"A Unique Assignment" at History Theatre

Yesterday was a special day at History Theatre. Not only did I learn about an important chapter in American history with which I was previously not very familiar, told in a compelling, well-constructed, beautifully designed and acted play, but the people who lived that history were actually there! That's one of the great things about History Theatre - they make history relevant, tangible, and real in addition to entertaining. A Unique Assignment was written by one of my favorite local playwrights, Harrison David Rivers, based on two auto-biographies: Three Years in Mississippi by James Meredith, the first Black student at the University of Mississippi, for which President Kennedy sent in troops to protect him and keep the peace, and James Meredith and the Ole Miss Riot by Henry Gallagher, a young soldier from Minnesota who was put in charge of Meredith's security detail. This may sound like a dry history lesson, but in the hands of this talented playwright, cast, and creative team, it is anything but. It's an inspiring story that's clearly and succinctly told with much humanity, emotion, and even humor. The message of standing up for equality and justice and against bigotry, hatred, and ignorance is beautifully delivered, and tragically still incredibly relevant in 2024. For these reasons and more, I highly recommend seeing A Unique Assignment at History Theatre in downtown St. Paul before it closes April 7.

"Passage" by Exposed Brick Theatre and Pillsbury House + Theatre

Two theater companies are joining forces to bring us Passage by Christopher Chen, loosely based on the 1924 novel A Passage to India. The central question is: is it possible for two people to be friends when one is a citizen of a colonized country and the other is one of the colonizers? Colonization has been a part of world history for hundreds, even thousands, of years, but awareness and discussion of its injustices has never been at a higher level. This play puts a human face on the sometimes abstract issue, and places the audience squarely in the shoes of both the colonized and the colonizers. For more on how this collaboration between Exposed Brick Theatre and Pillsbury House + Theatre came to be, listen to episode 2.3 of the Twin Cities Theater Bloggers' podcast Twin Cities Theater Chat, in which my blogger friends from Minnesota Theater Love and I interview the co-directors of this piece, longtime friends and synchronized swimming teammates Signe V. Harriday (Pillsbury House's Artistic Director) and Suzy Messerole (co-Artistic Director of Exposed Brick). Then get your tickets and head to "the jewel of South Minneapolis" to see this thought-provoking and engaging play.

"Parks: A Portrait of a Young Artist" at History Theatre

When I saw a reading of the then-titled The Gordon Parks Play Project three years ago, I wrote: "Friends, this is one of those experiences that transcended theater." When the reading is that good, and the playwright is one of #TCTheater's most talented and prolific, Harrison David Rivers, adding in acclaimed director Talvin Wilks, you know the finished product is going to be something special. Parks: A Portrait of a Young Artist, which has finally opened at History Theatre, is just that. Beautifully written, directed, and acted, with evocative images, well-chosen period songs, and an almost constant underscoring of music, Parks traces the origin of photographer, musician, and filmmaker Gordon Parks during his decade or so living in St. Paul as a youth. Once again his great-niece Robin P. Hickman-Winfield, a collaborator on the piece, was in attendance and spoke before the performance I attended, and it's clear that Gordon's legacy of Black artistry lives on in her, the students at Gordon Parks High School in St. Paul, and any other Black youth who picks up a camera, or a paintbrush, or a pen as their weapon against racism and injustice.

"King of the Kosher Grocers" by Stage North at the Capri Theater

New #TCTheater company Stage North (not to be confused with Stage North Theatre Company in Brainerd) makes its debut in the newly remodeled Capri Theater in North Minneapolis with King of the Kosher Grocers. This charming play that is an homage to the neighborhood, first produced by Mixed Blood Theatre in 1992, is a great first production for a company whose mission is "creating vibrant, live experiences that bring people together to tell and celebrate stories of urban life... Our hope is that Stage North will help bring new audiences and new excitement and vitality to the North Side business district and contribute to the neighborhood's continuing growth and expansion" (read the full statement here). Unfortunately, North Minneapolis is a neighborhood known more for its crime and violence than for the community and culture of the people who live there. Of course, theater can't solve all of the problems, but it can shine a light on overlooked people and communities. This play does just that - celebrates the diverse community of people and the vibrant history of this neighborhood.*

"Oh My God!" by Minnesota Jewish Theatre Company at Highland Park Center Theatre

In Minnesota Jewish Theatre Company's 25th Anniversary season, they're bringing us Israeli playwright Anat Gov's O my God!, an imagined therapy session with none other than God himself. As someone who doesn't believe in the God of the Bible, I found it a little hard to connect to, but still an interesting exploration of faith and philosophy. What there's no doubt about is that this excellent three-person cast, under Robert Dorfman's direction, makes the story feel real and grounded, despite the fantastical elements.

"Blood Knot" at Pillsbury House Theatre

Despite being written almost 60 years ago in a country on the other side of the planet, Blood Knot, currently playing at Pillsbury House Theatre, feels very relevant to the here and now. Through the story of two brothers, one dark-skinned and one light enough to pass for white, South African playwright Athol Fugard explores the complex issues of racism and white privilege, before that term was in our collective consciousness. It's remarkable that this play was performed (for one performance only) in Johannesburg in 1961, with it's strong anti-apartheid message. But even in Minnesota in 2019, we still have lessons to learn from it. This is a powerful, intense, and sobering play, beautifully acted by two beloved #TCTheater veterans.

"Under this Roof" by Full Circle Theater at the Guthrie Theater

Currently staging just their third production, Full Circle Theater is new to the #TCTheater scene, but the founding members are certainly not new to the community. Co-Artistic Directors Rick Shiomi and Martha B. Johnson, along with Core Artists Lara Trujillo, James A. Williams, and Stephanie Lein Walseth have combined their experience and talents "to produce heartfelt, groundbreaking theater that artfully addresses issues of diversity and social justice for 21st century audiences." The new play Under this Roof, written by veteran actor of local and national stages Barbara Kingsley, fits well with this mission. It's a simple story of friendship and family, with moments of lyrical beauty mixed with the mundane stuff of everyday life. Directed by Full Circle artist James A. Williams and featuring a solid four-person cast, it's a realistic and ultimately hopeful look at the challenges that life throws at us.

"The Great Divide" at Pillsbury House Theatre

Tension. Authentic. Provocative. Humorous. Hope. Uncomfortable. Despair. Familiar. These were some one-word audience reactions to the performance of Pillsbury House Theatre's collection of new short plays last night, titled The Great Divide: Plays for a Broken Nation. I think we're all aware that the world is not the same as it was a year ago, or even six months ago. Theater is a great way to explore the issues that we're all grappling with, to understand them, to process them, to look for solutions. Pillsbury House jumped right into this by commissioning five local playwrights to write a ten-minute play with the title as their only prompt. The result is a diverse collection of stories and characters that are all of the above things, as well as incredibly relevant, timely, and necessary.

"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.

"Scapegoat" at Pillsbury House Theatre

The new play Scapegoat by local playwright Christina Ham (whose work can be seen on several stages around the Cities this spring) explores a little known part of American history, the Elaine, Arkansas race riot of 1919, which led to the landmark Supreme Court case Moore v. Dempsey. The full story of events (in which hundreds of black sharecroppers were killed by white mobs in response to their attempts to unionize) is tragic, epic, and complicated. Rather than try to tell the whole story, the play focuses on two sharecropper families, one white and one black, and the unspeakably horrible murder that ties them together. The second act takes place in the present time when two interracial couples from New York visit the area while on vacation and are shocked to discover the history, each of them affected in different ways. Similar to Clybourne Park, Scapegoat looks at a racial conflict of the past from the perspective of that time, and also looking back at it from today in our supposedly post-racial society, showing how much things have changed, and how much they haven't.

"George Bonga: Black Voyageur" at the History Theatre

Two years ago the History Theatre presented four new works related to the history of our fair state of Minnesota, as they do every year under the title Raw Stages. The class of 2014 has now all seen full productions, telling Minnesota stories as diverse as a Filipino Debutante's Ball, Minnesota's strangest and most infamous true crime story, a Minnesota boy who grew up to do a little radio show, and a black voyageur in Minnesota's pre-statehood frontier days. These stories are all part of our history as Minnesotans and as Americans, and I appreciate the History Theatre's commitment to developing and producing these Minnesota stories. The last play from the 2014 Raw Stages festival to make it to the big stage is George Bonga: Black Voyageur (previously titled Boundary Waters). It's a fascinating story of friendship, survival, and identity in a world that existed less than 200 years ago, but seems so very far away. Born of an African American father and an Ojibwe mother, George Bonga became a well-known fur trader who straddled the worlds of the Native and White cultures, and was one of the first black men born in what would become Minnesota. The play covers one incident in this man's eventful and historic life, and the implications of that event in his life and the larger community.

"My Children! My Africa!" at Park Square Theatre

As My Children! My Africa! begins to unfold on Park Square Theatre's Andy Boss Thrust Stage, there's a chance this might be a feel-good story about two young people of different race and socioeconomic status becoming friends and bonding over the love of learning. But this is 1985 South Africa at the height of Apartheid. That's not how this story goes. What unfolds instead is a tragic story oppression, rebellion, missed opportunities, lost life, and perseverance through it all. It's a powerful and heavy story, but heart-breakingly beautiful as delivered by this strong three-person cast under the co-direction of Jamil Jude and James A. Williams.

"Akeelah and the Bee" at Children's Theatre Company

Children's Theatre Company opens their 50th season with an adaptation of the 2006 movie Akeelah and the Bee, about an 11-year-old girl from a poor neighborhood who discovers her power and self-worth through competing in Spelling Bees. Written by Cheryl L. West, directed by Charles Randolph-Wright, and featuring a fantastic local cast, the production will travel to Washington DC after its debut at CTC, with the possibility of continuing on after that. But first, we get to enjoy it here in Minnesota. This heart-warming and inspirational story has been brought to life on the CTC stage with energy, warmth, humor, and heart.

We meet Akeelah, who lives with her mother and older brother, soon after the death of her father in a neighborhood shooting. Akeelah's mother is busy trying to make ends meet and doesn't have time for Akeelah's interest in spelling. Reggie is unemployed and tempted by a life of crime to provide for his family, which includes a new baby. A good student, Akeelah is reluctant to participate in the Bee because of the teasing she receives from her classmates, but her love for spelling, a special connection she shared with her dad, wins out. She trains with the curmudgeonly Dr. Larabee and, like all good teacher/student relationships, she teaches him as much as he teaches her. But to win at the national level Akeelah needs the help of her friends and everyone in her community. They all rally behind her, encourage her, and help her train for the Bee. Her success means success for all of them.

my favorite moment of the Bee (photo by Jeff Wheeler)

Newcomer Johanna Easley portrays Akeelah, and she's a natural actor, easily conveying Akeelah's spunk, sadness, and determination to succeed (and she very likely could win a few Spelling Bees with all of the words she's learned for this part!). She and the other talented youngsters, including the delightful Zaria Graham as Akeelah's fashion- and fun-loving friend, are surrounded by a veritable Who's Who of Twin Cities talent, including the magnificent James A. Williams as Dr. Larabee, Aimee K. Bryant as Akeelah's mother, homegrown talent Nathan Barlow (he trained at CTC as a kid and the U of M/Guthrie BFA program as a young adult) as Reggie, Darius Dotch pulling double duty as the neighborhood gangster and the host of the Bee, and Greta Oglesby and Shawn Hamilton, bringing much heart and soul to the proceedings. The cool set design by Alexander V. Nichols features four rotating two-story metal cells. They represent houses, shops, and, when turned to reveal shelves full of books, Dr. Larabee's library.

Akeelah and the Bee may not be an original story (there are countless variations of the underdog training for and winning at a big competition, and we've seen the odd and delightful quirkiness that is the Spelling Bee onstage before in The 25th Annual Putnam County Spelling Bee), but it's charmingly told and speaks to the power of family, community, education, and a common goal. It's a story worth sharing and is sure to encourage young people to follow their dreams, and maybe not-so-young people as well. Akeelah and the Bee continues through October 11.

"The Gospel of Lovingkindness" at Pillsbury House Theatre

Watching the news can make one feel discouraged and hopeless about the state of the world, with increasing violence around the world and in our own neighborhoods. At Pillsbury House Theatre, they're trying to make some sense of it and provide a bit of hope by preaching The Gospel of Lovingkindness, a new play by Marcus Gardley. It's beautifully and poetically written, full of life and humor that balances out the devastation and death of the situation. It's heavy, and not easy to watch at times, but so worthwhile and necessary. The Gospel of Lovingkindness is one of those plays that is about so much more than theater.

Through a series of monologues and two-person dialogues, we get to know a smart and talented young man named Emmanuel, who sang at President Obama's inauguration shortly before he was shot and killed in his neighborhood on the South Side of Chicago. Although fictional*, it's a story that's all too familiar. Emmanuel's mother is, of course, devastated by the loss of her only son, but after an encounter with the ghost of civil rights activist Ida B. Wells, still wandering the streets of Chicago, she turns her grief into action. She organizes others in her community and goes on local talk shows to promote a world free from violence. It feels like an endless and fruitless struggle, but Mary never gives up, and I believe she'll succeed.

Thomasina Petra and Aimee K. Bryant
(photo by Rich Ryan)

Three of the four members of this terrific four-person cast play multiple characters, but Thomasina Petrus has only one role, Mary, and she's the center and soul of the play. Her performance of a grieving mother is a thing of breathtaking, gut-wrenching, and almost unbearably painful beauty. She portrays a grief that's tragically universal but also utterly specific. I couldn't help but think of my grandmother, who lost her 17-year-old son not to a stray bullet but to a speeding train in the cold dark January night. She once said that she lived through the worst thing that could happen, so everything else is bearable. The strength of mothers is astounding, and this mother turns her personal tragedy into tireless work to ensure a world where no mother has to go through the pain that she did.

Thomasina Petra and Aimee K. Bryant
(photo by Rich Ryan)

Supporting Thomasina and playing all of the other characters in Mary's life are Namir Smallwood (charming as the bright young Emmanuel with an afro like "a young Michael Jackson," and heartbreaking as another young man whose future is not as bright), Aimee K. Bryant (excellent in multiple roles including the funny best friend, a sympathetic cop, Ida B. Wells, and another struggling mother), and James A. Williams (also excellent as Emmanuel's father, coach, boss, and a closed-minded politician).

Thomasina Petra and Namir Smallwood
(photo by Rich Ryan)

This play, although by no means a "musical," incorporates music in a beautifully simple way. The play opens with Emmanual singing the simply stirring "Ave Maria," later Mary sings her son to sleep in perhaps the most moving scene in the play, and Ida B. Wells sings about a love of the city these characters call home in "Sweet Home Chicago" (when you have voices like Thomasina's and Aimee's at your disposal, use them!).

Marcus Gardley's work was last seen on the Pillsbury House stage in the road weeps, the well runs dry. This play is less epic in scope, but perhaps more epic in meaning, relevance, and urgency. It doesn't offer easy answers, because there are none, but it does offer a beacon of hope, if we all look at the problem of violence, talk about it, and work together for solutions. The moving, heart-breaking, inspiring, and beautifully executed play The Gospel of Lovingkiness continues through June 28.



*The play is inspired by the life and death of 15-year-old Hadiya Pendelton, shot in the back on the South Side of Chicago in 2013. Her parents have started a foundation in her name, and this Tuesday June 2, what would have been Hadiya's 18th birthday, you can show your support of a world without gun violence by wearing orange. Here in Minnesota, check out Protect MN and their upcoming music/theater benefit to end gun violence.


This article also appears on Broadway World Minneapolis.

"The Other Place" at Park Square Theatre

The Other Place is the name of the play now playing in Park Square Theatre's "other place," the new Andy Boss thrust stage* that opened just last fall. Even though it still smells like new construction, it already feels like a solid and necessary part of Park Square's programming. It allows room for plays like this, a short, compact, and impactful story of a woman in crisis and the people that love her.

Juliana is a top neuroscientist who has discovered a breakthrough drug that she is promoting to doctors around the world. While lecturing at a conference in St. Thomas, she has what she calls an "episode." She assumes that it's brain cancer because of a family history, but perhaps it's something different and even more scary. She's convinced her husband is cheating on her and filing for a divorce, even though he appears nothing but supportive. Something isn't quite right about her relationship with her daughter, who ran away years ago. All of this unfolds almost in a stream of consciousness sort of way, as we move around in time, place, memory, and possible hallucinations. The plot is like a puzzle, with pieces falling into place until we finally get the whole picture of what's going on with Juliana and what happened to her daughter. It's almost like we're inside Juliana's head as she struggles to make sense of a life she no longer recognizes.

James A. Williams and Linda Kelsey
(photo by Petronella J Ytsma)

The story is brought to life on the sparse and breezy set through strong and believable performances by the four-person cast. Linda Kelsey inhabits the character of Juliana as someone who varies between flustered and in control, uncertain and confident, belligerent and loving. James A. Williams is her supportive but frustrated husband. Joy Dolo smoothly transitions between several women in Juliana's life - willful teenage daughter, exasperated adult daughter, concerned therapist, and annoyed woman she encounters. Matt Wall rounds out the cast as Juliana's estranged son-in-law and several other characters. Juliana's interactions with these minor characters reflect her declining state of mind.

At under 90 minutes, The Other Place is cleverly and smartly written by playwright Sharr White, with language and interactions efficiently used to convey emotion and tell the story of this once strong and now lost woman. The ending is achingly beautiful, as Juliana comes to a sort of peace with the state of her life, reflected in lovely video projections (by Kristin Ellert, who also designed the set). It's moving, poignant, funny, devastating, and hopeful. Playing now through April 19 on Park Square's Boss Stage.


*Click here to read about Shooting Star, now playing on Park Square's Proscenium Stage.


This article also appears on Broadway World Minneapolis.

"Marcus; or the Secret of Sweet" by Pillsbury House Theatre and The Mount Curve Company at the Guthrie Theater

With programming on three beautiful and very different stages, the Guthrie Theater provides a great opportunity to see multiple shows, even on the same day. And with free wifi, multiple dining options including a lovely little coffee/snack bar, and plenty of cozy places to sit, the Guthrie is an inviting place to spend the day. I took advantage of this opportunity this week and saw a matinee of The White Snake in the Proscenium Theater followed by an evening performance of Pillsbury House Theatre and The Mount Curve Company's Marcus; or the Secret of Sweet in the Dowling Studio (next week: The Heidi Chronicles on the Thrust Stage). Neither of these two shows are Guthrie original productions, but both are such beautiful and unique expressions of what this thing we call theater can be, from a Chinese legend of a snake that takes human form, to a new and very modern play that draws from Nigerian mythology. You can read my thoughts on The White Snake here, but now - Marcus.

I've been eagerly awaiting the conclusion of Tarell Alvin McCraney's Brother/Sister trilogy, having seen the first two installments presented by Pillsbury House in the Guthrie's Studio theater in the last few years. All three tell universal stories of love, loss, family, and relationships through a specific set of characters in Louisiana, who are named for gods in the Yoruba mythology of Nigeria. We first meet this interrelated cast of characters in the first play, In the Red and Brown Water, which focuses on a young track star named Oya and the choices she is forced to make. The Brothers Size is a smaller cast, focusing on Oya's ex-lover Ogun, his brother Oshoosi, and their friend Elegba. Marcus returns to the large cast format, with the title character being the son of Elegba, long deceased (a handy family tree in the program helps explain the characters and relationships). Many of the characters from the first play, or their offspring, return in this one. The three plays are each stand alone pieces, but seeing all three of them provides a richer understanding of this world that is so specifically created in McCraney's unique voice.

Marcus and the boys
(Nathan Barlow, Mikell Sapp, and Aimee K, Bryant)

This play is a coming of age story about 16-year-old Marcus, who is dealing with the death of a family friend, questions about the father he never knew, growing independence from his mother, an impending storm, and coming to terms with his homosexuality. Marcus' father Elegba, who may also have been "sweet," could dream the future, and Marcus might have inherited that skill. He dreams about a man in a rain storm and doesn't know what it means. This short 90 minute play feels epic and mythical, with Marcus' universal story told in specific detail. This play has a much more hopeful ending than the previous two plays, as if finally Marcus can realize the dreams of those that came before him. Dreams of happiness and love and a life fully realized.

This excellent ten-person cast shines under the direction of Marion McClinton (who has directed all three Brother/Sister plays for Pillsbury House). Rising young talent Nathan Barlow is excellent as Marcus, conveying all the uncertainty of a young man struggling with his identity and his family, as well as the determination to come out on top of that struggle (someone referred to this as his "breakout performance," they obviously didn't see Passing Strange). Lauren Davis and Joy Dolo give a couple of spirited and charming performances as Marcus' best friends, one of whom is more accepting of his truth than the other, and Thomasina Petrus is strong and powerful as Aunt Elegua, who knows more about Marcus than she shares. James A. Williams is the only cast member to appear in all three plays, and his presence is warm, welcome, and familiar as he provides a connecting link between the stories in Ogun Size.

Talented young playwright Tarell Alvin McCraney has such a unique vision and voice, and these three plays create such a specific world with people that are familiar and beloved. A unique feature of McCraney's writing is that the characters speak stage directions (Marcus smiles, Ogun exits), which may take a minute to get used to but really give more insight into the characters. When characters are not in a scene, the actors sit on the sidelines in lawn chairs observing, continuing to witness the story.

Marcus; or the Secret of Sweet continues through October 5. You needn't have seen either of the previous Brother/Sister plays to enjoy this beautifully written and acted play. But definitely if you did see either of the two previous plays, you'll want to see Marcus to see how the story ends and continues. The final moments are a beautiful payoff.

"Abe Lincoln and Uncle Tom in the White House" by Carlyle Brown and Company at the Guthrie Theater

Like the last play I saw in the Guthrie studio, the new play Abe Lincoln and Uncle Tom in the White House, written and directed by Carlyle Brown, is an imagined conversation between two men in history (or in this case, literature). On the eve of signing the Emancipation Proclamation, Lincoln receives a visit in his White House office from the fictional character Uncle Tom from Harriet Beecher Stowe's novel Uncle Tom's Cabin, written in 1852 as a protest against slavery. Abe and Tom discuss slavery and what its end would mean, as well as issues of grief, loss, and faith. It's a fascinating new way to look at an age-old issue - the continuing effect of slavery on this country.

Although the phrase "Uncle Tom" has a negative connotation today as a submissive black man, at the time the book was published Uncle Tom was seen as "a noble hero and praiseworthy person." That is the version of Uncle Tom we see in this play, as he encourages Lincoln to sign the Proclamation, despite his doubts about what it will achieve. It feels like a real conversation between two equals who understand and respect each other. The two men are interrupted by Lincoln's grieving wife and her seamstress/confidante Elizabeth, showing Lincoln's human side as he continues to grieve his son and try to comfort his wife in her grief.

President Lincoln and Uncle Tom share a toast
(Steve Hendrickson and James A. Williams)

This four-person cast is stellar, each one well-suited to their role. Steve Hendrickson is a most excellent Lincoln; he's just how we imagine him to be, with the weight of the world on his shoulders. James A. Williams is his equal as he conveys Tom's confusion at how he ended up here, as well as his strong faith and human dignity that allow him to survive. India Gurley has the least developed role as Elizabeth, but she's there to support her friend. Last but not least, Jodi Kellogg is outstanding as the fragile Mrs. Lincoln, all raw nerves and desperation as she tries to make sense of what her life has become.

The look of the president's White House office is efficiently achieved with just a few set pieces. Three large white frame windows hang in mid-air to represent one wall, with grand white doors opposite them. Just a desk, sofa, and two chairs adorn the space along with a few rugs (set design by Joseph Stanley).

This brief look into the life of Lincoln, a president we know so well, and Uncle Tom, a fictional character we think we know so well, offers a fresh perspective and an opportunity to explore some important issues in a new way. I've never read Uncle Tom's Cabin but I'm now intrigued, and might have to pick it up sometime. In the meantime, you can visit Abe Lincoln and Uncle Tom in the White House in the Guthrie's Dowling Studio from now through April 6.

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

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

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

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

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

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

"Stick Fly" at Park Square Theatre

Why is watching a dysfunctional family on stage or screen so much fun? Maybe it's because it makes our own family look a little less dysfunctional in comparison. Such is the case with the LeVays, the upper class African American family at the center of Stick Fly, the 2011 Broadway play* making it's regional debut at Park Square Theatre. We spend a few days with the LeVays in their home in Martha's Vineyard, where they have intense conversations about race, class, gender, education, relationships, and family. It's the kind of play that draws the audience in and makes you pay close attention so as not to miss a moment of the rapid-fire dialogue. The compelling cast really feels like a family by the end of the play, with many of their issues still unresolved, forever changed by the weekend.

The patriarch of the LeVay family is a neurosurgeon who marries into one of the few African American families to have a home on the Vineyard. Elder son Flip is also a doctor (but in the less prestigious field of plastic surgury) and a womanizer. He brings his new girlfriend Kimber to meet the family. She's white, but comes from the same upper class background as the LeVays. Younger son Kent is the sweet, sensitive artist type who doesn't quite fit in with this family of overachievers. He wants to be a writer, of which his father definitely does not approve. He too brings his girlfriend, or rather fiance, Taylor, to meet the family. She's the daughter of a famous author who grew up middle class with a single mother, a stark contrast to the LeVays' lifestyle. Add to this mixture the daughter of the longtime family maid, who grew up almost a part of the family but always outside of it, and you have plenty of conflicts just ripe for exploding. And they do. Mrs. LeVay is often spoken of but never appears. Dr. LeVay's excuses don't cover the fact that there's something going on there. When the reason is finally revealed (it's a fairly predictable secret, I've watched enough soap operas to see it coming a mile away), it causes all of the conflicts of the weekend to come to a head.

just a friendly game of Scrabble
(photo by Petronella Ytsma)

This capable six-person cast is directed by the always excellent Marion McClinton. James A. Williams (who has worked with Marion in two plays from Pillsbury House Theatre's "Brother/Sister" trilogy, with the third hopefully coming soon) is the strict but genial dad, who soon reveals a darker side. Darius Dotch and Darrien E. Burks create distinct personalities as the elder and younger sons, and also share that brotherly love as well as conflict. Tracey Maloney (one of my favorites) is Kimber, the calm outsider at the center of the storm, and Traci Allen steals several scenes as the passionate Taylor. Last but not least is Brittany Bradford as the maid's daughter. I've enjoyed her performances of such diverse singing roles as Gary Coleman, Natalie, and Sarah Brown Eyes, and I'm happy to discover that she's just as compelling in a non-singing role. She believably takes her character from a hard-working and happy young woman to someone who's entire world has changed.

Besides the actors, the other star of the show is the set, designed by Christopher Mayer. It's a beautiful home that's nicer than any I've lived in! The living room and kitchen are side by side, separated by an invisible wall, that allows for two conversations to be going on at once. The space is well used, with people often congregating in the kitchen as happens in real life, or for a friendly game of scrabble in the living room.

This is a smart, engrossing, challenging (with several jaw-dropping moments of - they did not just say that!), thought-provoking, emotional, funny, and very real play. The opening-night audience was very engaged and responsive (I think I even heard an "Amen!" at one point), which is always fun to see. If that's the kind of play that interests you, it's definitely worth seeing. (Playing now through May 19 at St. Paul's Park Square Theatre.)



*HBO is reportedly going to produce a movie version of the play, adapted by playwright Lydia Diamond. I'll watch that!

"The Brothers Size" by Pillsbury House Theatre at the Guthrie Studio

The "Brother/Sister Plays" by young playwright Tarell Alvin McCraney are a complex and intense "series of stories" that tell universal stories of love, loss, family, and relationships through a specific set of characters in Louisiana, who happen to be named for gods in the Yoruba mythology of Nigeria. Pretty heavy stuff, and pretty rich material too, with which Pillsbury House Theatre is doing a pretty amazing job. Last summer they presented the first play in the trilogy, In the Red and Brown Water, at the Guthrie Studio Theater. This fall they're doing the second play, The Brothers Size*, which includes two of the same characters but a different focus. I can only hope they'll complete the trilogy next year with Marcus; Or the Secret of Sweet. I'd really love to see all three done in repertoire, which would be a huge undertaking, but also hugely rewarding to see all the stories and characters within a short time period. It takes a moment to get into the language and the structure of the plays, in which characters speak their own stage directions ("Oshoosi sleeps," "Ogun exits"). But once you do you really come to know and love (or hate) these characters.

In the Red and Brown Water tells the story of a young track star named Oya whose dreams are put on hold when she stays home to tend to her dying mother. It ends pretty tragically for Oya, and The Brothers Size picks up where it left off, although not with Oya**. The focus of this play is her ex-boyfriend Ogun Size and his brother Oshoosi, along with her little friend Elegba who is now grown and has befriended Oshoosi in prison. They're both out now, and Ogun is trying to get his brother back on track, giving him a job in his "carshack." Unfortunately, Elegba is there to drag him back in. This one ends pretty tragically too. Oshoosi and Elegba are best friends and share a lot in prison (just how much is only hinted at), but the truest relationship in this piece is between the brothers. Their parents died when they were young, so they've only had each other their whole lives. Elegba tells Ogun how Oshoosi cried for him when he was first imprisoned, and it's just heartbreaking. Ogun feels responsible for his brother; when Oshoosi went to prison he felt like he let him down somehow, and is determined not to let that happen again.

This play features a three-person cast, much smaller than the last one, and they're all spectacular. Gavin Lawrence is a captivating actor (including a dynamic portrayal of the poet Langston Hughes earlier this year). This version of Elegba is less likeable than what I remember from the last play, but just as compelling. James A. Williams also reprises his role from In the Red and Brown Water, and is convincing as the loving but frustrated brother. Namir Smallwood is new to the trilogy but not to Pillsbury House; he appeared in Buzzer earlier this year (which will be reprised at the Guthrie Studio next year). His Oshoosi is young and playful, but with a dark undercurrent from his years in prison. You can definitely feel the strong bond of family between the brothers Size.

Music is woven into this play in a really lovely way. There's a bit of singing, including a very entertaining version of "Try a Little Tenderness" by the brothers. In addition to the singing, Ahanti Young (who I've known previously as an actor, but who it turns out is also a very talented drummer) plays percussion throughout the piece, adding a soundtrack to accentuate what's happening on stage. He's playing as the audience files in before the show, which makes the pre-show waiting much more pleasant.

The Brothers Size is playing at the Guthrie Studio through the end of the month. If you saw In the Red and Brown Water last summer, you'll want to see this one too. But even if you didn't see it, it's certainly not necessary to appreciate this well-acted, well-written, moving, intense, and unexpectedly musical piece.



*I received two complementary tickets to The Brothers Size as part of the Guthrie's "Blogger Night."

**Oya was not a character in this play, but her portrayer, the lovely and talented Christiana Clark, was in the audience. I wonder if she was as upset about poor Oya's fate as I was!