"The One-Woman Playwright Festival" at Yellow Tree Theatre

For the month of February, Yellow Tree Theatre is bringing us a new play by a local female playwright every weekend in "The One-Woman Playwright Festival." I would love to be able to see every one of these plays, but they're only having two readings of each, and in this busy month of February that just wasn't possible. But I definitely made time to head to Osseo last weekend to support my friend and fellow Twin Cities Theater Blogger Mary Aalgaard from Play Off the Page. She's a playwright, actor, piano teacher, and music director in the Brainerd area (who drives to the Cities to see and review theater - and people think I'm dedicated!). Read on for a little more about her play It's Murder, Dontcha Know, and then check out one (or both) of the final two plays in the series (by #TCTheater artists Jamecia Bennett and Thomasina Petrus, the first play was by George Keller).

"Helen" by Ten Thousand Things at The Capri Theater

Six years after taking over as Artistic Director of Ten Thousand Things from founder Michelle Hensley, Marcela Lorca is directing her final show with the company before moving on. For this, she returns to one of her favorites - Greek tragedy. Specifically, she worked with playwrights John Barton and Kenneth Cavander on their adaptation of Euripides' Helen, a different retelling of the tragedy of the Trojan War than we usually hear. This adaptation, Marcela's direction and choreography, and this uber talented cast make this two thousand year old play feel refreshingly modern and relevant. And don't let the word tragedy fool you; this Helen is full of lightness and humor and music, albeit tinged with tragedy, specifically around the senselessness and destruction of war. My theater blogger friend asked me if this was a must see, and I said - of course it is, it's Ten Thousand Things! Marcela Lorca is concluding her tenure at TTT on a high note, and I look forward to how this uniquely special company created by Michelle Hensley continues into the future. In the meantime, you can see Helen at The Capri Theater, Open Book, United Methodist Church, or various locations around the community through November 10.

"The Spitfire Grill" by Ten Thousand Things at Hennepin Avenue United Methodist Church

Ten Thousand Things musicals are my favorite. When their trademark "All the Lights On" barebones style is applied to a musical, we get a few acoustic instruments accompanying unmiked singers performing a few feet in front of us, and the result is magical. The lovely Americana score and intimate story of the Off-Broadway musical The Spitfire Grill is a perfect choice for this treatment. The only problem with "all the lights on" is that everyone can see when you start to cry at the emotions brought on by the story and the music! But that's OK, they're probably crying too, and it's all part of being human, which is what this show exemplifies so beautifully. A simply stunning cast and simply charming design allow the true heart of this piece to shine, which is what Ten Thousand Things does so well. You can see The Spitfire Grill at Hennepin Avenue United Methodist Church this weekend (an easy-to-get-to location with a large free parking lot) or the following two weekends at The Jungle Theater, with free community performances continuing through June 9.

"Hurricane Diane" by Rough Magic Performance Company at the Center for Performing Arts

This morning when I went for a run, the sun was an unnatural bright pink, a color I'd never seen from the sun before, due to smoke from Canadian wildfires. While it was a stunning display, it was also disturbing. This poor air quality from far away fires happens occasionally in the border state of Minnesota, but it seems to be happening much more often this year, and in places much farther away. Arizona is currently experiencing record heat, and devastating natural disasters like tornadoes and hurricanes seem to be increasing every year. In playwright Madeleine George's play Hurrican Diane (which premiered in 2017 and played Off-Broadway in 2019), the god of wine, vegetation, and fertility, known as Dionysus or Bacchus, witnesses this growing crisis and steps in to attempt to remedy it. How does he do so? By posing as a lesbian landscaper and seducing four suburban New Jersey women to become acolytes. It's a very funny play, well executed by the all-star cast and creative team at Rough Magic Performance Company, but that doesn't make its lesson any less dire. In fact, the audience being seduced by the laughter and ridiculous situations makes the stark reality that human choices and actions are making the planet more and more unlivable for humans even more shocking. Don't miss this beautifully done regional premiere of the timely, hilarious, and terrifying play Hurricane Diane (continuing at Center for Performing Arts through July 30).

"Emilia" by Ten Thousand Things at Open Book

A few months ago, the Guthrie Theater brought us the brilliant new play Born with Teeth, imagining meetings between playwrights Christopher Marlowe and William Shakespeare, and the theory that the two co-wrote some of the history plays attributed to Shakespeare. Now, Ten Thousand Things is taking another look at this subject, from the feminist side. Morgan Lloyd Malcolm's play Emilia premiered at Shakespeare's Globe Theatre in 2018 and explores the life of Emilia Bassano, one of England's first published female poets. The play theorizes that she and Shakespeare were lovers, and that he took some of their conversations and put them into his plays, making her a contributor to the work of Shakespeare. There's lots of discussion about who really wrote the plays we know as Shakespeare (e.g., this article "Was Shakespeare a Woman?" by Elizabeth Winkler, which has been expanded into a book to be released this month). The truth is we'll likely never really know. And that's not what this play is about, anyway. It's about women's voices, women's stories, and why they have been systematically silenced throughout history. Told by an all-female cast, Emilia is the story of a historical woman who would not be silenced, even if it did take a few hundred years for history to recognize her contributions. It's a story that's all too relatable for modern women, and one we can take inspiration from.

"Misery" at Yellow Tree Theatre

If you're looking for an on-stage delicious thriller, that's creepy but also funny at times, and beautifully acted, look no further than Misery currently playing at Yellow Tree Theatre's cozy Osseo theater. Stephen King's 1987 novel was adapted into the popular 1990 movie, for which Kathy Bates won an Oscar. It was adapted into a play (by original screenwriter William Goldman) just ten years ago or so. It's been a long time since I've seen the movie and I don't think I ever read the book, but I knew the general gist of the story. Still, I was delightfully surprised at some of the twists and turns in the play. The tension in Yellow Tree's intimate space is palpable, and the excellent cast and creative team handily take us on this terrifying (but also fun) journey. 

"Pride and Prejudice" at Park Square Theatre

Park Square Theatre recently announced that they're cancelling two planned shows in their 2019-2020 season due to financial challenges. But fortunately, the regional premiere of Kate Hamill's new adaptation of the beloved Jane Austen novel Pride and Prejudice is not one of them. Kate Hamill is a young female playwright who's been adapting several classics with a modern and feminist bent, e.g., Sense and Sensibility, Little Women, and the upcoming Emma, to premiere at the Guthrie next spring. Walking into the theater we're told "this is not your grandmother's Pride and Prejudice," which turned out to be very true. The playwright turns the story into a full-out comedy, performed by an ensemble of just eight actors, many playing multiple roles. While the comedy went a bit too far for my taste in a few places, on the whole it's a fun and delightful new look at a beloved classic.

"Gloria: A Life" at the HERstory Theatre

The History Theatre is continuing their successful spring of bringing us women's stories written by women into their new season. Their first HERstory play of 2019-2020 is Gloria: A Life, a new play (seen Off-Broadway just last fall) in its regional premiere. Friends, this show is more than just theater. It's the celebration of a movement that changed the world, and has a long way yet to go! After the 80-minute first act in which we learn about the history of the Women's Rights movement through the life of Gloria Steinem, the "second act" is a talking circle. In one of the best post-show discussions I've ever experienced, women (and a man or two) in the audience shared their inspiring stories too. I like that they call it the second act of the play, because it really is an important part of Gloria's story, in which the conversation that was started on stage is continued into the audience and into our lives. Gloria: A Life is another educational, entertaining, and inspirational experience from the HERstory Theatre.

"Stinkers" at Jungle Theater

Friends, I had a little rough day yesterday. No specific reason for it, I was just feeling a little crabby. And then I had to drive to Uptown which makes me really crabby, and then I realized I forgot my wallet at home so I had to drive around and find street parking. But nothing turns around a "little rough day" faster than a show at the Jungle. Specifically a comedy at the Jungle. More specifically a world premiere new comedy at the Jungle, about a family of people having their own kind of little rough days. Whether the rough day is due to not getting the cookie they wanted, or trying to find a way to launder the money they embezzled, they get through it together. And live to face the next little rough day. Stinkers is a hilarious and heartfelt comedy about family, relationships, and a pickup with the hiccups.

"The Sins of Sor Juana" by Ten Thousand Things at Open Book

Ten Thousand Things' first post-MH season is in its conclusion, and we can now safety declare that TTT's retired founder and Artistic Director Michelle Hensley has taught us well, and her legacy of accessible, entertaining, engaging, meaningful theater for everyone lives on. From the hilarious Scapin, to the most moving Into the Woods, to the currently playing The Sins of Sor Juana, this season has been classic Ten Thousand Things. That is to say theater in its purest form without distraction, stripping away all the fluff to get to the purest heart of the story, and delivering it directly to the audience in a playful and immediate way. The Sins of Sor Juana is a fictionalized telling of the life of an inspirational woman ahead of her time, 17th Century Mexican poet and scholar Juana Inéz de la Cruz. It's a story that feels so relevant, as girls and women around the world are still denied opportunities for education. Sor Juana is a heroine for today.

"Park and Lake" by Ten Thousand Things at Open Book

Friends, I love Ten Thousand Things. Seeing a Ten Thousand Things show (in their trademark bare-bones All the Lights On style) never fails to make me happy, and often also moves or inspires or thrills me. Their newest creation Park and Lake, an original piece written by playwright in residence Kira Obolensky and the ensemble, is no exception to that. It's a light-hearted, funny, optimistic fairy tale of a story about a community of people working together to make their lives better. It's as sweet and hopeful as it is ridiculous and silly. Under the co-direction of soon to be retired Artistic Director Michelle Hensley and ensemble member Luverne Seifert, with uniquely comic performances by this wonderful cast, Park and Lake is a delightful place to visit for a few hours. In fact I wish I could move there for an extended stay with these charming oddballs!

"Wedding Band" at Penumbra Theatre

I love a good tragic love story, and it doesn't get much more tragic than an interracial couple in 1918 South Carolina. But Penumbra's gorgeous production of the 1966 play Wedding Band by Alice Childress (whose Trouble in Mind was seen at the Guthrie last year) is not just a beautiful, complicated, and ultimately tragic love story. It's also (not unlike Trouble in Mind) a still timely work that speaks to the issues of race, racism, and privilege in ways that feel entirely relevant. With a super talented cast directed by Penumbra's founder Lou Bellamy (who recently passed the Artistic Director baton to his daughter Sarah) and gorgeous design, Wedding Band is a show not to be missed, and my favorite of my five-show weekend.

"Intimate Apparel" by Ten Thousand Things at Minnesota Opera Center

I saw recent two-time Pulitzer Prize winner Lynn Nottage's play Intimate Apparel at the Guthrie almost 12 years ago. I usually don't remember anything about shows that I saw before I started blogging in 2010 (that's why I started blogging, to keep a record of my theater experiences), but I clearly remember loving this play. I even remember the basic plot, although not a lot of details. But what I remember most clearly is that feeling you get when you see a play that really touches you, really gets under your skin, and stays with you - even for 12 years. Last weekend I saw Ten Thousand Things' new production of Intimate Apparel, and now I remember why I love this play so much. It's a beautiful story of a woman discovering her strength through friendships, a failed relationship, and her own sense of self-worth. And as always, Ten Thousand Things brings us the truest version of the story, with little in the way of sets, lighting, or other theater magic to get in the way. Along with beautifully real acting, clear direction, and an intimacy with the story that only the specific TTT "all the lights on" up-close-and-personal style can bring, this Intimate Apparel is one I will remember.

"Dr. Seuss's The Sneetches The Musical" at Children's Theatre Company

Following a long history of work with one of America's most beloved children's authors, Dr. Seuss (they were the first theater in the world to adapt his work for the stage - 1979's The 500 Hats of Bartholomew Cubbins), Children's Theatre Company is currently premiering another world premiere new work based on his timeless and imaginative writing, a musical adaptation of The Sneetches (published as part of The Sneetches and Other Stories in 1953). Although not without his own prejudices, Dr. Seuss wrote a beautiful story about the evils and nonsensicalness of racial discrimination, inspired by antisemitism in the post-WWII era but sadly relevant to many such prejudices throughout history, including the pervasive prejudices of the present time.

"Two Gentlemen of Verona" at Jungle Theater

Welcome to Minnesota theater, Sarah Rasmussen! The Jungle's new Artistic Director begins her first full season this year (the Jungle's season runs January to December rather than September to August) and makes her directing debut this month (as AD, she previously directed the lovely In the Next Room a few years ago). Like the Guthrie's new AD Joseph Haj, Sarah makes her directing debut with an innovative and energetic Shakespeare play that originated at the Oregon Shakespeare Festival. But unlike the Guthrie's Pericles, Sarah's take on Two Gentlemen of Verona features a mostly local cast, and an entirely female cast (well, except for the dog, more on him later). It's an exciting debut that promises good things to come, while maintaining the high quality of productions that the Jungle is known for.

"Henry IV Part I" by Ten Thousand Things at Open Book

Typically, if I heard "Shakespeare's Henry IV Part I," my immediate reaction would be - ugh. Sounds heavy and difficult and confusing and exhausting. But given the Ten Thousand Things treatment, with Michelle Hensley at the helm and an incredibly brilliant cast of eight women, it's anything but. Sure there are still a heck of a lot of characters with weird names, and alliances more difficult to keep straight than the latest season of Survivor, but TTT always breaks things down to get to the truth of the story, characters, and emotions at play. So while maybe I wasn't always clear on who was warring with whom, I was still caught up in the power of the story. And with a cliffhanger ending suitable for any movie franchise, I found myself wondering, when's Part II?

As assistant director Per Janson told us in the traditional pre-show spiel (filling in for Michelle Hensley, who is in San Francisco being named to the YBCA 100, because she's awesome), Henry IV Part I is about King Henry IV of England, who recently took the crown from Richard II. But it's really the story of his son, Prince Hal, and whether he will decide to back his father or join with the rebels who are springing up all over England to remove him from the throne. Michelle notes in the playbill:

The stark choice faced by Prince Hal in this 400-year-old play is actually one still facing many young men today: to become a leader in an often ruthless world of competition, dominance, and conquest - whether in business, politics, sports, or war - or to rebel against it all through a life of thievery, drunkenness, and debauchery. We decided it would be interesting to look at this story through the lens of an all-female cast.

Interesting, indeed. Eight women (some of the Twin Cities' finest actors) play over 20 characters and tell this layered story of conquest, loyalty, rebellion, and the complicated politics of 15th century England. The aforementioned "Ten Thousand Things treatment" means that we watch the play in a small, fully lit room, with minimal sets and costumes, Peter Vitale's evocative and eclectic soundtrack, and none of the usual tricks of the theater to come between cast and audience. We are all a part of this experience, which somehow feels more real and immediate.

I'm not going to bore you with a complicated plot summary, Wikipedia can tell you that. Instead I'll tell you that Michelle Barber reigns over the proceedings as a fierce and indomitable King Henry; recent Ivey-winner Shá Cage is empathetic as the conflicted Prince Hal; Thomasina Petrus is the King's loyal comrade; Anna Sundberg and Austene Van are strong as rebel leaders; Meghan Kreidler, making her TTT debut, plays a number of roles and fits right in with her expressive spirit; George Keller is a very entertaining drunk, among other characters; and Karen Wiese-Thompson is, as always, a comic delight, here as the foolish knight Falstaff, spot-on hilarious in every choice she makes. And may I say, it's such a treat to see these amazingly talented women, without the glamorous make-up, hair, and wardrobe usually associated with the theater, and looking all the more beautiful and strong because of it.

One more thing I need to tell you - there are some really brutal and real-looking fight scenes, sometimes several fights happening at once. It's so real and close that at times I almost feared for the actors' and the audience's safety, except that I know these people are pros. Kudos to fight coach Annie Enneking for her intricate choreography and to the cast for pulling it off.

Go to the Ten Thousand Things website to see a fun and cool trailer for the show and to purchase your tickets. Seating at Open Book is limited so make plans soon!

"Musical Mondays" at Hell's Kitchen, June 2015

Last night was another fun night at Hell's Kitchen in downtown Minneapolis. On the first (or in this case second) Monday of every month, that's where you can find super-talented local theater artists and real life BFFs Max Wojtanowitz and Sheena Janson. They've hosted this monthly cabaret series "Musical Mondays" for almost three years. Each month features songs around a different theme performed by a different cast of amazingly talented singer/actors. Since it's June, this month's theme was Pride, i.e., gender-bending and/or inspirational songs.

This month's cast included George Keller (frequently seen at Ten Thousand Things), Grant Sorenson (Yellow Tree's Henry in Next to Normal), John Jamison (whom I have not seen in anything before), Liz Hawkinson (Julie in BCT's Carousel), and Stephanie Cousins (part of Yellow Tree's Ivey-winning production of The 39 Steps), with musical direction by Nic Delcambre. As usual the evening's program (which you can view in full on Musical Monday's Facebook page) included some familiar musical favorites, as well as many great songs I'd never heard before. Highlights of the evening include:

• The opening group  number set the stage for the evening - "Keep it Gay" from The Producers.
• The boys beautifully sang "At the Ballet" from A Chorus Line, which made me even more excited to see the Ordway's production next year!
• The girls hilariously sang "You're A Man" from The Full Monty.
• Liz Hawkinson made West Side Story's "Maria" sound like it was written for a woman to sing. Just lovely!
• John brought the house down with "When You're Good to Mama" from Chicago.
• Host Max took the mic and proved he is "The Hostess with the Mostess" (from Call Me Madam).
• George won the prize for best costume, changing accessories slightly for each character (something she no doubt learned from Ten Thousand Things). I never realized what a creepy song "Standing on the Corner" was, and her "I Am Adolpho" was ridiculous in the best possible way.
• Stephanie sounded gorgeous on "There But For You Go I" from Brigadoon.
• Grant sang a couple of Kerrigan/Lowdermilk songs - the charming "Stupid Boys" and the fun road trip song "Freedom," a duet with his middle school buddy Liz.
• In addition to leading the band (which also included guitar and percussion) on keyboards, Nic sang a couple of songs, including a lovely arrangement of "You Have To Be Carefully Taught" from South Pacific (which I cannot wait to see at the Guthrie next summer).
• The evening concluded with "Raise You Up/Just Be" from Kinky Boots (tour coming to the Orpheum this summer).

Here's were you can see the cast on stages around the Cities in the coming months:

• George Keller - an all-female production of Henry IV by Ten Thousand Things this fall
• Grant Sorenson - Yellow Tree's beautifully heart-breaking production of Next to Normal is heading to Alexandria's Theatre L'Homme Dieu in July
• John Jamison - The Wizard of Oz at Children's Theater Company this fall/winter
• Liz Hawkinson - Girl Friday Production's biennial production, The Matchmaker at Park Square Theatre in July
• Stephanie Cousins - Old Log Theatre's Best Little Whorehouse in Texas, opening this weekend

Be sure to like the Musical Mondays Facebook page for lots of good info about their schedule, performers, and songs. Next month, an all new and no doubt fabulous cast TBA will sing songs of summer on July 6. Show starts at 7pm, and for just a mere $5 you can be entered into a drawing to win theater tickets. Go see it with all of your musical theater-loving friends. I had a great time sharing the experience with my fellow bloggers at One Girl Two Cities and Minnesota Theater Love - check them out for more local theater coverage.

"The Unsinkable Molly Brown" by Ten Thousand Things at Open Book

No one does musicals like Ten Thousand Things does musicals. And even though it defies everything we know about musical theater, after seeing a TTT musical I think that maybe that's the way musicals should always be done. The music, like everything else about the show, is stripped down to the very basics, extraneous layers removed to reveal the very heart of the matter. A one-man orchestra provides the minimal accompaniment, and the small cast imperceptibly transitions from speaking to singing, so that you can't even tell where songs end and begin, it's just all one seamless story. And above all else, Artistic Director Michelle Hensley and all of the artists at Ten Thousand Things are storytellers. Whether it's Shakespeare or a classic American musical, they share the story in a pure and unadorned way so that all of their audiences, whether prisoners or seasoned theater-goers, can hear it and see themselves in it. One such masterpiece is their latest musical venture, The Unsinkable Molly Brown, a reprise of their very first musical venture 15 years ago. It's lovely, spirited, sweet, funny, moving, heart-warming, and real.

I had never seen the 1960 musical The Unsinkable Molly Brown (with music and lyrics by Meredith Wilson, who also wrote The Music Man, which happens to be TTT's last musical), nor heard any of the music. The only thing I knew about Molly Brown is that she was on the Titanic (remember Kathy Bates in the movie?). But now she's my new hero. Or at least, this fictionalized version of her as played by the indomitable Maggie Chestovich. I'm not sure how much of it is Molly and how much of it is Maggie, but this character has so much spirit, determination, and hope wrapped up in a tiny package. She wants a better life for her and her pa, and she goes out and gets it. From humble beginnings in Missouri, she decides to move to the big city of Denver, stopping at the mining town of Leadville to earn some money as a waitress and singer. There she meets Johnny Brown (Tyson Forbes, tall and lanky with plenty of aw-shucks charm), who eventually woos her with the promise of riches as well as happiness. He delivers on both, but eventually it becomes obvious that they want different things in life. Johnny wants a simple life in Leadville with his friends, while Molly longs for riches and high society. It drives them apart, but Molly is a woman who doesn't stay down for long and always gets what she wants. And after she survives the great disaster, she decides she wants Johnny.

Johnny and Molly Brown (Tyson Forbes and
Maggie Chestovich, photo by Paula Keller)

Maggie and Tyson make a most charming pair in one of the sweetest love stories I've seen in a while (the song "I'll Never Say No" is irresistible). But don't worry, it's not cloyingly sweet, these are two strong people who know what they want and don't always agree, but also love each other. The wonderful leads are backed by a fantastic ensemble who each play multiple characters and are all just a delight in each one. Highlights include H. Adam Harris as the genial bar owner, George Keller as Denver and European royalty, Eric Sharp as Molly's loving father, Austene Van as the friendly princess, Max Wojtanowicz as the nasal butler and charming prince, and the always entertaining Kimberly Richardson as a particularly snooty Denver socialite, who might just be hiding a bit more depth underneath it all. And as always in a TTT production, another character is the sound, even more so in a musical. The one and only Peter Vitale plays a banjo, a toy piano, and everything in between, and manages to create a full and complete soundscape for this world (with occasional support by Max on trombone). Like the music, the choreography (by Kimberly) is also simple and organic to the story, but ever so charming, including a delicious slow-mo fight scene, an intense wrestling scene, and a bit of party dancing.

Perhaps I should mention, for those of you unfamiliar with Ten Thousand Things (seriously, where have you been?), that in addition to paid performances at Open Book and other locations, they routinely tour their shows to prisons, homeless shelters, and community centers in the area. This requires them to travel light, literally and figuratively. Performances are in a small fully lit room with just a few rows of chairs creating a square on the floor where the magic happens. Actors look you in the eye from just a few feet away, or brush past your knees with swaying skirts, creating an intimacy and connection between audience and cast unlike any other. Set pieces are minimal and easily transportable, leading to some wonderfully creative choices. In this case, that means tiny furniture mounted on wavy poles, which the actors adorably lay a finger on to represent sitting. Costumes must also be minimal and easily transitioned between, and for this show range from drab rural clothing, to fashionably black, to European gold, and of course, Molly's red silk dress. (Sets by Stephen Mohring and costumes by Sonya Berlovitz.)

I'm quite certain that The Unsinkable Molly Brown is ruined for me as a musical now. If I ever see the typical full production of it, I might not even recognize it. But if I did, I'm sure it would pale in comparison to this sparsely lovely version that, like all TTT shows, strips away the unnecessary and serves us up a simple, unadorned, beautifully true story. See it for yourself - performances continue through March 8.


This article also appears on Broadway World Minneapolis.

"Boundary Waters" by the History Theatre at Minnesota History Center

Last night I attended the first of four new works being presented by the History Theatre as part of their Raw Stages festival. On a bare stage with just a few chairs and music stands, actors read the play from the script. But with fine accomplished actors such as these, it becomes something more than just a reading, although not a fully staged production. In a reading with no visual stimulation, it's all about the words, and in this case they are beautiful descriptive words that paint a picture of a landscape and the people who inhabit it.

Boundary Waters, written by Carlyle Brown and directed by Marion McClinton, uses a real-life event in Minnesota history as a metaphor for exploring several ideas. George Bonga was a fur trader of African-American and Native American descent living in Northern Minnesota in the 19th century who became a legendary figure. One of his more famous exploits was tracking down and capturing a suspected murderer, an Ojibwe man named Che-ga-wa-skung, who was then sent to trial at Fort Snelling. This event is at the center of the play as we learn how these events changed the two men and bonded them.

The play opens in the late 1860s (post Civil War and US-Dakota War, both of which are referred to), when George Bonga (beautifully voiced by James A. Williams) is being haunted by dreams about the man he once tracked across the frozen Minnesota winter. He tells his wife (George Keller) the story, and the action flashes back to the chase in 1837. After capturing Che-ga-wa-skung (who, thanks to the writing and Jake Waid's talent in bringing him to life, becomes a sympathetic character despite being a murderer), the two have many deep discussions as they try to survive the cold. Che-ga-wa-skung asks Bonga a simple question, "who are you?" Bonga doesn't really have an answer, he's always living on the boundaries, the son of an Ojibwe mother and a black father, and living the "white ways" as a fur trader. Bonga struggles with the question until the two men meet again later in life and continue the discussion. Rounding out the cast are Jon Andrew Hegge as two colleagues of Bonga's, and Michael Terrell Brown in a too small role as Che-ga-wa-skung's brother.

I very much enjoyed the reading of this new play; it's a fascinating exploration of a chapter of Minnesota history I was previously unfamiliar with, as seen through two well-drawn characters. That's not to say my mind didn't wander on occasion during the dense political sections, but for the most part the captivating and descriptive language held my attention and painted the world so well that I could almost see it. The lakes area north of Brainerd is one of my favorite places on the planet, where I've spent many peaceful and contemplative weeks. It's a thrill to hear that place come alive and to learn a bit more about the region's rich and complicated history. Most of all, I love getting a glimpse into the creative process of what it is to have an idea, write a play, and bring it to life. I look forward to the next incarnation of Boundary Waters.

The History Theatre's Raw Stages festival continues at the Minnesota History Center tonight with Debutante Ball (about a Filipino-American Valentine's Day ball), followed by Glensheen (a musical retelling of the murder in the mansion) and Radio Man (a new play by one of my favorite Minnesotans, Garrison Keillor).

"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.