"Macbeth" at Park Square Theatre

Macbeth. There I said it. In addition to being one of Shakespeare's darkest, bloodiest, and most violent plays, Macbeth has also inspired a silly theater superstition in which it's bad luck to say the name in a theater. But it's certainly not bad luck to produce it, also being one of Shakespeare's most popular plays. Wikipedia tells me that "it dramatizes the damaging physical and psychological effects of political ambition on those who seek power for its own sake." Which is something we still see examples of today. While it's not as bloody good fun as I remember the Guthrie's 2010 production being (one of my favorites of that year), Park Square Theatre's Macbeth is intense, intimate, and striking.

Fresh Ink: New Works at Illusion Theater

Every summer, Illusion Theater presents staged readings of new works in a program called "Fresh Ink." This year's selections include Revolving Stage, co-written by and celebrating the life of late Twin Cities actor Phil Kilbourne, and The Gest of Robin Hood, a new musical adaptation of the beloved and familiar tale. After a week or two of workshops with the creators and cast, each has four public performances, followed by discussions in which audience members give feedback on what they've seen, an important part of the new work development process. I was fortunate enough to see both shows, and both are and exciting and promising new works of which I hope to see more in the future.

"For the Loyal" at Illusion Theater

It's a story that is all too familiar. A person in power is found to have molested children, and even worse, the crime has been covered up by others in their organization. Whether that person is a teacher, a priest, or a football coach, it's an unthinkable abuse of the power and trust that the position entails, and we wonder why no one spoke up sooner. All of us like to think that if we witnessed a crime, especially against a child, we would report it to the police no matter the consequences. But would we? What if it's not that simple? What if we didn't have any actual evidence, just suspicions? What if reporting the incident would destroy our lives? Would we take extreme measures to ensure justice is done? Or would we just try to minimize the damage and move on with our lives? Such are the questions posed in the new play For the Loyal by Lee Blessing. There are no easy answers, and I left the play feeling more confused than I was before. But it's a powerful, engaging, thought-provoking exploration of this horrifying and all too familiar situation.

The incident in this play is similar to what unfolded at Penn State a few years ago. At an unnamed University, assistant coach and grad student Toby (Sam Bardwell) finds a naked boy at the home of Coach Carlson (a creepy-charming Garry Geiken), and reports it to Head Coach Hale (Mark Rosenwinkel). Hale tells him not to tell anyone, that he'll take care of it by forcing Carlson to retire, thinking that if he's no longer at the University it's not his problem. Toby is upset and tells his pregnant wife Mia (a strong and sympathetic Anna Sundberg), who wants this man to be punished and prevented from hurting any more children, thinking of her unborn son and a childhood friend. The story takes an unexpected turn, affecting all parties involved. I don't want to say too much and spoil the intriguing way that it all unfolds, but suffice it to say that many angles of this situation are explored, none of them good.

Anna Sundberg, Sam Bardwell, and Garry Geiken
(photo by Aaron Fenster)

The cast does a great job leading us through this difficult story and making us feel the humanity in most of the characters portrayed. In addition to the above named actors, Michael Fell gives several standout performances as various teenage boys involved in the story, all of whom have a different relationship with and reaction to the situation.

This is a fitting project for Illusion Theater, which has actively worked to end sexual abuse of children since the 1970s with the TOUCH program, including creating a play and later a film for children and schools to educate about what's an acceptable touch and what to do when it's not. They're currently raising money to update the film for a new generation. This play falls right in line with their mission, bringing awareness to the issue of sexual abuse of children, but this time the focus is on the responsibility all of us have to be a witness to what's going on around us. For more information about their education programs, see their website.

I couldn't help but be reminded of plays like Doubt, A Parable, which featured a similar situation of if, when, and how to report suspected abuse, and Theatre Pro Rata's recent The Woodsman, which looked at things from the perspective of a recovering child molester. For the Loyal is a powerful play that raises plenty of difficult questions with no easy answers, and effectively puts the audience in the position of "what would you do?" Continuing at Illusion Theater through May 19 (discount tickets available on Goldstar).

"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.

"The Tiger Among Us" by Mu Performing Arts at Mixed Blood Theatre

Sometimes when you go to the theater, a play is just a play. At other times, a play is so much more than just a play, it's a meaningful exploration of ideas or experiences, in which artists speak their truth. Mu Performing Arts' world premiere production of the new play The Tiger Among Us is such a case. Playwright Lauren Yee brings to life one of Minnesota's largest minority cultures, Hmong, through the story of one family. We're introduced to the family through the oldest son, Pao, who sits at the front of the stage and talks directly to the audience. He tells us that Hmong people "have big families and eat a lot." Sounds like just about every culture I've ever heard of!

Family patriarch Thao (Saikong Yang) immigrated to the US from Laos with his wife, eventually ending up in the small central Minnesota town of Perham. Mother May (Sheng Kong, seen in flashbacks and hallucinations) has been gone for years, and Thao is raising his two children by himself on a janitor's salary. Pao (Maxwell Chonk Thao) dropped out of high school to help support the family with a job at the local Panera bread (artistic licence, I'm pretty sure Perham doesn't have a Panera). Lia (Gaosong Vang Heu) is a senior in high school and the star of the volleyball team, being courted by college scouts. She's a typical American teenager, with no more worries than the next big game, until a school project requires her to ask her father about his immigration experience. Thao is out of town on a hunting trip, so Lia does some investigating on her own. As secrets come out, the world she knows slowly begins to fall apart. Meanwhile, Pao is making plans to move to St. Paul where they'll be surrounded by other Hmong people instead of isolated in this small rural community, where they daily face subtle racism (perhaps the worst kind). Thao wants to leave his past behind him and just live his quiet simple life, but he's forced to face his demons. It's a bit of a tragic ending, but yet with hope that the new generation can continue their parents' dream of making a new life for the family.

Maxwell Chonk Thao, Sheng Kong, Saikong Yang,
and Gaosong Vang Heu as the Xiong family

The strong cast includes four Hmong-American actors (who also shared their experiences in the post-show discussion), as well as Claire Bancroft as Lia's cheerful friend and Garry Gieken as several characters, ranging from the friendly neighbor to much more threatening forces. Maxwell is a very appealing actor (see also Into the Woods), and Gaosong is a fresh-faced and exuberant young actor; together they create a believable supportive and bickering sibling relationship. Also good are Saikong as the father struggling to raise his family, and Sheng as a haunting vision in her family's life.

Playing now through February 10, The Tiger Among Us is an interesting, entertaining, and thought-provoking look at the immigrant experience in a typical American family.

"Next Fall" at the Jungle Theater

Next Fall is one of those plays that will make you laugh, cry, and reevaluate what you think about certain issues (which happens to be my favorite kind of play!).  Directed by Joel Sass at the Jungle Theater, Next Fall tells the story of two gay men in a committed relationship whose lives change irreversibly when one of them is involved a freak tragic accident.  The play begins in the waiting room of the hospital, where Luke's friends and family have gathered as he lies unconscious in his hospital bed.  The story of Luke and Adam's relationship is told through flashbacks, which alternate with present-day scenes in the hospital.  Luke and Adam love each other and have made a life together, despite very different worldviews.  Luke is a devout Christian who believes in heaven and hell, while Adam is an atheist who can't understand how Luke can continue to believe despite what his faith has to say about homosexuality.  Somehow Luke is able to reconcile that contradiction, something his Christian friend Brandon can't accept.  But both Adam and Brandon start to rethink their opposing positions when faced with the possible loss of someone important to them.

Luke's southern Christian parents are also there in the waiting room, and neither one knows that Luke is gay and living with Adam.  Luke has always been afraid to tell them, despite Adam's urging to do so.  When it comes time for decisions to be made about Luke's care, his parents are legally responsible, and Adam has no say.  When Adam's relationship with Luke comes to light, there are some tense moments, but in the end, they realize that they all love Luke, and begin to listen to and comfort each other.

OK that sounds really depressing, but there are also quite a few humorous moments as we watch Luke and Adam's relationship unfold through flashbacks.  And Luke's eccentric mother (Maggie Bearmon Pistner) provides many humorous moments as she interacts with the others in the waiting room.  It's a "laugh through your pain" kind of show.

Garry Geiken (whom I saw recently in Latte Da's Song of Extinction) gives a funny and heart-breaking performance as Adam, and Neal Skoy (in his Twin Cities professional stage debut) is quite charming as Luke.  Stephen Yoakam (who was recently named best actor by City Pages for his performance in Who's Afraid of Virginia Woolf at the Jungle last year) allows Luke's father's deep feelings for his son to peek through his tough exterior, and has a wonderfully subtle and believable accent.

Luke is an actor, and his family and friends keep talking about his performance in the play Our Town a few years ago (which fortunately I saw recently at Yellow Tree, so I understood the reference).  The theme of Our Town is that people don't usually appreciate life to its fullest until it's over.  Next Fall has a similar theme.  It's a play about loss and regret, but also about love and togetherness and living the life you want to live.


*A note to my fellow theater-goers.  Please make sure to turn off your cell phone when you enter the theater.  And then double-check to make sure it's off.  And if you don't know how to turn off your cell phone, don't bring it into the theater!  At a crucial moment during the play, someone's cell phone went off, which totally took me out of the moment.  It was very distracting and disappointing.  I wanted to reach for my remote and rewind a few minutes and watch that scene again!  So please, friends, make sure your phones are off!  Thank you.