"The Welkin" by Frank Theatre at Gremlin Theatre

My previous experience with British playwright Lucy Kirkwood is the three-person drama The Children, an intimate, personal, and political story about the fallout of a nuclear disaster, which Jungle Theater produced in 2019 shortly after it premiered on Broadway. Her 2020 play The Welkin is quite the opposite in scale, featuring a cast of 16 and set in the 18th Century. But it's similar in the way it deals with thorny issues that are both personal and political, and I can't think of a better theater company to bring us the regional premiere than Frank Theatre. It's epic in scale and length (nearly three hours) and in the way that it depicts the arduous life of women in 18th Century England, with parallels to the here and now. The cast is a veritable Who's Who of #TCTheater female actors, and watching them tell this story on Gremlin's intimate stage under Wendy Knox's expert direction is a thrill, if a bit of a dark and depressing one. So take a nap, have an afternoon coffee, and go see this astounding regional premiere production of The Welkin (continuing through March 29).

"The Cherry Orchard" at Jungle Theater, a Co-Production with The Moving Company

After seeing The Cherry Orchard last night at the Jungle Theater, in partnership with The Moving Company (aka MoCo), I have now seen all four of late 19th Century Russian playwright Anton Chekhov's major plays (which also include The Seagull, Uncle Vanya, and The Three Sisters). And I find that I appreciate his work more each time I see it. All four plays share a few common themes - large and complicated families, social commentary on the Russia of the day that somehow is still relevant today, and a mix of humor and sadness. Chekhov famously referred to The Cherry Orchard as a comedy, but the first director thought of it as a tragedy. In short, it's both - like life. Maybe that's the reason for my growing appreciation; Chekhov so beautifully depicts the joys and the sorrows of being human in a changing and challenging world. This production of The Cherry Orchard, with the combined talents of MoCo and the Jungle, is so lovely, so thoughtfully constructed with every attention to detail, so beautifully performed by the seven-person cast, and so gorgeously sad. See it at Jungle Theater in Uptown through November 2.

"The Tin Woman" by 100 Percent Human Theatre at the Historic Mounds Theatre

The topic of organ donation is one that sounds simple in theory - who wouldn't want to donate viable organs to save someone's life (or lives)? But to be faced with the decision in reality is unimaginable. Such is the subject of The Tin Woman, about a woman facing an existential crisis after receiving a donor heart and the family of the man who donated it grieving their loss. It's a personal story for director Joy Donley of 100 Percent Human Theatre, whose son died at age 16. They donated his organs to over 60 recipients, which is a truly remarkable gift. As good artists do, she's taken her tragedy and turned it into art, partnering with the local organization LifeSource to produce this play and raise awareness about organ donation. The Tin Woman is a funny, poignant, and relatable story about the messiness of grief, loss, family, and life. The super short run closes this weekend with just a few performances remaining at the Historic Mounds Theatre in St. Paul.

"Thank You for Holding: The Caregiver Play Project" by Wonderlust Productions at 825 Arts

Wonderlust Productions is unique in the kind of theater that they make. Whether it's prison, or state government, or in this case caregiving, they spend a couple years researching a topic, specifically by interviewing people in the community who live in it. Then they create a new piece of theater, with both professional actors and these community consultants acting in the story. The result here is a very moving, raw, truthful depiction of caregiving, the pain and the joys and the endless bureaucracy of navigating a broken health care system. While I have never been a caregiver (yet, as this show reminds us), at least not to humans, I have been a witness to caregiving, and it is probably the hardest and most necessary job there is. But a thankless and often unrecognized one, so kudos to Wonderlust to shining a light on it, and letting caregivers tell their own story. Thank You for Holding continues at the new theater space 825 Arts on University in St. Paul through November 3.

"Life Sucks" by Girl Friday Productions and Open Eye Theatre

Girl Friday Productions holds a unique niche in #TCTheater. Specializing in large-cast classics, they typically do just one production every other year. They skipped their 2021 production due to the pandemic (although they did create a really lovely virtual winter cabaret show - still available to watch here), and now they're finally back - four years after their last production. They're also stepping out of this niche, co-producing a play with Open Eye Theatre that was written in this millennium with just a seven-person cast. But Life Sucks by Aaron Posner is loosely based on Chekhov's Uncle Vanya, so I guess it counts in the classics department. And a seven-person cast is quite large for Open Eye's stage, which is the smallest and sweetest stage in town, so the cast to square footage ratio is still quite high. Maybe it's not such a leap for them after all, and it's consistent with their past work in that it's perfectly cast, thoughtfully constructed, and epic in themes if not in size. They've just extended their run through November 12, and you would be wise not to miss this funny and profound rare offering from Girl Friday and Open Eye (click here for info and tickets).

"Matt & Ben" by Nocturnal Giraffe Theater at Bryant Lake Bowl

As a superfan of The Office, I've long heard about Mindy Kaling's play Matt & Ben, which she wrote and starred in with her friend Brenda Withers prior to being hired as a writer/actor on the show. So when I heard that Nocturnal Giraffe Theatre, who brought us the delightful comedy Piñata at last year's Fringe, was doing it at BLB, there's no way I was going to miss this chance to see an early work from one of my favorite funny people. I was not disappointed; it's the perfect 80-minute comedy about celebrity, show business, and friendship, expertly brought to life by Nocturnal Giraffe. Whether or not you're a fan of Mindy Kaling, or Matt Damon, or Ben Affleck, this is a fun dinner and a show opportunity at BLB, through May 19 only (click here for tickets).

"Miss Bennet: Christmas at Pemberley" at Lyric Arts

This holiday* #TCTheater season, we are blessed with not one but two productions of Lauren Gunderson and Margot Melcon's Pride and Prejudice fan fiction series Christmas at Pemberley. The first play in the trilogy, Miss Bennet, was first seen on local stages at the Jungle Theater five years ago, after which they co-commissioned two more plays, the latest of which, Georgiana and Kitty, is currently premiering at the Jungle. But you can also see where the story all began in Miss Bennet in a new production at Lyric Arts in Anoka. All of these plays are gems, perfectly marrying Jane Austen's legacy of female-centered stories in a man's world of property, marriage, and inheritance with modern feminist sensibilities. It's lovely to see a different take on these stories at Lyric Arts, but just as charming, funny, and heart-warming. You can visit Pemberley via Anoka Thursdays through Sundays until December 18.

Minnesota Fringe Festival 2022: "Piñata"

Day: 3

Show: 9

Title: Piñata

Category: COMEDY

By: Nocturnal Giraffe

Directed by: Joy Donley

Location: Rarig Center Xperimental

Summary: A very funny comedy about moms on a birthday party circuit that sounds a little bit culty.

Highlights: The comedy trio of Greta Grosch, Katie Consamus, and Stephanie Cousins (with a cameo by Elizabeth Efteland as more than just a clown) are a joy to watch as three very different moms relegated to the penalty zone at a child's birthday party because of bad behavior. The pressure to impress and conform amongst this circle of well-to-do mothers of children at an exclusive school makes it sound very much like a cult, but somehow these women are able to move beyond that and recognize the humanity in each other (after a lot of fighting), bonding over the reasons that each of them doesn't quite fit in. Rarely moving from a small square of turf marked off by pool noodles, the cast expertly delivers the tight and funny script, employing physical comedy and perfect timing in this polished and professional show. A momedy even those with no offspring can enjoy, as it tackles themes of "keeping up with the Joneses," the pressure to conform and fit in, and realizing that sometimes you need to break the rules because the rules are stupid.

Read all of my Fringe mini-reviews here.

"Romeo and Juliet" by Zephyr Theatre at Aamodt's Apple Farm

Zephyr Theatre's summer outdoor Shakespeare tradition continues with the rom-com-turned-tragedy Romeo and Juliet at an idyllic spot on Aamodt's Apple Farm. It always feels like Shakespeare was meant to be experienced in the great outdoors, in a more intimate and relaxed setting like this. Despite the tragic outcome of the play (I always hope that somehow the friar's message will get through to Romeo and those two crazy kids get to run away together as they planned, but nope), it's a lovely evening in a perfectly gorgeous setting. So check the weather, dress and hydrate appropriately, and go see some Shakespeare in Stillwater this weekend!

Minnesota Fringe Festival 2021: "Channel"

Day: 2

Show: 4

Performance Type: In Person

Location: Crane Theater (indoors, masks required)

Length: 45 minutes

Title: Channel

By: Dogwatch

Summary: A lighting designer is alone in a theater late at night, working her first show in a year and a half, dealing with family and work issues, and ghosts.

Highlights: This is why I love the Fringe. Experimental work created by local artists combining their varied talents, that you probably wouldn't see elsewhere. The show is part very real and grounded character study, and part ghost story achieved by lighting and sound effects. The program notes that the show was "conceptualized by [director] Larissa Netterlund and created collaboratively with the cast and crew." It's almost a solo show, with Elizabeth Efteland playing the lighting designer, and creating such a real and fully formed character as she goes about her work, often in silence. But not entirely solo, because stage manager Kate Bender makes a brief appearance and is very busy behind the scenes, and the sound and lighting effects play a huge role in the show (technical direction and design by Shannon Elliot). This is essentially a site-specific piece; it takes place in a theater very like the Crane (to which, BTW, it's so wonderful to return after nearly two years). So the lighting designer is really in the space, running up and down stairs, going through doors and coming back in others; it almost feels like we're just eavesdropping on what's really happening. Through a series of voice mails and video chats, we learn that the character lives with her mother, who seems to be suffering from some kind of dementia-related illness, which limits her time at work. Particularly telling are when she records a message that gets a little too vulnerable, deletes it, and records a milder version. Things get weird when the voice mails begin to play over the sound system in a creepy loopy/echo-y kind of way, asking: Why are you here? What do you need? Are you alone? You can watch the show virtually via a live-stream, but if you're comfortable seeing it in person, put on a mask and head to the Crane Theater for the full 360-degree chilling experience.

Read all of my Fringe mini-reviews here.

"‘Til Death: A Marriage Musical: The Livestream!" by Bucket Brigade Theater

Bucket Brigade Theater premiered their new original musical 'Til Death, written by and starring co-founders Jeremiah and Vanessa Gamble, in 2012. They've presented it at Art House North in St. Paul's West 7th neighborhood since 2015 for Valentine's Day. This year, they've turned it into a concert version, streamed live from Art House North into your house! I've seen the musical twice in the past before watching the premiere of the livestream last night, and I'm truly impressed at how the charm, silliness, and heart of the piece has translated into the virtual space. And it's about as close to live theater as we can get these day. Only four more performances remain - one tonight and three next weekend (click here for more details).

"The World Over" at Open Window Theatre

It's been almost four years since Open Window Theatre lost their space in Minneapolis due to a conflict with the landlord that resulted in a multi-year lawsuit, which they eventually won. Now they're back in a brand new space in Inver Grove Heights (about ten miles south of St. Paul). They're presenting two shows this spring in what looks like a strip mall in the suburbs, in which they've created a nice space with an intimate theater. The World Over, which opened this weekend and runs through March 15, is a fitting story of overcoming obstacles in pursuit of a singular goal.

"Pop Goes the Noggin" by SOS Theater at Gremlin Theatre

New #TCTheater company SOS Theater debuted a year and half ago with the dark comedy / family dramedy Roller Derby Queen. I really enjoyed that play, calling it "smart, funny, and well-written, with quirky but real characters," and was looking forward to their second outing. Pop Goes the Noggin is another new play written by Michele Lepsche, a dark comedy featuring quirky characters. Unfortunately it's an example of the proverbial sophomore slump as the great ideas don't quite come together, perhaps because due to an unexpected illness the playwright was unable to finish the play, which was completed by director Kari Steinbach and cast member Greta Grosch (one of the writers of the Church Basement Ladies series). But the play has an interesting premise, and a cast of unique and endearing characters (some more defined than others). There's definitely potential there, and it would be interesting to see it again after a round of revisions.

"Thomas Tallis" by Orchard Theater Collective at Calvary Baptist Church

The long, complicated, sordid tale of the English monarchy is the source of much drama and many many plays. Wars, illegitimate heirs, beheadings, oh my! The play Thomas Tallis looks at it from another side, through the life of a man who was a surprising constant through some of the most tumultuous changes in the monarchy in the 16th Century, from Henry VIII through Elizabeth I. As composer for the Church of England, Tallis worked under four different monarchs with differing religious and musical tastes, and somehow survived to the ripe old age of 80 with his head still attached to his body. Jessica Swale's sparse play doesn't get into too many details about the composer or those he worked for, but it does paint a portrait of the artist, the era, and the importance of music. New young theater company Orchard Theater Collective has chosen this play as their second work, staging a lovely and haunting production in Calvary Baptist Church.

"Red Velvet" by Walking Shadow Theatre Company at Southern Theater

In just four days, I saw two plays in which an actor of color donned white face. A little strange, a little disturbing, but a very good sign that the #TCTheater community is telling some important and relevant stories right now. Mu's Charles Francis Chan Jr.'s Exotic Oriental Murder Mystery deals head on with the practice of yellow face and Asian American stereotypes in media, while paying homage to real life pioneers of Asian American theater. Walking Shadow's Red Velvet deals with art, politics, and race in theater while telling the story of a real life pioneer of African American theater who had a successful career doing Shakespeare in Europe in the 19th Century. Both plays provide astute social commentary through historical stories that are also engaging and entertaining, and are both well worth seeing.

"Goodbye Cruel World" by Theatre Pro Rata at the Crane Theater

Theatre Pro Rata's Goodbye Cruel World closes today so if you haven't seen it already, I'm afraid you're out of luck. (Sorry about that, blame NYC.) But for the record, it's a fun and wacky ride ably driven by six actors playing multiple characters, often in the same scene. A modern adaptation of Russian playwright Nikolai Erdman's The Suicide, which was banned by the government and not produced until after his death, it's a farcical look at a man down on his luck who offhandedly wonders if he would be better off dead, only to be taken seriously by his wife, neighbors, and eventually the whole town. Everyone from the church to the intelligentsia, a post man to an artist, wants Semyon to promote their cause in his suicide note. His neighbor decides to turn it into a lottery, but in the end Semyon realizes he doesn't want to die, much to everyone's disappointment. Read on for some highlights of the show.

"The River" by Walking Shadow Theatre Company at Open Eye Theatre

If your new boyfriend invites you to his cabin to go fly fishing in a river by the sea, just say no. That's what I learned from Walking Shadow's The River. This seemingly happy new relationship takes an unsettling, unexpected, and vaguely creepy turn over the course of 90 minutes. I don't want to say too much about what happens, because the discovery and the figuring it out is half the fun of this play. Or maybe fun isn't the right word. But this fascinating exploration of love and relationships, with strong performances by the cast, fluid unhurried direction, and a spot-on detailed set is definitely entertaining.

"Love Person" at Park Square Theatre

"Words are heavy, they're like stones. If birds could talk they couldn't fly." One of my favorite quotes from one of my favorite TV shows, Northern Exposure, came to mind while experiencing Love Person at Park Square Theatre. After premiering at Mixed Blood Theatre in 2008, Aditi Kapil's bilingual play has seen success around the country, and now returns home in this new production, which she also directs. It's a play about the heaviness of words, and how sometimes they beautifully convey feelings, and other times they fall miserably short. Performed in both English and ASL, with a little Sanskrit thrown in for good measure, the play explores the ideas of language, communication, relationships, love, and family. It's a play that requires focus and effort from the audience (you will be reading surtitles during complete silence at times), but that effort pays off in this engaging, poignant, funny, thought-provoking, moving story.

"Detroit '67" at Penumbra Theatre

1967 Detroit was one of the high points in American music with the boom of the Motown sound, including such greats as The Temptations, The Supremes, Marvin Gaye, and little Stevie Wonder. But it was also one of the low points in American racial tension, as manifested in one of the largest riots in history that ended with over 40 people killed and over 1000 injured. The new play Detroit '67 by Dominique Morisseau nicely juxtaposes these two worlds as they come together in a clash of music and violence, as seen through the lives of one family. Featuring a super cool soundtrack and a strong five-person cast, Detroit '67 is as much fun and entertaining as it is sobering and thought-provoking.

Sister and brother Chelle and Lank have inherited their deceased parents' home and a little money. With the help of their friends Bunny and Sly, they've turned the basement into an occasional dance club, to enjoy music with their friends and make a little money to help with Chelle's son's education. The widowed Chelle is happy with the simple life, keeping a nice home and making some extra money to send to her son, but Lank longs for something more. When Sly asks him to go in with him to invest in a local bar, Lank jumps at the chance despite his sister's objections. While out one night, Sly and Lank come across a mysterious and injured young white woman and bring her back to the house to recover. Chelle is not happy with this, knowing the trouble it could bring in segregated Detroit, but reluctantly agrees to let the girl stay if she helps around the house. She has a past that, when she reveals it to Lank, bonds the two of them. When the riots start, Lank and Sly are right in the middle of it, trying to protect their new business. It doesn't end well, but no matter what happens, the music lives on. And so do these people, as best they can.

Chelle and Sly (Austene Van and James T. Alfred) dance as
Caroline (Elizabeth Efteland) looks on (photo by Bridget Bennett)

As Chelle and Lank, Austene Van and Darius Dotch are believable as siblings who love each other even when they're annoyed with each other, and also create strong individual characters. Austene's Chelle is guarded but seemingly content with her life, not wanting to change or take a chance, until she begins to open up culminating in a beautiful final moment. Darius' Lank is ambitious and bristles at the unfairness of life. James T. Alfred as Sly is as smooth as his suit, and easily charms both siblings. Jamecia Bennett is a hoot as the flamboyant Bunny, and Elizabeth Efteland is appropriately enigmatic as the mysterious stranger who's obviously had a tough life and is looking for more. Under Shirley Jo Finney's direction the five play, argue, and dance well together.

another dancing couple: Bunny and Lank (Jamecia Bennett
and Darius Dotch, photo by Bridget Bennett)

I'm a sucker for period costumes and sets, and the late '60s is one of my favorite eras. This Detroit basement may be about as far away as you can get from the Madison Avenue of Mad Men, but it's super fabulous in its own way. Firstly, Mathew LeFebvre's set is incredibly detailed and lived in, like it was transported in a time capsule from 1967. And while I missed the '60s by a few years, I still reveled in the nostalgic familiarity of the shag carpet, wood paneling, 8-track player, knitted afghan on the couch, and bright clashing colors, not dissimilar to my own basement as a kid. I only wish mine were this cool! Aaron Chvatal's costumes are also super fabulous, from Sly's smooth suits, to Chelle's casual wear and flats, to the dressed-to-the-nines Bunny, bedecked in bright and colorful dresses, with matching fab shoes that I covet, and plenty of bangles. And while part of me wanted to see that basement dance party in all its style, it's nicely hinted at by dancing shadows on the wall (video and sound design by Martin Gwinup, whom I assume is also to be thanked for that fabulous '60s soundtrack).

Penumbra always does top quality work, and often educates me about parts of our history of which I am unaware, like the 1967 Detroit riots. It's one of my favorite things about theater - a chance to be entertained while also learning something new, empathizing with characters, and pondering what it all means and how it relates to the world (black men being killed by cops is sadly not a relic of the past). Detroit '67 continues at St. Paul's Penumbra Theatre through May 17.