have appeared in previous TLA shows, and that connectedness shows. At times they move as one unit, representing everything in Red's world from the trees to the dripping faucet to every sound you've ever heard in the woods. They also beautifully sing traditional Appalachian music, which adds so much in creating this world. I hesitate to call out any members of this true ensemble because they're all just wonderful, but I will. Heather Bunch brings levity to her role as Red's friend and the grim Mrs. Quinn, but also brings out the serious side of both of these characters. Anna Reichert is also great as the narrator and wise woman of the woods, and Adelin Phelps once again embodies a completely relatable heroine to root for.

the family sits down at the dinner table

I love the way that Transatlantic Love Affair tells such simple and beautiful stories, combining movement, music, and words in a completely innovative way. It's really indescribable, so you should go see it for yourself (playing at the Illusion Theater in downtown Minneapolis now through March 2). If I may paraphrase the moving final words of the show, sometimes a woman finds herself on a path in the woods, fixing things that are broken, singing with a full voice to the mountains. I'll camp a little while in the wilderness, and then I'm goin' home.