"The Happiest Man on Earth" at Six Points Theater

"Family first, family second, family last. And we are all family." When Six Points Theater programmed the solo play The Happiest Man on Earth, based on a Holocaust survivor's memoir, for their 31st season, they couldn't have known that it would play at a time when Minnesota has shown the entire world the true meaning of these words. We are all family, we are all Minnesotans, and when you come for any of us, you come for all of us, and we will stand up for and protect our neighbors, our family. This 80-year-old story of surviving Nazi Germany has an eerie resonance to what's happening right here, right now. People afraid to leave their houses to go to work or school, citizens and lawful immigrants carrying their papers around as protection, armed government agents abducting people off the streets and imprisoning them in detention centers where they're treated inhumanely. I'm not calling anyone Nazis, they were a special breed of evil, but the parallels are unmistakable to anyone who's looking. We need to remember our past in order not to repeat it, and since there are fewer and fewer people alive who lived through the Holocaust, plays like this are an excellent way to do that. Six Points' regional premiere of The Happiest Man on Earth is a gorgeous and moving production that is at times difficult to watch, but also provides hope that humans can survive unthinkably horrible times, and come out on the other side better and stronger, and choose happiness. Experience this beautiful true story through February 8 only at Six Points Theater in St. Paul's Highland Park neighborhood.

"Just for Us" at Six Points Theater

NYC-based comedian Alex Edelman's comedy special Just for Us, about that time he, a Jewish man, attended a White Nationalist meeting in Queens, won both a Special Tony Award and an Emmy Award (it's available on Max, where I watched it). A comedy show may seem like an odd choice for a theater, but it's really less of a stand-up show than it is a solo storytelling show, like you may see at a fringe festival. And in fact, it debuted at Edinburgh Festival Fringe in 2018. Six Points Theater's Artistic Director Barbara Brooks has inquired about the rights for years, so when they finally became available (after Alex performed it over 500 times), Six Points became the first theater in the country to produce it. And #TCTheater artist Ryan London Levin became the first actor to perform it, other than the playwright. It's a brilliantly written piece (don't just take my word for it - ask the Emmy and Tony voters!), confronting some really ugly parts of our world with humor and honesty. Ryan gives a fantastic performance (you'd never know it was his first solo show), and I really can't imagine anyone else in the role (other than Alex, of course). This show is really funny and engaging, using laughter as a weapon against bigotry and hate. I think the world could use a little more of that. See it at Highland Park Community Center now through November 10.

"Blended Harmony" at the History Theatre, a co-production with Theater Mu

Wrapping up an excellent season of world premieres, the History Theatre is bringing us another gem of a local story - Blended Harmony: The Kim Loo Sisters, a co-production with Theater Mu. If you've never heard of this Chinese-Polish-American family of singers from Minneapolis, well, you have now! Referred to at the time as "the Chinese Andrews Sisters," they toured the Vaudeville circuit before making their Broadway debut in the late '30s. That's where this story picks up, and we follow them through the next several years, through conflicts, touring, and reunion. It's a heart-warming story of family and identity, told with a fabulous swing era score, with touches of Chinese and Polish sounds as well. See this original, historical, feel-good musical now through May 26.

"The Moneylender's Daughter" at Six Points Theater

Shakespeare's The Merchant of Venice can be problematic, with its ant-Semitic representation of the greedy Jewish moneylender, yet it also contains the famous "Hath not a Jew eyes... if you prick us, do we not bleed" speech that argues for a shared humanity. In a post-show discussion, Six Points Theater's Artistic Director Barbara Brooks noted that she's interested in depicting the character of Shylock onstage, and how it might be different at a theater that specializes in telling Jewish stories. But since their home stage at Highland Park Community Center is small, they can't really do a large-scale Shakespeare play, so instead they're presenting the world premiere of Brooklyn-based playwright Martin Coren's sequel The Moneylender's Daughter. I've only seen The Merchant of Venice once, pre-blog in 2007 (more on that later), so I'm not that familiar with it and pretty much viewed this as a standalone play. If you do have familiarity with the original it might have a deeper meaning, but I still found it to be a fascinating and moving play dealing with issues of identity, family, and the anti-Semitism that unfortunately is still very much a part of our world.

"Uncle Philip's Coat" at Six Points Theater

The day before Halloween at my chosen place of worship, the sermon was about ghosts. And that maybe ghosts aren't the spooky thing we think about this time of the year, but the spirit of our ancestors that we carry with us by remembering them. A few hours later this theme came up again in Six Points Theater's production of Uncle Philip's Coat. In this engrossing and engaging solo play, #TCTheater veteran J.C. Cutler portrays the playwright Matty Selman as well as his ancestors in a story of family and identity and the ghosts that are carried in an old ragged coat, full of stories and history.

"The People's Violin" by Six Points Theater (formerly known as Minnesota Jewish Theatre Company)

The only play I saw live and in person in the last ten months of 2020 was Minnesota Jewish Theatre Company's 25 Questions for a Jewish Mother, performed outdoors at various locations. They produced another outdoor play this summer, A Pickle, as well as multiple virtual offerings over the last year and a half. I can't tell you how much creative theater offerings like this kept be going through the very long intermission from live performance, and I'm thrilled that we're finally returning (with the help of vaccines and masks). Minnesota Jewish Theatre Company marks their return to their Highland Park space with a new production, The People's Violin, and a new name - Six Points Theater (watch a video about the name change here). But what hasn't changed is the thought-provoking, meaningful, entertaining, high quality work that they do, exploring Jewish culture and identity, with relevance to the world at large. The People's Violin is another such play.

"The Cradle Will Rock" by Frank Theatre at Gremlin Theatre

"When the wind blows, the cradle will rock." This sweet and innocent lullaby takes on a whole new meaning in Frank Theatre's production of the 1937 musical The Cradle Will Rock. Don't feel bad if you've never heard of it; I hadn't either, and really had no idea what I was getting myself into when I went to see it at Gremlin Theatre last weekend. For a piece that was so revolutionary at the time (the original production was shut down due to its pro-union stance and skewering of the power structure), it's still extraordinarily relevant. It feels like it could have been written in 2019. As usual, director Wendy Knox and her cast and creative team have created a manifestation of the written play that is incredibly detailed, thoughtful, consistent, and true to the message. And better yet, they do it in 90 minutes with no intermission. In the past I've had problems staying engaged for over three hours at a Frank show; no matter how good the play is, that's both a physical and a mental challenge for me. But 90 minutes seems the perfect length for this sort of thing. They fully but succinctly tell the story in an incredibly effective way, without the premise wearing thin or any redundancies. It's truly a rousing and gripping piece of theater (with music!) that will stay with you long after you leave the theater.

"An Enemy of the People" at the Guthrie Theater

Whistle blowers. Leaking confidential information to the press. A scientist who isn't believed. A politician covering the scientific truth with an invented truth of his own. An Enemy of the People feels like a ripped from the headlines play, but in reality it's a 130-year-old Norwegian play, although with a new adaptation that has been updated for the Guthrie's production, allowing for the inclusion of timely phrases like "alternative facts." But the core of the story is the same: science vs. politics, truth vs. fabrication. In a gripping 90 minutes, the story unfolds and the scientist's life unravels, all while trying to do "the right thing." A fantastic cast of local and national talent, a gorgeous crisp, clean, Scandinavian design, and timely and relevant themes make for another great night at the Guthrie.

"King Lear" at the Guthrie Theater

King Lear is considered one of Shakespeare's best tragedies, and the title role one of the most challenging roles to play in all of theater. The Guthrie Theater returns to King Lear for the first time in 22 years, and has hired not one but two beloved veterans of the Guthrie and other Twin Cities stages to tackle the role. Nathaniel Fuller and Stephen Yoakam take turns playing the lead and you can see the schedule here, although you really can't go wrong with either one - both are incredibly talented actors. Stephen Yoakam played Lear the night I saw the show, and gave a powerful performance, as did many in the large and talented cast. Combined with the gorgeous overall design of the show, this King Lear is a stunner.

"A Christmas Carol" at the Guthrie Theater

A rich, greedy, selfish old man with no regard for his fellow human beings, especially those that are different from him, that are suffering, that could benefit from a little kindness. Why is it that the story of Ebeneezer Scrooge seems so familiar? It must be because this is my 11th time seeing The Guthrie Theater's gorgeous, lively, and warm-hearted production of A Christmas Carol. And I never tire of seeing it, because Charles Dickens' story of redemption, community, family, and human kindness never gets old. It's a beautiful and necessary thing to be reminded that "what brings us together is greater than what drives us apart." That it's never too late to change, to grow, to become a kinder and more generous person. In today's current environment when there's so much division among us, so much violence and ugliness, A Christmas Carol shows us how good humanity can be.

"The Realistic Joneses" at Park Square Theatre

The Realistic Joneses is an odd little play. But I shouldn't be surprised; the other Will Eno play I've seen (Thom Pain (based on nothing) by Loudmouth Collective) is exceedingly odd. But odd in the best way. The Joneses is a little more, well, realistic, than the one-man show Thom Pain, with an actual plot and characters in conversation with each other. But I still don't understand everything that happened, and sometimes characters say things that don't make sense, and there's no resolution to the problems the characters are facing. But that's OK. I like theater that doesn't tie things up in a neat bow in the end, that's a little unexpected and even jarring. I'm happy to spend 90 minutes or so in this odd and sometimes uncomfortable world populated by odd and sometimes unlikeable people, beautifully brought to life by this fantastic four-person cast.

"The Woman in Black" at Yellow Tree Theatre

The Woman in Black, a two-person play that's another perfect choice for Yellow Tree Theatre's intimate space, is a story-within-a-story. It takes a minute to figure out what's going on and really get into it, but once you do, it doesn't let you go. The story that's being told is a spooky ghost story, beautifully told through the structure of the play, the two marvelous actors, and the extremely effective lighting and sound effects. It's a deliciously chilling experience that had me squirming in my seat!

The play begins when Nathaniel Fuller, one of the aforementioned marvelous actors, both of whom have been acting on stages around town for decades, enters the crowded dusty stage that looks like a cluttered attic, full of old furniture, crates, and boxes. He sits there in awkward silence for several minutes while the audience waits for the action to start. It was in this moment of silence that J.C. Cutler popped up behind me and spoke the first words of the play, scaring the bejeebers out of me (a feeling that was only just beginning). It soon became clear that Nathaniel is playing a man called Arthur Kipps who has decided to work through a traumatic event in his past by writing it down as a play. J.C. is the actor who helps him tell his story. Eventually we get to the meat of the story, with the actor portraying Kipps as he journeys to a remote part of England to close the estate of a recently deceased client. Kipps himself plays all of the other roles in the story, and as the play-within-a-play goes on he gets more and more comfortable in the telling. The two occasionally break out of character to discuss things, or if Kipps is too upset with the subject matter, hinting at the terror to come. It's a clever way to tell the story, on the one hand the characters are sort of outside of it, but on the other hand they're totally immersed in it.

Nathaniel Fuller (photo by Keri Pickett)

And the story they're telling is a spooky one. I won't go into details because the unfolding of it all is too much fun. But suffice it to say it involves an unwed mother, a remote location, a horrible accident, thick mist, and a not very nice ghost. All of it is told in such vivid detail that you can almost see the deserted old house on the island. The lighting and sound design are crucial to the telling of the story. The play goes from full lights to complete blackness, and everything in between, with lights occasionally illuminating areas behind curtains onstage, including a cemetery and a child's bedroom, or flashing to reveal the woman in black herself appearing as if out of nowhere. Sounds seem to come from all directions, whether it's the sound of a horse trotting, or the house creaking, or a woman screaming. Suddenly you're on high alert, starting at every sound in the theater, even if it's just someone rustling in the seat next to you. Add to this two actors who can so easily slip into the skin (and specific accent) of these characters and take you along on their journey, and a director (Jon Cranney) who knows how to put all the pieces together, and you have a thoroughly chilling effect (lighting design by Sue Ellen Berger, sound design by Montana Johnson, and set design by Robin McIntyre).

J.C. Cutler (photo by Keri Pickett)

The Woman in Black is a fine example of the power of storytelling to transport you to another place and time. And scare the crap out of you. I haven't been this scared at the theater since this other spooky ghost story a few years ago. It's kind of fun to be terrified in that good old-fashioned ghost story kind of way, as opposed to the real and scary things in the world today. Head to Yellow Tree Theatre in Osseo for some spooky storytelling at it's finest (playing now through March 8).

"A Christmas Carol" at the Guthrie Theater and Lyric Arts

Charles Dickens' novella A Christmas Carol has become a staple of holiday traditions. It shouldn't be surprising, then, that this classic story can currently be seen on multiple stages* in the Twin Cities. The biggest of these is the Guthrie Theater; this is the 40th year that the Guthrie has produced A Christmas Carol (I have seen one quarter of those productions). I think it's safe to say this is one of their most popular shows every year, with many families incorporating it into their annual traditions. Lyric Arts is also producing the show on their Main Street Stage in Anoka. I was lucky enough to see these two different interpretations of this classic story on back-to-back nights. And while I do have a clear favorite between the two, it's really unfair to compare them too closely. Both are entertaining and creative interpretations of Charles Dickens' heartwarming story about the rich-in-money poor-in-friends businessman who learns through the visitation of four ghosts that it's better to be kind than rich.

The Guthrie Theater

If you've seen the Guthrie's A Christmas Carol in the last few years, it's pretty much the same show. But that's not a bad thing. It's familiar, warm, and comforting, like your favorite holiday dish shared with your family. Joe Chvala returns as director and choreographer, which means there are many fun dance scenes, including one of my favorites - the Fezziwig party scene. Also returning are Mathew J. LeVebre's gorgeous Victorian costumes, Walt Spangler's elaborate moving set, and lovely renditions of traditional Christmas carols. It all looks and feels like a traditional Victorian Christmas card come to life before your very eyes.

Even though it's basically the same show every year, there are a few tweaks and cast changes to keep it interesting. One of my friends asked me what's new with the show this year, and I responded: Tyler Michaels. The My Fair Lady scene stealer makes his Christmas Carol debut in a few small but fun roles. Joel Liestman is also a newcomer to the show as the Ghost of Christmas Present, with a big booming voice both laughing and singing. Making their welcome Guthrie debuts are the charismatic Bear Brummel as Scrooge's nephew and an appealing Zach Keenan as young Scrooge. Peggy O'Connell returns to the show after a long absence as Mrs. Fezziwig, with an impish grin and sprightly spirit. Most of the rest of the cast will be familiar to those of us who've seen the show recently, which is actually a very good thing. I love seeing this beloved stage filled with so many familiar and beloved faces. There's J.C Cutler as Scrooge, making a delightful and believable transformation from grumpy to giddy; Kris L. Nelson as his beleaguered clerk Bob Cratchit, who still manages to find interesting and surprising moments after many years of playing the role; Virginia S. Burke as his devoted wife and mother to a passel of children; Angela Timberman, hilarious as ever as the drunken Merriweather; Jay Albright hamming it up in the best possible way as Mr. Fezziwig; and Tracey Maloney floating across the stage in a swirl of skirts as the Ghost of Christmas Past. This is the first time I recall young Marley and ghost Marley being played by the same actor, which is kind of genius, especially when you have a versatile actor like Robert O. Berdahl who can play the creepy ghost version as well as the living but still disagreeable version. The rest of the big Guthrie stage is filled with children and adults in all kinds of roles, over 40 people passing through that stage - so much going on and so much fun to watch.

After 40 years, the Guthrie has A Christmas Carol down to a science, with many intricate pieces - sets, costumes, music, dance, and story - all working together flawlessly. In short, if this doesn't warm the cockles of your heart, then you really are a Scrooge. It's truly the feel-goodiest of feel-good shows, and who doesn't need that at this busy and stressful time of year? Head to the big blue building on the Mississippi between now and December 28 to experience this holiday goodness.

Lyric Arts

Unlike the Guthrie, Lyric Arts does not have a 40-year tradition of producing A Christmas Carol, but this year is producing a steampunk version of the classic. What is steampunk you might ask? It seems to involve a lot of gears and machinery and clockwork. And it makes for a darker, grittier, more sinister Dickensian world (although with some silly humorous moments that don't quite match the overall tone). Working from an adaptation by Michael Wilson that focuses more on the ghost aspect of the story, director Daniel Ellis and his team have created a version of A Christmas Carol that's spooky, wacky, and fun to look at, but not as warm-hearted as other versions.

There are some familiar things about this version, including a crotchety Ebeneezer Scrooge (an effective Richard Brandt) and a chorus of children, although they're a little dirtier and more ragged in this version. The Ghosts of Christmas Past, Present, and Future are played by the same actors as play people Scrooge encounters in his waking life, people who owe him money, which makes the ghostly visitations seem more like a dream (like Dorothy dreaming that the farmhands are the Scarecrow, the Tin Man, and the Cowardly Lion). The ghosts all have elements of steampunk, particularly the Ghost of Christmas Past - a life-size windup mechanical doll (Christy Nix does a great job with the mechanical movements). The steampunk element is also brought in with the silent chorus of three women and a man in top hat who dance across the stage in a mechanical robot sort of way (choreography by Hannah Weinberg). The set and costumes are really quite cool and pull off the steampunk look in a way that's fun and interesting to look at (set by Sadie Ward and costumes by Stephanie Mueller).

Lyric Arts' A Christmas Carol is a little bizarre and unexpected, especially seen right after the Guthrie's familiar version. It feels a little like that nightmare you might have from a bit of undigested beef or uncooked potato. But the steampunk ghost angle is an interesting one, and this story is so rich there's room for many versions (playing weekends through December 21).

So there you have it - two very different versions of this beloved classic story. One traditional and heart-warming, the other new and steampunk. Take your pick.


*In addition to the above two productions, versions of A Christmas Carol can also be seen at East Ridge High School in Woodbury and Chaska High School. If you know of any other local productions, please comment below.


This article also appears on Broadway World Minneapolis.

"Cyrano" at Park Square Theatre

The story of Cyrano de Bergerac is one everyone knows, even if you haven't seen one of the many dramatic interpretations of this 17th Century French poet's life. Despite being familiar with the story (Cyrano is in love with Roxane but fears that she could never love him back because of his unusually large nose, so he agrees to supply the poetic words of love to the handsome Christian that cause Roxane to fall in love with him), I hadn't seen the play before last year (although I have seen the 1987 Steve Martin/Daryl Hannah flick Roxanne, if that counts). Bradley Greenwald's musicalized translation of the original late 19th Century play, presented as part of Theater Latte Da's new work initiative last year, was my first exposure to the full story. Park Square Theatre is currently presenting another new-ish translation by Michael Hollinger, and with a fantastic cast, impressive set, and "immediate, rhythmic, and lively" language (as the playwright himself notes in the program), it's a wonderful interpretation of this story that is a great mix of comedy and tragedy.

There's a feeling of a-play-within-a-play as actors wander on stage before the show begins and start prepping, dressing, and adjusting wigs. The character of Le Bret (Shawn Hamilton) functions as a sort of narrator, setting the stage and introducing characters. Cyrano (J.C. Cutler) and Christian (Sam Bardwell) are soldiers in the same regiment, the former known for his skill with words and the sword, and the latter a bit of an unknown as newcomer to the regiment. Cyrano is in love with his beautiful cousin Roxane (Emily Gunyou Halaas), so when she tells him that she loves the handsome Christian, he agrees to look out for him. Unbeknownst to Roxane, he also agrees to write letters to her from Christian, who is not blessed with the gift of poetry as Cyrano is. Roxane continues to fall in love with Christian through his (Cyrano's) letters, culminating in a lovely balcony scene reminiscent of Romeo and Juliet. The second act sees Cyrano and Christian going off to war, with Roxane in pursuit, unable to be parted from her love. When she tells Christian that she loves him for his soul, and would love him even if he were ugly, he realizes that it's Cyrano she truly loves, not him. It's a tragically bittersweet ending, as truths are revealed too late.    

Roxane and Cyrano
(Emily Gunyou Halaas and J.C. Cutler)

There are many reasons to see this show, but the number one reason is J.C. Cutler's beautiful and nuanced performance as the titular hero. His impressive talent (see also last season's Red) is a perfect fit for Cyrano; he's everything you want Cyrano to be. His voice is loud and commanding or soft and gentle, he's smart and witty, an ace swordsman, and speaks entrancing words of love. It's easy to see why Roxane falls in love with him, albeit unknowingly. The always great Emily Gunyou Halaas is a Roxane worthy of his affections, smart and spirited. Sam Bardwell is perfectly charming as Christian; even though he may not be able to put words together very well, there are still plenty of reasons to love him, and you almost wish that Roxane could see and love him for who he really is.

This wonderful cast of nine seems much larger, as everyone except for J.C. plays multiple roles, quickly coming and going from the stage with dizzying speed. Of special note are Jon Andrew Hegge and Craig Johnson who each create such different characters they're almost unrecognizable from one to the other, with fast and fantastic costume changes happening backstage. Jon transforms from the town drunk to the kindly nun, and Craig from the theater owner to Roxane's over-protective and fluttery pastry-loving nurse, and several characters in between.

When the director is also a choreographer as Joe Chvala is, you know that movement is going to be an interesting and integral part of the show, as it is here. One example is Cyrano's famous battle against 100 thugs, which is a delight to watch (with fight choreography by Annie Enneking). The period costumes (by Matthew J. LeFebvre) are gorgeous, from Roxane's flouncy dresses to the men in tall boots and capes. The set (by Robin McIntyre) is dominated by two large set pieces with stairs and a balconies that move and turn to create different shapes and spaces on stage. Lastly, there are also a few musical interludes that feel organic and are quite fun and lovely.

Cyrano is many things in one play - great comedy, a tragically beautiful love story, sword fights and epic battles, and beautifully poetic language. This impressive production is playing at Park Square Theatre now through April 6.

"A Christmas Carol" at the Guthrie Theater

You can always count on the Guthrie's annual production of A Christmas Carol* for perfectly satisfactory holiday entertainment. Charles Dickens' 1843 novella is such a classic story of gratitude, forgiveness, and appreciation for one's life and the people in it, that no matter how many times I see it, it never gets old. This is my ninth year in a row attending A Christmas Carol at the Guthrie, and while the core story is always the same, there are enough changes from year to year to keep me interested. Whether it's a new adaptation (by Crispin Whittel, which the Guthrie began using in 2010), new direction (this year by Joe Chvala of Flying Foot Forum, bringing his signature style of motion to the dance numbers and the way characters move around the stage), or new actors playing familiar roles (more on that later), every year brings a slight twist to a familiar and beloved story.

I spent some time this morning looking through my nine (and counting) scrapbooks full of ticket stubs and playbills, remembering past versions of A Christmas Carol. It was fun to see the revolving cast, with many constants returning year after year along with a few newbies every year. About two-thirds of last year's cast returns, with notable newcomers including Chanhassen fave Jay Albright (applying his entertainingly expressive face to the diverse roles of the jolly Mr. Fezziwig and the somber priest at the graveyard), the newly crowned Ivey Award-winner Hugh Kennedy (charming and natural as usual in the role of nephew Fred), and yet another graduate of the U of M/Guthrie program Paris Hunter Paul as young Scrooge. J.C. Cutler returns as Scrooge after his magnificent performance as artist Mark Rothko in Red at Park Square, his performance even more poignant and delightful than last year. Kris L. Nelson returns for the third year as Scrooge's hard-working clerk Cratchit, a likeable fellow who is eventually rewarded for his loyalty to the old Mr. Scrooge. Also returning for the third year is Angela Timbermann as Scrooge's housekeeper Merriweather, once again stealing scenes with her singing, drinking, and general disdain for everything. Returning ghosts include Tracey Maloney as the lovely but sad past, and Robert Berdahl as the merry present that turns much darker (also appearing as the boy Scrooge's literary friend Ali Baba and old Scrooge's fellow stingy businessman). But the award for longest tenure with the show has to go to Suzanne Warmanen as Mrs. Fezziwig. She has played the role in all but one of the nine productions I've see (I guess she was busy in 2009?), and who knows how many years before that. She's got the role down pat, but continues to make it fresh and funny. Rounding out the cast are countless children and adults playing "rich men, poor men, carolers, Fezziwig guests, villagers, Londoners, and Morris dancers." The children are especially impressive as always, including the little darling playing the all important role of Tiny Tim, singing a beautifully clear and high carol so slowly and patiently while standing all alone on stage. Judging by these kids, the future of Twin Cities theater continues to look bright.

My favorite scene in A Christmas Carol is always the Fezziwig party, or rather parties, as we see young Scrooge change over several years at the annual event held by his generous employer. Filled with music, dancing, food, and lots and lots of people, it always looks like the most wonderful party you've never been to. The dancing (choreographed by director Joe Chvala) is delightful, and everyone joins in. But this show is not all fun and games; the special effects involving the forlorn future shown to Scrooge are pretty creepy. Which makes the final transformation all the more satisfying. And it goes without saying that the sets and costumes are a feast for the eyes.

If you've never seen the Guthrie's production of A Christmas Carol, it really is something you must experience at least once. And if the last time you saw it was prior to 2010 when they started using the darker, sharper, funnier adaptation with completely new sets, you'll probably want to see it again to see how much it's changed. Finally, if you're like me and you see it every year, rest assured that this year's production does not disappoint. Playing now through December 29.

*I received two complementary tickets to A Christmas Carol as part of Blogger Night at the Guthrie.

"Red" at Park Square Theatre

Red is my kind of play. More about character and ideas than plot or action, it's a feast for the ears and the mind. And the eye, with replicas of the main character's (Russian-American abstract expressionist painter Mark Rothko) murals on display on the stage. It's the kind of play that makes me want to run home and research the subject to learn more about it, and hopefully one day visit a museum where Rothko's work is displayed. I must admit, I've never heard of him before; I don't know much about art. Which is another thing this play makes me wish - that I had taken more than just that one art class in college. This play is about art, expression, and creation, but it's also about the more global themes of loss, death, and relationships. It's just a fantastic play (written by John Logan, who's written screenplays for several movies including Gladiator and Hugo). The Tony voters agree with me; Red won six Tonys in 2010, including best play. But I have a hard time imagining that it was any better than the production currently playing at Park Square Theatre. It's a definite must-see.

Red takes place in the late 1950s, when Rothko was painting a series of murals on commission for the Four Seasons restaurant in New York's brand new Seagram Building (where people like Don Draper would dine). In this fictionalized account, Rothko hires an assistant named Ken. Ken is also an artist, although Rothko never treats him as such. He's an employee, there to do what he's told and not offer an opinion. Their relationship develops over time as they work together from nine to five, five days a week. Ken begins to challenge Rothko about his work, his ideas, and his lifestyle. Rothko eventually decides to turn down the commission, return the cash advance, and keep the paintings (they now hang in the Tate Modern in London, the Kawamura Memorial Museum in Japan, and the National Gallery in DC). He releases Ken do his own work and live his own life, while Rothko continues his solitary pursuit of art.

I can't say enough about this cast. These are two intense, deep, layered characters, and J.C. Cutler (Rothko) and Steven Lee Johnson (Ken) bring out all of those layers. They also have a great chemistry together as teacher/student, employer/employee, friends, and adversaries. I've seen J.C. several times and he's always great, but this is truly a standout performance. Steven is a still a student in the U of M/Guthrie BFA program, but he's already a fantastic actor. He was wonderful in Theater Latte Da's Beautiful Thing this spring, and very much holds his own against the veteran actor in this production.

The Park Square Theatre stage has been converted into a well lived-in and worked-in artist's studio, with paints and canvases tucked in every corner (the set was designed by Lance Brockman, with scenic assistant Anne Henly painting the Rothko replicas and instructing the actors in the act of painting). The characters spend the first two scenes in this one-act play talking about painting and mixing paint, building the tension so that you're just itching to see that paint hit the canvas. And when it does, it's a beautiful release. Classical music (and a bit of "modern" jazz) provide the soundtrack, seemingly coming from a record player in the corner, and act as another character in the play. Directed by Park Square's Artistic Director Richard Cook, this play is an almost visceral experience, with art, music, ideas, words, appealing to all of the senses.

I don't often tell you what to see, preferring to share my thoughts and let you decide if it interests you. But I'm telling you, go see this play. One of the best new plays, two amazing performances, lofty ideas, intense emotions, an interesting set filled with huge canvases, what more can you ask for? At a relatively brief 90 minutes with no intermission, it's well worth your time. Here are a few of the paintings you'll see on stage. Photos do not do them justice. Nor, I assume, do the replicas. Hopefully one day I'll see them in person, yet another example of something I first experienced at the theater.

from Rothko's Seagram Murals

from Rothko's Seagram Murals

"The Birds" at the Guthrie Theater

My current favorite TV show is AMC's The Walking Dead, about a small group of people trying to survive a zombie apocalypse.  I'm not a fan of zombies or horror in general, but for me the show isn't about the zombies.  It's about this group of people who have to figure out a new way to live in a world where the old rules of civilization no longer serve.  The play The Birds* (based on the original short story by Daphne du Maurier, not the 1963 Hitchcock movie) is the same way.  It's not about the birds (which are never seen, although the sound of them is frightening enough), it's about these people who are trying to survive and have some kind of a life when the world has been taken over by killer birds (crazy idea, isn't it?).  The old rules of life no longer apply; as one character says, "all bets are off."

The play begins in an old farmhouse where Diane and Nat, who met a few days ago on the road as they were trying to get away, have taken shelter.  Nat is ill and Diane nurses him back to health.  They develop a sort of rhythm of going out and scavenging for supplies between bird attacks (every six hours, based on the tides).  An injured young woman named Julie shows up on their door and they take her in, and she becomes part of their group.  They enjoy a certain friendship, but it becomes apparent that they don't really know each other very well.  Can they trust each other?  They notice a reclusive farmer across the lake, but he doesn't seem friendly so they avoid him.  One day when Nat and Julie have gone to town, the farmer visits Diane and asks her to join him so he can "take care of her."  She rejects him and he leaves.  Meanwhile, Nat and Julie have grown closer, which upsets Diane.  She's a writer who is keeping a journal, and we occasionally hear bits of her journal in voiceover, which lets us see into her thoughts a little.  Diane goes to extreme lengths to ensure survival.  What bothers me most about The Walking Dead is that in the face of a zombie apocalypse, the survivors need to band together against the zombies if the human race has any hope of surviving.  Similarly, I wanted everyone in the play to work together; it's the only way they can survive.  But as Diane says, "what's so great about the human race anyway?"  The humans still have to deal with each other, which proves to be the more difficult task.

Diane and is really the core of the story; we experience the events through her eyes.  And Angela Timberman is a wonderful grounding force as she takes us through this journey.  She's so good at both comedy (see Annie, where she stole the show as Miss Hannigan) and drama (I still remember her in Third several years ago, which is one of those plays that has stuck with me); she definitely uses her drama chops here.  J.C. Cutler, last year's Scrooge, is her equal as Nat.  Summer Hagen also give a fine performance as the seemingly sweet but can-you-really-trust-her Julie.  Last but not least, Stephen Yoakam (magnificent in last summer's Burial at Thebes) makes a short but very memorable and creepy appearance as the farmer.

This was perhaps the most detailed set I've ever seen (designed by Guthrie newbie Wilson Chin).  When I walked into the Guthrie Studio Theater, I wanted to climb right up on the stage and explore the house.  Every corner was crammed with old photos and knick-knacks, children's artwork hung on the walls of the kitchen, and the walls were faded and dingy.  It not only looks lived in, it looks as if it's been lived in for a hundred years.  The play is performed with no intermission which I think was a smart choice.  With a story this intense and close, you don't want to let the audience out to walk around and breathe, but rather keep them feeling trapped along with the characters.

The Birds is playing now through April 8.  Check it out for a good old-fashioned thrill.  You might also come out of the show thinking about just what you would do to survive in a world where killer birds or zombies (or any number of natural disasters) have reduced the world to a dangerous, scary place.

*I received two complementary tickets to attend The Birds as part of the Guthrie's "Blogger Night."  And I owe them a big thanks this time because I forgot to RSVP, but when I called the day of the show they were able to get me in.  I love the Guthrie!

"A Christmas Carol" at the Guthrie Theater

The Christmas season has officially begun - we had our first snowfall here in the Twin Cities over the weekend, and I saw the Guthrie's annual production of A Christmas Carol last night.*  And even though the snow might melt shortly, A Christmas Carol continues through the end of the year.  So if you're looking for a way to get into the holiday spirit, this show will do it.  The themes of Charles Dickens' classic tale go beyond any religion or holiday; being kind to everyone, spending time with the people you love, appreciating what you have in life, and sharing with those less fortunate are ideas we can all stand to remember at all times of the year.

This year's show is fairly similar to last year's version, again using the new adaptation by Crispin Whittell and direction by Joe Dowling, with just enough tweaks to make it interesting for return customers.  The fabulous set (by Walt Spangler) is the same as last year, depicting a street scene with shop windows and a revolving centerpiece to reveal the inside of the office of Scrooge and Marley.  For the Fezziwig scenes a huge set of shelves with all kinds of goods rolls out for a backdrop.  There's some pretty amazing engineering going on.  Much of last year's cast returns, with some reshuffling and new blood added.

Highlights include: 

• J.C. Cutler is a very convincing Scrooge, especially in his transformation to the joyful, generous man dancing through the streets sharing his wealth and his love (read this StarTribune article to find out more about our Scrooge).
• Zach Fineblum was equally convincing in the reverse transformation.  From the young open-hearted Scrooge to the miserly old Scrooge, he almost physically transforms before the audience's eyes.
• The fabulous Angela Timberman, aka Miss Hannigan,  reprises her role as Scrooge's boozy maid.
• Kris L. Nelson also reprises his role as the loveable and hard-working family man Cratchit.  It's a family affair again; his brother Lee Mark Nelson plays several characters including Mr. Fezziwig, and his wife Tracey Maloney plays the Ghost of Christmas Past, floating in on feathers and light to remind Scrooge of what he lost.
• Sam Bardwell was a bit of a scene stealer as the dim-witted party guest Topper and young Scrooge's friend (roles he also played last year).
• Other faves include Robert O. Berdahl as the jolly Ghost of Christmas Present, Suzanne Warmanen as the charming Mrs. Fezziwig, and Viriginia S. Burke as Cratchit's hard-working wife.
• Some of the dialogue about the rich vs. the poor sounds oddly current, including the rich man who insists on being called a "job creator."
• This production again features a flock of talented kids, some of whom I recognized and some of whom are new.  What fun to be able to play make-believe in such a realistic way!
• As usual, the dancing at the party is wonderful (movement by Joe Chvala of the Flying Foot Forum).  It's quite a feat just to manage the large cast of people moving in and out, and make it look smooth and natural.

The Guthrie's all around top-notch production of A Christmas Carol is a Christmas card come to life.  A Dickensian Victorian scene complete with dingy children begging on the streets, snow softly falling, a turkey and figgy pudding feast, carolers in bonnets and full skirts, merry dancing, mistletoe, and of course the famous phrase delivered by an adorable sweet-voiced child, "God bless us, everyone!"



*I received two complimentary tickets to this play as part of "Blogger Night at the Guthrie."  Very nice seats in the front row of the balcony, center stage, which provided a very nice overhead view of all the action on stage.

"Arms and the Man" at the Guthrie Theater

My season ticket for the proscenium theater at the Guthrie (the rectangular, red one) is in the front row.  Those are the cheap seats, under the theory that they're "too close."  But in my book, there is no "too close" at the theater.  I like to be close enough to be in danger of being spat upon (which was a definite danger at this performance!).  I like to be able to see the expressions on the actors' faces, and I feel more immersed in the world the closer I am, with no distractions between me and the stage.  Depending on the show and the set design, sometimes there's a row or two added in front of me, but not at this show.  The stage for Arms and the Man includes a rounded wooden projection that came out practically into my lap!  The stage ended about three feet in front of me at nose level.  All along the edge of the stage is a row of toy soldiers and old books, so I had to watch the play through the soldiers.  It was a little distracting when the action of the play was at the back of the stage, but I soon got used to it.  Well worth it to be that close to the charming small town Bulgarian estate that was the setting for this play.

George Bernard Shaw's play Arms and the Man is set during the Serbo-Bulgarian war of 1885.  The first of three acts takes place in the bedchamber of the daughter of a prominent Bulgarian family, while her father is off fighting in the war.  Raina's peaceful evening is interrupted when the Serbian soldiers are chased through the town and one of the men, a professional soldier from Switzerland, climbs through the window of her room to escape.  He's weary from battle, and Raina decides to hide him (out of pity or boredom, it's hard to know).  The soldier is played by one of my favorite local actors (and one of my costars from the Coen brothers film A Serious Man), Jim Lichtsheidl.  Jim is brilliant at playing multiple characters, as he did in last fall's 39 Steps, and Tiny Kushner (part of Kushnerfest 2009), just to name a few.  He has this great physicality about him that allows him to completely transform into another character.  This time his only role is that of Captain Bluntschli, and it turns out he's just as wonderful when he's only one person.  The weary captain wants nothing more than food and rest, having eaten all of the chocolate he carries instead of ammunition.  Raina offers him chocolate creams, which he devours, and thereafter refers to him as "my chocolate cream soldier."  She convinces her mother to let him stay, but since he's fallen into a deep sleep on her bed, they couldn't move him anyway!

After a brief intermission (during which the audience is entertained by music and dancing by J.C. Cutler's Nicola, the family servant), Act II takes place a few months later in the garden outside the house.  Father has returned from the war, as has Raina's betrothed, the brave and buffoonish Sergius.  They tell Raina and her mother about a scandalous story of Swiss soldier who was taken in by two women, not realizing that they were talking to those very women!  When Captain Bluntschli arrives to return the coat he borrowed, Raina's mother tries to shoo him off, but not before Father has seen him and asked him to stay for lunch.  In Act III the characters move inside into the library, where it is eventually revealed that Raina and her mother are the ones who hid Captain Bluntschli, and romantic entanglements become untangled.

The strong cast also features the amazing Peter Michael Goetz, veteran of over 80 productions at the Guthrie in addition to his numerous movie and TV roles.  He plays the father/major as a somewhat befuddled man who's not quite sure what's going on in his own house.  Kate Eifrig is the stern and in control woman of the house, trying to hide a secret and ensure a good marriage for her daughter.  Michael Schantz (a Guthrie newcomer) is terrifically over-the-top as the "hero" Sergius who's obsessed with the proper appearance of things, even while cheating on his fiance with her maid.  Raina (the delightful and spirited Mariko Nakasone) is right there with him, playing the game, until she realizes that Captain Bluntschli is the one person who sees her as she really is, and therefore she has no need to act the part in from of him.

The set is wonderful and whimsical.  In addition to the toy soldiers mentioned earlier, the snowy mountaintops of Bulgaria surround the main set, of which there are three: Raina's bedchamber with its stately balcony doors through which the soldier arrives, the garden with big purple flowers and a free-hanging second story representing the house, and the library with its tall shelves and animal heads hanging on the walls.  Everything is oversized and utterly charming.  The costumes are to die for.  Raina and her mother wear beautiful gowns (and since I was on shoe level I got a great look at Raina's pretty little low-heeled satin slippers that match her dresses) and the men wear elaborate uniforms, everything trimmed in fur.  Raina has a huge gorgeous fur cloak that I coveted (but of course in faux fur only!).

From the baked mac and cheese at the Level Five Cafe before the show, to Captain Bluntschli's final kiss of Raina's hand, it was a thoroughly enjoyable evening at the Guthrie.  A funny and smart play, wonderful acting, gorgeous set and costumes, what more does one need?