"Christmas Carol: A Ghost Story" by Wayward Theatre at the James J. Hill House

For an alternative (or complement) to the Guthrie Theater's annual production of A Christmas Carol, head across the river and see what the creative minds at Wayward Theatre Company are bringing to this classic story. Not only are they focusing on the ghostly aspects of the story and doing it in the gorgeous (and slightly spooky on a good day) James J. Hill House, but they're also performing in ten different locations around the house with three staggered groups of 30-person audiences walking around to the different locations. I always enjoy ambulatory site-specific theater, and this Christmas Carol: A Ghost Story is intricately planned, well executed, and provides an immersive (but not interactive) experience into this familiar and beloved tale of redemption. With three performance times every Wednesday through Sunday (except for Christmas Eve and Day) through New Year's Day, you have plenty of opportunities to follow Scrooge on his journey. But with only 30 tickets per show, and some performances already selling out, don't wait too long to secure your ticket.

"Daddy Long Legs" by Minneapolis Musical Theatre at the James J. Hill House

The first act of Minneapolis Musical Theatre's Daddy Long Legs, playing at the historic James J. Hill House, is perfectly lovely. I assume the second act is too; I didn't get to see it because I had to move my car due to a snow emergency and there was nowhere else to park. I had no other choice but to go home, which breaks my heart because never in my life have I left a show at intermission and I never voluntarily would, I think it's disrespectful. But despite the unfortunate early end to the show, I still enjoyed the experience. This regional premiere of the 2015 Off-Broadway musical, based on the 1912 novel of the same name, is well worth seeing; it's a charming story with a beautiful score, and this is a lovely and intimate production by MMT.

"Macbeth" by Wayward Theatre Company at the James J. Hill House

Macbeth is one of Shakespeare's creepiest and darkest plays. Which makes it a perfect choice to produce during Halloween season, at the James J. Hill House which, while elegant during the day, is a bit creepy after hours. Wayward Theatre Company, experts at site-specific theater, is doing not only that, but also moving the audience around the house to eight different performance locations. For a three-hour play, the walking around adds interest and keeps the blood flowing. This intimate and immersive (but not interactive) show feels immediate and brings out all of the horror of this tale of unbridled greed.

"A Doll's House" by Orchard Theater Collective at the James J. Hill House

If you're looking for an anti-holiday show in this busy #TCTheater holiday* month, a little bitter to balance out the sometimes overwhelming sweet of the season, look no further than Ibsen's masterpiece A Doll's House. Orchard Theater Collective is making their debut with this piece, and they wisely partnered with #TCTheater favorite Craig Johnson, who adapted the play into a crisp 95 minutes and directs this talented young cast. Taking place in Norway during Christmas of 1879, what's remarkable is how ahead of his time Ibsen was in revealing the difficulties that women faced (and still face) living under the strict and unfair rules of society, and how much this play still resonates today.

"Tartuffe" by Wayward Theatre Company at the James J Hill House

I love seeing theater in non-traditional theater spaces; it shakes me out of the usual and allows me to see theater in a different way. These days, it's becoming a necessity for the many nomadic theater companies in town to look outside the box when planning to mount a show (see also Frank Theatre's Good Person of Setzuan in an abandoned Rainbow Foods). Happily, the James J. Hill House seems to be quite amenable to hosting theatrical events; I've seen three plays there in the last six months. It's a gorgeous and historic building, and lends itself quite well to a variety of projects, from a comic opera like Marriage of Figaro, to a creepy horror tale like Bluebeard's Dollhouse, to a 17th Century French comedy. The latter can currently be seen in the grand surroundings on St. Paul's Summit Avenue (once the home of more millionaires than any other street in the country), in the form of new-to-me Wayward Theatre Company's innovatively imagined and well-executed Tartuffe. I can't help thinking the Hill family would be thrilled to know people are experiencing wonderful theater in their home.

"Bluebeard's Dollhouse" by Combustible Company at the James J. Hill House

If the candy and decorations at Target haven't made you aware that Halloween season is upon us, Combustible Company's immersive and mobile merging of two disastrous marriage tales Bluebeard's Dollhouse will leave no doubt. It's performed in multiple locations in the gorgeous historic mansion that is the James J. Hill House, and it's super creepy. It's definitely not your typical night at the theater - walking up and down grand or narrow staircases, entering rooms simple or elaborate, and seeing scary looking dolls everywhere you turn. If you like a good fright, and appreciate invention and creativity and, well, something that's just different, Bluebeard's Dollhouse (continuing through October 15) is the experience for you. I'm not very fond of scary things and horror (Halloween is a non-holiday in my life), but I appreciate the artistry that goes into creating this very detailed world at this incredibly cool location.

"The Marriage of Figaro" by Angels and Demons Entertainment at the James J. Hill House

One of Mozart's most beloved operas, performed by nationally renowned opera singers and local favorites, set in the perfect and intimate location of the grand and beautiful James J. Hill House? I'm in! In by the skin of my teeth, that is. I consider myself very lucky to be one of the 140* people (4 shows x 35 audience members per show) to have had the wonderful experience that was Angels and Demons Entertainment's production of The Marriage of Figaro (with support from the Twin Cities Opera Guild). I'm not much of an opera-goer, unless it's made more accessible by companies like Skylark Opera (who always perform in English, and whose Summer Festival will hopefully return next year). But this was perhaps the most accessible and engaging opera I've ever attended. Sung in English in four different locations within the house that perfectly suited the story, it truly felt like I was in the midst of this crazy upstairs/downstairs story. I only regret that the audience was so limited, and I hope that they bring the production back sometime and expand it so that more people can know this truly lovely and special experience.

"Long Day's Journey Into Night" by The Gonzo Group Theatre at the James J. Hill House

I saw Eugene O'Neill's autobiographical masterpiece Long Day's Journey Into Night for the first time just a few weeks ago, at the Guthrie Theater. It's a wonderful production, as to be expected from the Guthrie. But what fascinated me most about this play is that fact that it is autobiographical, and is so painfully true that O'Neill did not allow it to be published or produced until after his death. The Gonzo Group Theatre also seems to be fascinated with this idea; they have created a production that is as much about the playwright as it is about the play. Gone is the character of the housekeeper (not a big loss, mother Mary's conversation with her turns into a monologue), while a new character is added - O'Neill's wife Carlotta. She wanders around and through the action of the play, collecting the papers that are strewn all over the set (more on the magnificent "set" in a moment), assisting her husband as he tries to make peace with his family and his past through the process of writing (as explained in the note by director Jennifer Harrington). When I first saw the play, I wanted some sort of resolution at the end. But there is none, only hopelessness, and a bit of relief for the audience that they can leave the dark place they have entered into and go back to their lives. But as this version of the play makes clear, the only resolution is in O'Neill's mind, as he was hopefully able to release the demons of his past by writing about them. And leaving us with this poetic, depressing, moving, gut-wrenching, masterful play.

the play takes place on and at the bottom
of the grand staircase at the JJ Hill House

The location of this unique production is the main hall of the James J. Hill House in St. Paul. If you've never been there, it's worth a visit to see this grand home of one of Minnesota's most wealthy historical families. The house also hosts special events, concerts, and occasionally, works of theater. I saw Gremlin Theater's After Miss Julie in the basement kitchen a few years ago, which I found to be an entirely appropriate and authentic setting for the play. This magnificent mansion is not exactly a summer home on the sea, but the period is right (Long Day's Journey takes place in 1912, at which time the Hill family was still living in the house), as is the weighty atmosphere of history and grandeur. And with just 25 seats, it's an intimate experience; you're practically sitting at the table with the Tyrone family, sharing a drink with them. They make great use of the space - the entire long hallway, the out of sight dining room, and the grand staircase, going in and out of doors and looking out the windows at the foggy sea. The house is open before the show and during intermissions, and guests are free to roam around and soak in the atmosphere.

Another unique feature of this production is that it's a true family affair. Real-life married couple Claudia Wilkins and Richard Ooms play Mary and James Tyrone, and their son Michael Ooms is the elder son Jamie. It's kind of trippy to watch a real-life family acting out the life of another real-life family that lived 100 years ago, and they all give great performances. Claudia and Richard once again play a believable married couple (they also played a married couple in The Birthday Party at the Jungle last year), as Mary grows more and more unhinged due to her morphine addiction, and James, himself an alcoholic, gradually accepts their fate. Michael shines in the third act when Jamie is seriously drunk, funny and heart-breaking and a little scary. Luke Weber plays younger son Edmund (aka Eugene O'Neill) and fits in well with the family. Edmund is quiet and sickly, and comes alive when reciting his beloved poetry. It's a tragic story, except that the ever-present Carlotta (Evelyn Digirolamo) is able to successfully gather up the pieces of her husband's life and put them in some kind of order.

If you're reading this on Saturday, you might still be able to catch this unique theatrical experience - call or email now to see if there are any seats left for tonight's final performance (the price couldn't be better - free, with a suggested donation if you like what you see). I love seeing theater in non-traditional spaces, and this is an incredible space, a classic American play, and a really great production. I think this is the first time I've seen two different productions of the same piece in one year, much less in the same month. At first I was reluctant, not wanting to compare the two, but they turned out to be really nice companion pieces that gave me further insight into this play and the mind of the playwright.

"After Miss Julie" by the Gremlin Theatre at the James J. Hill House

I love history.  Not the politics and wars, kings and presidents kind of history, but history about how people actually lived in years past.  I'm fascinated by the houses on Summit Avenue in St. Paul, and have visited the James J. Hill House several times.  So when I heard about a play being produced in the house I was intrigued.  And when I found out that it stars two 2011 Ivey Award winners, there was no question I was going to go see it. 

After Miss Julie is produced by the Gremlin Theatre, normally located on University Avenue in St. Paul.  But there really is no better place to see this show than in a big, beautiful Victorian mansion.  When the setting so perfectly matches the content, it lends an air of authenticity to the piece.  As I watched the drama unfold, I couldn't help but think that such a scene might really have occurred in that very room a hundred years ago.  That's kind of thrilling.  I felt like I was eavesdropping on these three people's fascinating and complicated lives.

The play is set in a large manor house outside of London in 1945; the action takes place solely in the kitchen, which in the James J. Hill house is in the basement (food was sent upstairs via a dumbwaiter so that the mess and noise of the kitchen was out of sight).  The three characters in the play are Miss Julie (Anna Sundberg), the daughter of "his lordship," John (Peter Christian Hansen), the chauffeur, and Christine (Amanda Whisner), the cook and John's unofficial fiancee.  Christine is in the kitchen doing her work (even as the audience enters the room), and John joins her after driving the master of the house to London.  Julie follows him down to the kitchen in the hopes he'll dance with her at the party upstairs.  He feels obliged, and Christine accepts the way things are even though she's not happy about it.  Julie's fiancee has recently broken off their engagement and she's desperate and out of control.  When an exhausted Christine falls asleep, Julie flirts shamelessly with John, testing the limits of his patience and his duty.  John grew up on the estate and admits that he has always secretly loved her.  Christine retires to bed, and John takes Julie to his room, at her request (command?).  Their relationship is a constantly changing power struggle; at times they are unbelievably cruel to each other, at times sweet and loving.  They toy with the idea of running away to New York together, but I don't think either of them really believes that could happen.  Julie's father, John's employer, calls, and John jumps to bring him his coffee and well-polished shoes.  Julie and John are trapped in the roles they were born into, and don't know how to get out.  There's no happy ending for this couple.

This three-person cast is excellent (directed by Leah Cooper, who also did a great job with a much larger cast in August: Osage County at Park Square a few months ago).  In the small intimate setting you get a close-up view of the look in their eyes and the expression on their faces.  Peter has this intensity that's just about to boil over, and sometimes does; you can see why Julie falls for John (Peter played another violent, angry man in True West a few months ago).  I've seen Anna three times in the last several months, and she only gets better.  Julie comes off as the spoiled and haughty daughter of a wealthy family, but we see glimpses of a lost little girl underneath.  Amanda makes Christine sympathetic; she's the only likeable character - a hard-working woman trying to find a little happiness within the limitations of her life.  The actors go in and out of the several doors to the room (what fun to crawl around in the bowels of this magnificent house).  On a few occasions they all exit the room; the audience is alone for several long moments in a deliciously awkward silence, during which we are left to imagine what is going on behind closed doors.

After the show the audience can stay for an abbreviated tour of the house.  It was a wonderfully entertaining evening - intimate, involving, brutally real theater followed by a tour of this grand house.  Unfortunately After Miss Julie closes this weekend, but check it out if you can.  And if not, go visit the James J. Hill House anyway, and see how the rich people (and perhaps more interesting, their servants) lived a hundred years ago.