"A Midsummer Night's Dream" at Modern Rep

I can't remember when I've had so much fun experiencing Shakespeare. #TCTheater artist Grant Sorenson's new company Modern Rep bills the experience thusly: "Shakespeare's most overdone comedy gets a radical new production that explodes Original Practice all-male casting into something messy, sexy, and very gay. Performed by six dynamic actors, this Midsummer Night's Dream embraces the dark, twisted, and unsettling aspects of Shakespeare's original text, served up in a flamboyant and unexpectedly queer way." Mission accomplished! When you think about it, Midsummer features fairies, ample romantic banter including double entendres, a character named Bottom, an ass, and lots of talk about a hole. It was just begging to be turned into a gay fantasia! And this production delivers in the most clever and joyful way. It's definitely the sexiest Shakespeare I've ever seen, and the gayest Shakespeare I've ever seen, in the best possible way. It's a joyful celebration to begin Pride month that flies in the face of anyone who dares to say that queer people don't deserve all of the fullness and legality of life as a citizen of this country, as a resident of this planet. And as a piece of theater, this Midsummer is so modern and forward-thinking. I don't worry about the state of theater as long as there are artists making inventive, outside-the-box, wholly engaging theater in sweaty little loading docks in the North Loop (continuing through June 20).

"Salomé" at PAIKKA

Who knew there was an Oscar Wilde play that has never been professionally produced in the Twin Cities? Grant Sorenson, that's who. The actor-turned-director (he directed a couple of really great plays in the pre-pan years) moved home last year after receiving his MFA in directing from Boston University. Last fall he created a monthly play reading series called Table/Read, in which the audience doesn't know what play is being read until moments before it begins. And now he is producing and directing Salomé, hopefully the first of many unique and creative theatrical endeavors to come. Because Salomé is not just a play, at least not in the traditional sense of a stage and an audience separated by space and darkness. It's an immersive (but not interactive) experience that literally puts you right at Herod's banquet table. Which is not always a comfortable place to be, but always thoroughly captivating. With a talented eight-person cast performing literally a few feet in front of you and gorgeous 360-degree design, Salomé is not to be missed, especially if you're interested in theater that pushes the boundaries of what we think theater can be. But hurry - there are only three remaining performances and seating is limited.

Reading of "John Proctor is the Villain" by Table/Read at Aster House

I attended the inaugural Table/Read event last August, #TCTheater artist Grant Sorenson's new series in which a group of talented local actors read a play. The fun part is - the play is not announced until literally seconds before the reading begins. Grant has chosen plays that we have not seen here in the Twin Cities before, so it's a great way to be exposed to new plays that may not be produced here, at least anytime soon. And it's so rare that I go to the theater not knowing anything about what I'm about to see, even the title, that it's a fun surprise. Table/Read happens monthly, but I'm so busy during the theater season that I typically need my Monday nights off, so I haven't been able to go back until this month, when things are still a little quiet as we come back from holiday break. I picked a good night to attend Table/Read; the play was the buzzy recent Tony-nominated play John Proctor is the Villain by Kimberly Belflower, soon to be adapted into a film. Visit Table/Read's website or follow them on social media for news of February's event. And don't miss Grant directing the first #TCTheater professional production of Oscar Wilde's Salomé in February.

"Only Ugly Guys" by Running Errands at Gremlin Theatre

The "funny, clever, inventive, and very modern" new play Only Ugly Guys, written by up-and-coming #TCTheater artist Kurt Engh, is back for another round. But this is no mere remount, it's an expansion and rewrite of what he calls an "anti-romcom" about four young gay men. The version staged at Open Eye Theater last summer as part of their Guest Artist Series was 90 minutes long and used projections of videos, texts, and social media. This new version (with two of the four original cast members returning) is about two and a half hours including intermission, staged on the thrust stage at Gremlin Theatre. So there's 30-40 additional minutes of story, with a new structure and style as well. It's the same four characters and similar relationships and story, but told in a fresh new way. And it's still "funny, clever, inventive, and very modern," continuing through September 27.

Reading of "The Antipodes" by Table/Read at PAIKKA

After two years at Boston University earning his MFA in Directing, #TCTheater artist Grant Sorenson is back in town and jumping right in making good things. He has plans for a new theater company (which will hopefully continue the great and interesting work of Arrow Theater), but for now, Grant has introduced a new and exciting monthly theater event - one-night-only readings of new plays, fittingly called Table/Read. That in itself is a really cool idea, but what makes this series truly unique is that the name of the play is not announced until the moment the reading begins. We always go into the theater knowing something about the work, even if it's just the title and playwright. But often the promotional materials, social media, and/or the program have information on what the play is about - a short plot summary, character descriptions, or even just the location and time period of the story. It's extremely rare to watch a performance and know absolutely nothing about what's going to happen. And that's exciting! The first monthly Table/Read did not disappoint, with an excellent choice of play read by a powerhouse cast of nine of #TCTheater's best actors that gave fully realized performances despite having just one zoom rehearsal. And it was preceded by drinks and conversation in the lovely courtyard outside PAIKKA, an event space in Vandalia Towers. But I won't get too attached to that; each reading will take place at a different non-traditional space. Follow Table/Read on Instagram or watch their website for details on the next monthly reading. And for artists - check out the artist nights, intended to be a place where artists can connect.

"Only Ugly Guys" at Open Eye Theatre

After adapting/directing/producing a play last fall that was "unlike anything I've ever seen before" (an adaptation of the Norwegian novel Naive. Super, with a different actor performing the solo play each night), Kurt Engh returns with an original play that once again inventively uses sound, video, and technology to tell a story. In this case, it's the story of four young gay men in a modern rom com that's very funny and engaging, and well performed by this cast of new-to-me young actors. Only Ugly Guys is presented as part of Open Eye Theatre's Guest Artists Series, which has already brought us Madeleine Rowe's charmingly odd solo piece Honey, I'm Home. It's great to see this established theater host the next generation of theater makers on their sweet little stage, and the group of artists behind Only Ugly Guys makes the future of #TCTheater look bright. The short run concludes on June 30.

"Boston Marriage" by Arrow Theater at Maison Bodega

Last night was a perfectly charming evening from start to finish. I attended the first official production from new #TCTheater company Arrow Theater, spearheaded by #TCTheater artist Grant Sorenson who last December independently produced Vincent River, a beautifully devastating play about the aftermath of a horrific hate crime. David Mamet's Boston Marriage is the complete opposite – a light and frothy comedy. The site-specific production is staged in the gorgeous Maison Bodega (run by Bodega Ltd.), in a room as light and airy as a delicate pastry. Free wine was served to the mingling audience dressed as if for a garden party, creating a festive atmosphere. Unfortunately the rest of the small audience short run is sold out, but if these two shows are any indication, Arrow Theater needs to be on your radar. Two such different plays, both beautifully executed by Grant as director and the cast and team.

"Vincent River" at the Crane Theater

I was lucky enough to catch the last performance of the blink-and-you'll-miss it run of the regional premiere of Vincent River by English playwright Philip Ridley, in fact just the second US production. The play was independently produced by multi-talented #TCTheater artist Grant Sorenson, who also directed. You might remember Grant as one of the founding members of 7th House Theater Company, or in performances at various theaters around town. He notes in the program that when he recently re-read this play that he first experienced in college, he felt that he had to make it happen in the Twin Cities. And that's why this is such a great theater town; he called a few friends, secured some donor support, found a venue, rehearsed for a few weeks, and happen it did! Written in 2000, this play about a mother grieving her (unbeknownst to her) gay son murdered in a hate crime is sadly still relevant (see also Uprising Theatre's recent production of The Laramie Project for the 20th anniversary of Matthew Shepard's murder). It's a difficult play to watch, but beautifully and smartly written, and beautifully produced by Grant and his team despite the limitations of time and budget.

"Rhinoceros" by 7th House Theater at A-Mill Artist Lofts

There have been various responses to the new presidency and the current political climate, including Facebook groups, letter writing and calling campaigns, petitions, and a nation-wide women's march. But what do artists do in response to injustice? They make art. Last weekend 7th House Theater opened a short run of what they call a "pop up production" of the 1959 play Rhinoceros, written by Eugene Ionesco as a response to the rise in Fascism in pre-WWII Europe. As company member David Darrow explained before the show, their new original musicals (which they've become known for) take about a year to plan, write, create, and produce, which makes it challenging to stay current. And they're not alone, most theaters plan their seasons months or years in advance, which is often necessary to secure talent and space in this busy theater town. But with this piece, 7th House is presenting "a specific work at a specific time in history." After just ten days of rehearsal, they very intentionally opened on the night of the inauguration, a work presented in what David called "a mostly sort of way." While the staging is minimal and actors have scripts in their hands, Rhinoceros is a work that is wholly entertaining, eerily relevant, and exactly what we need right now. Only three performances remain this weekend - don't miss this hot-off-the-presses, incredibly timely, excellent work from this talented young company.

"The Passage, Or What Comes of Searching in the Dark" by 7th House Theater at the Guthrie Theater

Musical theater is my favorite art form, and new original musicals are my favorite things in the world. I love seeing how music and theater can combine to tell a story in interesting forward-thinking ways. After re-imagining a couple of classic musicals (and one play), newish theater company 7th House Theater has turned to producing new original musicals. The Passage, Or What Comes of Searching in the Dark, is the third such creation to be presented in the Guthrie Theater Studio (now for just $9 per ticket). It's the first one for which company member David Darrow has written music, lyrics, and book (he's previously worked with a co-composer and/or book writer). I've loved all of their work, but this one feels more personal and more modern and forward-thinking than what they've done before. Jonah and the Whale is a folk musical that harkens back to the early 20th Century, The Great Work is almost operatic and classical in feel, but The Passage feels like it's continuing along the trajectory of modern musicals like Next to Normal and Fun Home - an intimate family story told with a small cast and modern inventive staging. And the result is truly something special. I can't help feeling that we're going to lose the incredibly talented artists of 7th House to New York someday (to Broadway's benefit), so we need to relish their work while we still can, and then someday we can proudly say "we knew them when."

Fringe Festival 2016: "Now or Later"

Day: 4

Show: 19

Title: Now or Later

Category: Drama

By: New Epic Theater

Directed by: Joseph Stodola

Location: Southern Theater

Summary: On the night of the presidential election, photos of the would-be president's son surface that could be interpreted as anti-Muslim.

Highlights: The political is personal, and the personal is political. In this play, the political and personal are very closely intertwined as college student John (Grant Sorenson in a compelling performance) struggles with the notoriety of being the son of a politician, soon to be the president. He's sitting in a hotel room (represented with New Epic's usual crisp, clean design - a square drawn on the floor by fluorescent tubes, a bed dressed in shades of gray, matching the wardrobe, white lamps nightstands) with his friend Matt (Ryan Colbert) watching the results roll in. They're visited first by John's father's frustrated staffer Marc (Michael Wieser), then by John's mother (Jennfer Blagen), and finally by John Sr. (Peter Moore). John stands up for himself and his freedom of expression, until he realizes just what lengths his parents will go to. An hour of intense dialogue, weighty and timely topics, clear direction, and five excellent actors you have (or will) see on big and small stages around town. Many Fringe shows are very "fringey" (weird, frantic, edgy, perhaps a little rough around the edges), this one is not. It's high quality drama, right in line with New Epic Theater's two-year trajectory that's been a pleasure to watch.

"Coriolanus" by New Epic Theater at the Lab Theater

Last weekend New Epic Theater opened a strikingly beautiful and devastating production of the 1985 Off-Broadway play The Normal Heart about the early days of the AIDS crisis. This weekend they open part two of their ambitious spring repertory production, Shakespeare's Coriolanus. The two plays share the same terrific eight-person cast, innovative and distinctive director Joseph Stodola,* performance space (the gorgeous and spacious Lab Theater), set, and overall look. Separated in time by about 400 years, The Normal Heart and Coriolanus are in some ways similar and in other ways very different. Both continue the trajectory that this new company has set right out of the gate with visually and emotionally impactful work (see also Doubt and One Arm). After this second opening weekend, the two plays will be performed in rep for the next two weekends, culminating in both shows being performed back-to-back (with a dinner break) on Saturday April 16 (ticket information and performance schedule here). Friends, New Epic Theater is an exciting new addition to our bountiful theater community and I urge you to see one or both of these plays to experience their unique vision.

"The Normal Heart" by New Epic Theater at the Lab Theater

In just their second season as a theater company, New Epic Theater is tackling not one but two challenging and not often performed political plays with The Normal Heart and Coriolanus, performed in rep (something that's also not often done). It's an ambitious undertaking for any theater company, much less a young one. But in this short time New Epic has already established themselves as a company that does striking work, both visually and emotionally (see also Doubt and One Arm). The first half of this pair of plays opened last weekend, a strikingly beautiful and devastating production of the 1985 Off-Broadway play The Normal Heart about the early days of the AIDS crisis. Friends, this is a piece of theater not to be missed. The Normal Heart returns on April 7, but in the meantime you can see the other piece of the puzzle, Shakespeare's Coriolanus, this weekend, as I will be (ticket information and performance schedule here). Director Joseph Stodola* and New Epic Theater have a unique vision, one that deserves to be seen.

"The Great Work" by 7th House Theater at the Guthrie Theater

It could be considered an act of hubris to name a new piece of music-theater The Great Work. But in the case of 7th House Theater's new original musical, their second in two years and just the fifth production in the short life of the company, it's a fitting title. This small and lovely story of an Austrian composer returning home, with his estranged late-in-life daughter in tow, is beautifully and poignantly told in just over an hour through stirring original music and innovative use of movement, props, and set design. A fruitful collaboration between 7th House company members (music and lyrics by the uber-talented David Darrow, book by Grant Sorenson, choreography by Cat Brindisi, directed by all three), the wonderful eight-person ensemble, the gorgeous six-person orchestra (directed by Jason Hansen, who also did the orchestrations), and creative set designer Kate Sutton-Johnson, this truly is a Great Work. I know these next two weeks are busy for many of us, but if you can spare an hour in your schedule to see this show, you will be rewarded (be sure to get your tickets soon before they're gone).

"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.

"Next to Normal" at Yellow Tree Theatre

"I don't need a life that's normal, that's way too far away. But something next to normal would be OK. Yes something next to normal, that's the thing I'd like to try. Close enough to normal to get by." This sentiment is at the heart of the Pulitzer Prize winning musical Next to Normal, which tells the story of a family dealing with mental illness and grief. Despite their issues, which are many, they're bound together by love as they struggle to get through each day. It's a deeply emotional and poignant story, and a universal human one. Even if your life hasn't been affected by mental illness, at its heart the show is really about the struggle to live your life, keep your family together, and be happy even in the midst of tragedy. Perhaps that's why I love it; it's a brilliant example of how the art form of musical theater can do something profound as well as entertaining. Even though this was my 6th time seeing the show (including twice on Broadway, once on tour at the Ordway, and local productions at Mixed Blood and BCT), I've never seen it quite like this. Yellow Tree Theatre chose it as the final show of their 7th season in their cozy space in an Osseo strip mall. The intimacy of the space brings you right into the Goodman family's life in a way that's not possible in a larger theater. The fantastic and well-matched cast brings out every emotion in the Tony winning score, under the direction of Ben McGovern in his Yellow Tree debut. This is the kind of show that's an experience; you don't just watch the show, you're immersed in it and taken on a journey. It's a difficult ride at times, and may leave you feeling emotionally exhausted, but it's a beautiful and rewarding experience.

Next to Normal tells the story of what at first appears to be a "normal" American family, until the cracks begin to show. Diana and her husband Dan married young and started a family. They suffered a great tragedy that triggered Diana's bipolar disorder, which she's been dealing with for years. Everyone in the family suffers in their own way. Dan has to be the strong one as Diana falls apart, and therefore never gets the chance to deal with his own feelings about what happened. Their children, Gabe and Natalie, live in the shadow of the tragedy and are trying to deal with it on top of the normal problems that come with adolescence. Natalie's afraid that she'll follow in her mother's footsteps, and Diana's unable to be the mother that she wants to be. Diana hits rock bottom and undergoes ECT, aka shock therapy. It erases her memories, both the good and the bad, and she struggles to get her life and family back. Eventually they learn that there is no such thing as a "normal" family; all families look different and are dealing with their own unique issues, both big and small. The Goodmans struggle to find a way to get through theirs, and show us just what is possible with love.

Diana and Dan
(Jessica Lind Peterson and Jeremiah Gamble,
photo by Michal Daniel)

Yellow Tree co-founder Jessica Lind Peterson returns to the stage after a couple years absence in the role of Diana. Perhaps she was saving up all her vocal and emotional strength to pour into this intense role, and it worked. Her voice sounds as lovely as always, almost too lovely for this anguished woman, as she portrays Diana's highs and lows, her confusion, despair, loss, and hope. She's well-matched by Jeremiah Gamble as Dan, who gives a strong and heartbreaking performance as the caregiver who finally lets himself fall apart. As Natalie, Libby Anderson is a young powerhouse whom I look forward to seeing more of on stage, with a voice that's strong and clear and a charismatic stage presence. Lucas Wells plays the family's enigmatic son with energy and passion as he climbs around the two-level set. Grant Sorenson brings a sweetness to the role of Natalie's boyfriend Henry that makes this a couple to root for. Andy Frye makes the most of the supporting roles of Diana's doctors, and has a bit of fun with her rock star fantasies. With a small cast musical like this you need a group of actors that work and play well together, and feel like a family. Yellow Tree has accomplished that with this cast.

the cast of Next to Normal (photo by Michal Daniel)

The original Broadway set had three levels, and every production I've seen makes uses of multiple levels in some way. Yellow Tree has adapted this idea well to their small space, with an upper level that spans the back wall of the theater above the small thrust stage. The set is sparse and modern with minimal props or set pieces, just a judiciously used table and chairs (set by Eli Schlatter). There's not a lot of warmth in this home, which suits what the family is going through. The band (directed by Kyle Picha) is barely visible in the back of the stage behind a screen (they had to knock out a wall to make room for it!). And they sound great performing this fantastic score. Have I mentioned this is a rock musical? The driving score powers us through the story and never lets up, although it also has some lovely quiet moments. As several of my companions mentioned, music can take you places emotionally that mere words cannot, and this music beautifully brings out every varied and complicated emotion of the story.

If you haven't yet ventured out to Osseo to visit Yellow Tree Theatre, well, you're just not paying attention. They've always done great work but are really stepping up their game lately as they continue to challenge their audience and bring in top talent from around the Twin Cities. Next season is sure to be a continuation of this trend as they tackle some more intense pieces, including the Tony winning play Clybourne Park, and another one of my favorite musicals, the lovely and inspiring journey of Violet. But first, don't miss this beautifully heartbreaking production of one of the best musicals of this century. Tickets are selling fast but they have added a few performances, so get to the website or call the box office and snatch them up before they're gone!

"Jonah and the Whale" by 7th House Theater at the Guthrie Theater

Friends, the future of Minnesota theater, and perhaps American theater, is here. It can currently be seen in the Guthrie Theater's 9th floor Dowling Studio, where a group of smart, talented, ambitious, dedicated, hard-working young music-theater artists have created a beautiful new original musical, based on the biblical story of Jonah. It's everything I want theater to be - fresh, innovative, delightful, heart-breaking, inspiring, genuine, and epic. This is 7th House Theater's fourth production in less than two years, and they continue to explore new ideas and push the boundaries of what theater can be. They've proven themselves with three low-budget but high-quality productions, and now have the resources of the Guthrie behind them to expand even further in this production. The result is beautiful and breath-taking. If 7th House is the future of theater, we're in good hands.

This Jonah and the Whale is a loose and modernized interpretation of the story of Jonah, set somewhere along the Mississippi River sometime in the last century. Jonah is a well-liked happy man, expecting a child with his beloved wife, and fixing anything that's broken in his small close-knit community, including the town clock. An unspeakable tragedy causes Jonah to run away from his life in search of something - peace, healing, answers, a reason to live. He joins the crew of a riverboat and seems to be making progress, until a storm tosses him overboard. The whale is never explicitly named, but Jonah ends up inside something, where he experiences the culmination of his personal crisis, a revelation, and decides to come home. A simple story really, but profound in its telling.

Jonah with Susan always behind him
(David Darrow and Kendall Anne Thompson,
photo by Heidi Bohnenkamp)

This is a true ensemble piece, with the eight-person ensemble and four-person band (some of whom cross over into the action of the play) taking turns narrating the story and playing various characters in it. At the center of the tale is composer David Darrow, with a heart-breaking and beautifully sung performance as Jonah. Kendall Anne Thompson is his ever-present wife Susan, with a beautiful clear voice that pierces the heart. The rest of the talented ensemble includes Matt Riehle (with a fantastic revival song), Gracie Kay Anderson, Serena Brook, and 7th House company members Cat Brindisi (leading a rousing gospel chorus), Derek Prestly, and Grant Sorenson. Tyler Michaels and Emily King have combined their talents to direct and choreograph this group, and created some really wonderful and innovative movement around the stage.

In just over six months playwright Tyler Mills, along with composer/lyricists* Blake Thomas (a gifted singer/songwriter, check out his music on iTunes) and David Darrow (who gave us a glimpse of his songwriting skills at the Fringe a few years ago) have written what feels like a full and complete musical. The clever, funny, and poignant book has light-hearted homey moments, with plenty of small details added that add color to the characters, as well as intense and personal drama. The score is in the style of "old timey folk/Americana music" (which just happens to be my favorite genre) and includes a gospel chorus, a revival tent song, a bar song, plaintive ballads, and a recurring wordless tune that ties the whole thing together. I'm crossing my fingers that they record a soundtrack; this is music I could listen to endlessly. In addition to the music, there are constant wonderfully inventive sound effects that illuminate the world of Jonah, many created by Mary Fox on various percussive instruments and objects.**

This is definitely the most elaborate set that 7th House has had. The black box theater that is the Dowling Studio is arranged in the frequent proscenium style, with the back of the stage area filled with ladders, barrels, crates, and a moving doorway, creating that early 20th century Americana feel. The simple costumes are also of that Americana dust bowl sort of style, with homespun dresses for the women and worker's coveralls for Jonah (set by Kate Sutton-Johnson, costumes by Mandi Johnson).

Jonah and the Whale is less than 90 minutes long but it feels epic, full and complete and layered, like you've gone on the journey along with Jonah and returned home changed. It's one of those experiences where time stands still and what's happening on stage is the only reality. This is a truly unique and special creation, with so much work and heart put into it by the cast and creative team. It makes my heart glad for the future of theater. I could not be prouder of or happier for the kids at 7th House for their continued success and growth as a company. Go check them out in this show if you can (two shows have been added and limited seats remain), and keep your eye on them in the future.

Jonah (David Darrow, photo by Heidi Bohnenkamp)

*Listen to Blake and David talk about writing the song "Wondering Wandering" on an episode of Twin Cities Song Story, hosted by Mark Sweeney.
**Mary and Blake have experience creating wonderful, whimsical, innovative sounds on Take it With You, their monthly radio show, recorded live in Duluth, which you can listen to here.


This article also appears on Broadway World Minneapolis.

"Little Shop of Horrors" by 7th House Theater Collective at Open Eye Figure Theatre

The great thing about the Twin Cities theater community is that not only can you see big lavish productions at the Orpheum, Ordway, or Guthrie, but you can also see small low-tech productions in odd or tiny spaces that will surprise and delight you every bit as much as those big productions, or even moreso. 7th House Theater Collective's 7-person (7 must be their magic number) stripped-down version of the cult horror movie turned off-Broadway musical Little Shop of Horrors is just such a show. This darkly funny and surprisingly sweet musical about a man-eating plant and the poor schlub who sells his soul to it, featuring a fun doo-wopy score, has long been one of my favorites, but I've never seen it quite like this. This talented young ensemble of seven (with no director to guide them) has put their own creative spin on this classic and created something fresh and fun and original.

If you've never seen Little Shop in any of its incarnations (see also the 1986 movie), here's a brief plot summary. Aspiring botanist Seymour finds a strange and interesting plant and brings it into Mushnik's Flower shop, where he works with Audrey. He soon finds out that the plant, named Audrey II, will only grow if he gives it blood, but in return it makes Seymour's life wonderful - the failing flower shop flourishes, Seymour becomes famous, and most importantly, he thinks it makes him look better in Audrey's eyes. But the dilemma comes when Seymour needs to find more sources of blood to satisfy Audrey II's growing appetite. He's sold his soul to the devil and there's no turning back.

On the tiny stage at Open Eye Figure Theatre, 7th House brings this morbidly hilarious world to life in a delightfully inventive and low-tech way, involving an overhead projector, a plastic shower curtain, a skull, fake blood, and a series of increasingly larger cardboard boxes. The show runs about 90 minutes including a short intermission, which feels exactly the right length. Similar to what Ten Thousand Things does in their productions, they've stripped the show down to its bare essentials to get to the heart of the piece, without any unnecessary fluff.

Company member Grant Sorenson plays Seymour with just the right mix of sweetness, lack of self-confidence, and a growing inner determination to do what he has to do to get what he wants in life, mainly Audrey. As Seymour's love, Maeve Moynihan is pitch-perfect, both in her powerful voice and in her portrayal of Audrey's charming ditziness. I've watched Maeve grow up on local stages; just six years ago she was little Carrie Ingalls in a musical version of Little House on the Prairie at the Guthrie, and now she's all grown up and playing one of the most iconic roles in musical theater. In between she was young Violet in my favorite Theater Latte Da show Violet (when I referred to her as "teenage wonder"), and Dorothy in The Wizard of Oz at the Children's Theatre (at which time I said "I only hope that after she becomes a big Broadway star she comes home every now and then to grace us with her talent"). It's a thrill to see her back on stage playing an adult, and I look forward to seeing what her bright future holds. Grant and Maeve make for a completely adorable Seymour and Audrey, and if you don't get chills at the end of "Suddenly Seymour," one of the best musical theater love songs ever written, you probably don't have a soul.

6/7 of the cast of Little Shop of Horrors
(photo by Kelly Nelson)

The other five members of the ensemble play all of the other roles, sometimes at the same time. Gracie Anderson, Liz Hawkinson, and Catherine Noble as the girl group Greek chorus sound fantastic and deliver the campy material the way you need to - with complete conviction. Robert Frost provides most of the musical accompaniment at the piano and serves as Musical Director, as well as occasionally getting in on the action of the show. Company member David Darrow's take on the gleefully maniacal and sadistic dentist, whether abusing poor Audrey, singing to his mother in a Norman Batesian kind of way, or getting high on laughing gas, is a true delight (and oh, by the way, he also plays guitar, trumpet, and percussion). In a clever twist, both Mr. Mushnik and Audrey II are played by the entire ensemble, which is kind of genius and turns what are usually duets into really fun group numbers in "Mushnik and Son" and "Feed Me." Seeing Seymour surrounded by the voice of the plant in several bodies gives it a whole new dimension.

This is only 7th House's third production as a company, after debuting last summer with a groovy production of Hair, followed earlier this year by the smart and sexy Cinephilia. If this group of young talented theater artists who have created a space for their work is not yet on your radar, they should be. Their next show is something that makes me very happy - a musical collaboration between David Darrow and the super talented couple Mary Fox and Blake Thomas*. Blake is one of my favorite musicians and an incredibly talented songwriter, and I got a taste of David's songwriting skills in his Fringe show a few years ago, so the two of them writing and creating together is something I would not miss for the world. Jonah and the Whale will play in the Guthrie's Studio Theater this December. But in the meantime, head to Open Eye to experience this darkly funny and delightfully inventive Little Shop of Horrors (playing through June 29 only).



*Click here to listen to Blake and Mary's radio show, Take it With You, recorded live monthly in Duluth. It's a wonderfully new and fresh take on the old radio variety shows of the past, full of hometown humor, heart, and Blake's original music.


This article also appears on Broadway World Minneapolis.

"Musical Mondays" at Hell's Kitchen, June 2014

Mondays are typically the worst day of the week, but not when it's the first Monday of the month. Because on the first Monday of the month you can end your dreary Monday with a little musical theater cabaret - and what's better than that? Best friends Max Wojtanowicz and Sheena Janson (who chronicled their friendship in their adorable musical Fruit Fly) started this series, called Musical Mondays at Hell's Kitchen, in November of 2012 and it's still going strong. Surprisingly, last night was my first time attending the event. It's everything I love, great musical theater songs performed by some of my favorite musical theater artists, so now that I know the lay of the land, I'm sure I'll be back.

This month's theme was Pride and featured women singing songs usually sung by men, and vice versa, as well as some LGBT-themed songs. Max and Sheena (who are wonderful hosts and a great comedy duo) were joined by their talented friends C Ryan Shipley, Debra Berger, Justine Bergevin, Kasano Mwanza, and Kim Kivens, accompanied by Jerry Rubino on keyboard, Bill Crean on bass, and Bob Beahen on drums. The performers sang solo and in groups, mostly songs from the musical theater canon. Highlights include:

• Kim took part in a couple of hilarious duets - "We're Just Friends" with Ryan and "A Woman's Touch" with Debra. Kim never fails to crack me up, except when she's singing a lovely rendition of my favorite Sweeney Todd song, "Not While I'm Around."
• Kasano gave a couple of powerful performances, including the moving "Not My Father's Son" from Kinky Boots (coming to the Orpehum next summer) and "Fabulous, Baby" from Sister Act, which was in Minneapolis just last week.
• Ryan sang a lovely version of another song typically sung by a woman - "The Music That Makes Me Dance" from Funny Girl, which I did not recognize despite having seen the movie (when is a local theater going to do Funny Girl?!).
• The boys were very entertaining singing "Something Better Than This" from Sweet Charity.
• Debra used this opportunity to sing a beautiful ballad usually sung by a man, "Younger than Springtime" from one of my favorite musical theater scores, South Pacific. And it's just as beautiful when sung by a female voice!
• They all sound great individually, but the group numbers are especially fun, including a gender-reversed "Brotherhood of Man" from How to Succeed, the inspirational "I Know Where I've Been" from Hairspray, and "All Over the World" from one of my recent faves, Xanadu.
• We were treated to a preview of 7th House Theatre Collective's upcoming Little Shop of Horrors. Seymour and Audrey, aka Grant Sorenson and Maeve Moynihan, sang "Suddenly Seymour," with David Darrow on guitar, and it was amazing. Little Shop is playing for just two weekends at the end of June so get your tickets now!
• Three lucky raffle winners walked away with tickets to Little Shop, Skylark Opera's Summer Festival (which this year includes Candide and From Berlin to Broadway), or Minneapolis Musical Theatre's Bloody Bloody Andrew Jackson, opening this weekend. I didn't enter the raffle, because I already have tickets to all three shows.  :)

Next month's Musical Mondays will occur on July 7 and feature previews of musicals that will be in The Minnesota Fringe Festival (which takes place July 31 - August 10). "Like" the Musical Mondays Facebook page to keep up to date on the schedule and performers. If you're a fan of musical theater and/or our plentiful local musical theater talent, you will definitely want to put this one on your schedule. (It's also great people watching - most of the audience are theater people!)

"Cinephilia" by 7th House Theater Collective at the Q.Arma Building

I admit it, I'm not a movie buff. I spend so much time at live theater that I rarely have time to go to a movie theater. And I grew up watching TV, not old movies, so my education in classic cinema is sorely lacking. Not so the characters in the play Cinephilia. They live and breathe movies, and speak to each other in movie quotes like my cousins speak to each other in Friends quotes (or I sometime speak in musical theater quotes). But of course, the play is not about movies. Rather, movies are the language through which playwright Leslye Headland explores the ideas of relationships, sexual politics, friendship, and self identiy. 7th House Theater Collective has chose Cinephilia as it's second production, following last summer's wildly successful production of the American Tribal Love-Rock Musical Hair. As a new theater company, they and the audience are still figuring out who they are and what sort of work they want to do.This is a great choice and continues them on a nice trajectory - the grass-roots hands-on feel of a small theater company, an intimate staging, and a youthful and modern production (yes Hair is set in the 60s, but its themes are timeless). I look forward to seeing where they go next.

Cinephilia unfolds on one night in the Brooklyn apartment of longtime friends and roommates Johnny (Torsten Johnson) and Plato (company member Grant Sorenson). Johnny's on-again-off-again lover (but not "girlfriend") Arden (Miriam Schwartz) wants more from him than he's willing to give, and is upset when he announces his plans to move to L.A. Plato walks into this argument and adds his opinions (and also much humor); it's clear these three have a comfortable, yet sometimes contentious, friendship. The arrival of Johnny's new girlfriend Natalie (company member Cat Brinidisi) complicates the situation further, as more secrets are revealed.

All four characters are cinephiles (and sort of movie snobs), and constantly talk about their favorite movies and directors, sometimes acting out entire scenes. One particularly important movie that seems to bear some resemblance to these characters' lives is Splendor in the Grass (which of course I've never seen but now really want to!). There are so many movie quotes in this play, and not being a movie buff, most of them I didn't recognize. In fact I'm sure many quotes went by that I thought was just original dialogue in the play. I imagine this would be quite a fun play for actual cinephiles, although a knowledge of film history is certainly not necessary to enjoy the play.

Miriam Schwartz and Torsten Johnson
in the cool space in the Q.Arma Building

The production takes place in the Q.Arma Building in NE Minneapolis - a very cool non-traditional theater space. A small corner of the room represents the Brooklyn apartment, with big windows looking out on the dark cold Minnesota night. About 40 folding chairs are set up facing the set; an intimate setting that allows you to get up close and personal with the work. With direction by company member David Darrow, the entire cast is great, so present and committed to their roles. And they need to be; in a small space like this there's nowhere to hide.

I should warn you that there is frank sexual language in the play, but nothing you wouldn't hear on an episode of Girls. In fact it reminded me a bit of the Lena Dunham-penned HBO series, in that it's set in Williamsburg, Brooklyn, features much sex and (semi) nudity, and showcases a group of friends who sometimes don't treat each other very well, but remain friends in spite of this. But the tone of Cinephilia is quite different from Girls. Where Girls is almost absurd and mocking in its comedy, Cinephilia feels more real and grounded. But also like Girls, none of these four characters are very likeable; each of them angered or frustrated me at times. Like many young people in their 20s, they can be pretty self-centered with not much self-awareness. But each has their sympathetic moments too. At one point Johnny says that he feels no one really knows him. Maybe that's because he's always speaking through the voice of movie characters. I'm not sure he even knows himself. Johnny escapes into movies and uses them to keep from becoming too invested in anyone or anything real.

If you love movies, or site-specific intimate theater, or if you want to see a group of smart, young, talented, dedicated theater artists creating a space for their work, you might want to check out this play. But act fast, only five performances remain (Sunday and Monday night, and next Friday, Saturday, Sunday). At just $10 a ticket (email for reservations or just show up), it's a bargain, and a great opportunity to see what the up-and-coming young theater community is up to.