"Groucho Marx Meets T.S. Eliot" by Illusion Theater at Center for Performing Arts

Comedian Groucho Marx. Poet T.S. Eliot. Two influential artists of the 20th Century that probably no one would put in the same sentence together, much less the same play. But they had a brief pen-pal relationship (after Eliot wrote Groucho a fan letter asking for a photo) and met once for dinner at Eliot's home in London. Not much is known about the dinner, which gives playwright Jeffrey Hatcher free reign to imagine it in a clever, funny, acerbic, fourth-wall breaking way. Groucho Marx Meets T.S. Eliot is a highly entertaining 75 minutes of theater that digs a little bit deeper into these two enigmatic figures and their possible relationship (continuing through March 15).

"Glensheen" at the History Theatre

Last night I saw History Theatre's smash hit original musical Glensheen for the 5th time, and loved it as much as I did when I saw the Raw Stages reading over ten years ago. It's unheard of for a local theater's wholly original musical to be this successful, coming back year after year (after year) and continuing to sell tickets. While History Theatre has created many fantastic original musicals that I hope to see again (including I Am Betty, which returns this fall), for some reason (or many reasons) they struck gold with Glensheen. Specifically, dark musical-comedy gold. When you take Minnesota's most famous and strange murder mystery* (the brainchild of retired Artistic Director Ron Peluso), add a script by one of Minnesota's most prolific and talented playwrights Jeffrey Hatcher, and a score by beloved local musical Chan Poling, how can you go wrong?! At this point it's pretty easy for History Theatre to mount this show - pull the gorgeous set and costumes out of storage, plop the original cast on stage, and press go. But the great thing is, the show still feels fresh and exciting, with this dreamy cast still (and probably even more) fully embodying these characters that they know so well. You can read my full review of the original production here (which has remained largely unchanged), or scroll down for ten reasons to see Glensheen (again), continuing through July 14.

"Dial M for Murder" at Guthrie Theater

The Guthrie Theater is bringing a new adaptation of a classic thriller to their stage. Local prolific playwright and screenwriter Jeffrey Hatcher has applied his sharp wit and clever plotting to Frederick Knott's 1952 play Dial M for Murder (later adapted into a movie directed by Alfred Hitchcock). In an interview in the program, Jeffrey noted that the first task of adaptation is not to screw it up. He didn't. I've seen the play a couple of times before, but I'm not familiar enough to know what was changed or tweaked, other than the obvious ones noted in that interview - the murderous husband is a failed novelist rather than former tennis celebrity, and the American writer named Max that his wife has an affair with is a woman. Without taking anything away from the original, these slight changes add a whole new layer to the story and make it feel more modern. Homosexual relationships very much existed in the '50s, they just weren't talked about. Much like the new adaptation of the classic Western Shane last summer, this new adaptation adds back into the narrative the people that were erased. But rest assured, this Dial M is still a thrilling twisty delight! See it on the thrust stage through February 25.

"The Defeat of Jesse James" at History Theatre

#TCTheater's favorite musical theater creative team Hatcher and Poling is back! Prolific local playwright Jeffrey Hatcher and longtime local musician/composer Chan Poling have teamed up on a number of musical theater pieces, the most successful being Glensheen, which History Theatre will be remounting once again this summer. Their newest work, began several years ago at the suggestion of History Theatre's recently retired Artistic Director Ron Peluso, is The Defeat of Jesse James. If you're thinking, I've already seen this story, you're not wrong. The story of the famed outlaw, whose career in crime was essentially stopped right here in Minnesota, has been told countless times. But you've never seen it quite like this - as a rock concert. This format allows the creators to not just tell this familiar story, but also comment on it, and our fascination with it. The all-star cast gives their all to this show that is delightfully meta, thought-provoking, and super fun. See it at the History Theatre in downtown St. Paul now through May 28.

"RIDDLE PUZZLE PLOT" by Park Square Theatre on Zoom

Original post from July 25, 2020:
Friends, I am beyond thrilled to post my first #TCTheater review in almost five months. Yes it's a virtual performance streamed over Zoom, so it's not quite the same, but it's a chance to see some of my favorite artists being creative and having fun, while putting out new content during a pandemic that doesn't seem to be getting any better. That's cause to celebrate. And it's not too late to get in on the action. Park Square Theatre's RIDDLE PUZZLE PLOT is a new play written for this format by one of my favorite #TCTheater playwrights, Jeffrey Hatcher, about a group of actors connecting over Zoom during a pandemic (how meta!). It will play out over four installments, beginning this weekend, with a $30 ticket getting you access to all episodes, either with live and interactive pre- and post-show content on Friday or Saturday night, or to watch on demand later in the week. I watched it last night and it was truly delightful, and such a comfort to experience something akin to theater again.

The Ruth Easton New Play Series at the Playwrights' Center

Have you been to The Playwrights' Center lately? Their Ruth Easton New Play Series is in full swing, in which they present two readings of a new work of theater the first (or second) week of the month, December through April. Unfortunately I can't make it to all of them, but the ones I have seen have been creative, interesting, new, and read by a fab cast full of #TCTheater faves. You never know what you're going to get at PWC, so why not take a chance and be part of the new play development process? Read on for more details on this month's reading and other readings in the series, then head out to the Playwrights' Center tonight to catch the second reading of Malvolio! Did I mention it's FREE?!

The History Theatre's New Works Festival "Raw Stages" 2020

January may be the depths of winter in Minnesota, but it also brings one of my favorite theater events of the year. History Theatre, or HERstory Theatre as it's currently known, holds workshops and a public reading of four new works of theater in what they call their "Raw Stages" festival. For a theater that produces as many world premieres as History Theatre (something like 70% of their work is new), this is an important part of their season. This is my seventh year attending Raw Stages, and it's super fun to see a reading of an exciting new work, typically about a true Minnesota story, and then watch it continue to develop and often receive a full production a season or two later. In fact History Theatre's next three productions this year were part of last year's Raw Stages - Superman Becomes Lois Lane, Not for Sale, and Runestone! A Rock Musical. I only missed one of this year's readings (thanks, winter), and they're all really exciting work that I hope to see more of. A post-show discussion follows every reading, which is often the most moving part as people who lived and remember the story share their experiences. It's a powerful experience in and of itself, and also provides a glimpse behind the scenes. What follows is a short description of each play and my thoughts.

Fresh Ink: New Works at Illusion Theater

Every summer, Illusion Theater presents readings of new works. It's been way too long since I attended a "Fresh Ink" reading - three years! But I remedied that this year by attending the first of four performances of the staged reading of a new play by local playwright Jeffrey Hatcher. And I hope to get to one or both of the other new plays, also by local #TCTheater artists Carlyle and Barb Brown and Beth Gilleland. Like readings at the Playwrights' Center, this series is a great way to experience a new play and participate in the development process. In a way, we're the test audience, to see how the play lands and allow the playwright to make adjustments if necessary. Readings are only $10 each and run Thursday through Sunday evenings for the next three weekends (click here for more info).

"The Government Inspector" at Theatre in the Round

Jeffrey Hatcher's adaptation of the brilliantly ridiculous Russian satirical comedy The Government Inspector premiered at the Guthrie in 2008, featuring his usual dry wit and clever humor, and starring a bunch of beloved Guthrie actors and one Broadway star. I don't remember too much about it, other than the hilarity, and that yes, Hunter Foster (aka Seymour) did sing. While perhaps some of the jokes don't land as well in 2019, the idea of a narcissistic, greedy, corrupt politician finally getting what's coming to him is particularly appealing at this moment in time. Theatre in the Round's production, which closes this weekend, brings all the absurdity to life in a very entertaining way, with almost constant laughter from the nearly sold-out crowd.

"Wait Until Dark" at Theatre in the Round

I first saw Frederick Knott's 1966 classic thriller Wait Until Dark, adapted by local playwright Jeffrey Hatcher, at Lyric Arts two years ago. The second time around, at Theatre in the Round aka the Twin Cities' oldest theater, may have been a bit less suspenseful since I knew what was coming, but it's still a thrilling story of a blind woman who outsmarts the criminals trying to do her in and uses her sightlessness to her advantage.

"Lord Gordon Gordon" at History Theatre

The creators of History Theatre's smash hit new original musical Glensheen return for their second collaboration with the theater dedicated to creating new work mining the area's rich history - the fun and farcical (yet somewhat factual) Lord Gordon Gordon. I didn't love it as much as I did Glensheen (maybe because I'm not obsessed with this story like I am the story of the wealthy heiress serial killer arsonist), but it has that same sense of fun and wit combined with great original music that one comes to expect from a Hatcher/Poling show. With an excellent cast, plenty of Minnesota and Canada jokes, and clever theatrical tricks, it makes for a fun evening at the theater, laughing about the truth-is-stranger-than-fiction antics of a con man and his marks right here in Minnesota almost 150 years ago.

"To Begin With" at the Historic Wesley Center

"Marley is dead, to begin with." So begins Charles Dickens' classic story A Christmas Carol. It's also the source of the title of local playwright Jeffrey Hatcher's new play about the author, To Begin With, now playing at the Historic Wesley Center in downtown Minneapolis. In it, we learn a little about the man, his writing process, and specifically his book The Life of Our Lord, an adaptation of the Christian gospels. He wrote this book for his children and never intended for it to be published, which it wasn't until 64 years after his death. Jeffrey Hatcher imagines the motivation behind this, and as portrayed by Dicken's great-great-grandson Gerald Charles Dickens, paints a lively portrait of an intelligent and witty man dedicated to faith, family, and his work.

The History Theatre's New Works Festival "Raw Stages" 2017

One of the wonderful things about the Twin Cities theater scene is that we get to experience new works of theater while still in the development process. The Playwrights' Center is dedicated to that, and you can often catch a free reading of a new and exciting play (like queens earlier this week). Many theaters in town have their own play development process, and an important step in that process is sharing the piece with the audience. And I can't think of a theater more committed to developing and producing new work than the History Theatre. Most of the plays in their regular season are new works developed, and sometimes commissioned, by the theater, and many of them make their debut to audiences in the annual "Raw Stages" festival. This season includes three such works - Teen Idol: The Bobby Vee Story, the upcoming The Highwaymen (which is NOT about the country music super group, but rather the building of I94 through the Rondo neighborhood), and this spring's new musical Sweet Land (although this piece had a long history of workshops before it landed at the History Theatre). Now is your chance to get in on the next big hit, see it in its early form, and share your feedback with the creators as they continue to develop the piece. Keep reading for more about each show, and make your plans to head to downtown St. Paul to experience some exciting new works of theater.

"Dr. Jekyll and Mr. Hyde" at Theatre in the Round

The longest-running theater in Minneapolis, Theatre in the Round is opening their 65th season with Dr. Jekyll and Mr. Hyde, the familiar story of the doctor who turns into a sociopath. An intriguing feature of this adaptation by local playwright Jeffrey Hatcher (whose adaptation work can also currently be seen in Lyric Arts' chilling Wait Until Dark) is that while Dr. Jekyll is played by one actor. his alter ego Mr. Hyde is played by four different actors who alternate and sometimes are all present on stage, sometimes along with Dr. Jekyll. This provides a unique glimpse into the fractured and frightening psyche of Jeckyll/Hyde. The story is well-told by the eight-person cast and well-staged in TRP's in-the-round space.

"Wait Until Dark" at Lyric Arts

Anoka's Lyric Arts Main Street Stage opens their 2016-2017 season with an updated version of the 1960s thriller Wait Until Dark. Living on the north side of the Twin Cities, it's a pretty easy jaunt up Highway 10 to Anoka, and I've come to enjoy the trip. Lyric Arts may be a community theater in the suburbs, housed in an old movie theater in charming downtown Anoka, but much of what you'll see there is as good as anything you could see on a professional stage in the Twin Cities. Wait Until Dark is one such example. It's a technically challenging show, with the very specific "dark" and fights and suspense and all, and this team pulls it off beautifully. I was literally on the edge of my seat with my hands over my mouth, terrified of the sounds coming from the stage as we sat in complete and utter darkness. If you're a Lyric Arts fan, or have never been, you don't want to miss this one, especially if you're on the north end of town. You may need to sleep with the light on for a night or two, but it's worth it.

"Glensheen" at the History Theatre

History Theatre's new original musical Glensheen was such a hit last fall, they brought it back this summer. If you missed it last time around, now's your chance to see this clever and wickedly funny musical. And even if you did see it last year, it's definitely worth a second viewing; I enjoyed it even more the second time around. They've brought back the original cast, a talented, charismatic, and hard-working ensemble of just seven actors who seem like more, who are if anything even more comfortable and playful in their many roles than they were last year. Sitting up in the balcony this time, I had a bird's eye view of the action and was even more impressed with this cast, the set, the lighting, the band, the sound, the costumes, and the way every element of production comes together to tell this truth-is-stranger-than-fiction story of Minnesota's most notorious murder mystery. You have until the end of July to see this fantastic new creation and tickets are going fast - don't miss out a second time! And keep reading for my full thoughts on the show from last fall.

"A Night in Olympus" at Illusion Theater

An unpopular high school girl wants to be pretty so she can go to prom with the popular jock. Not exactly a compelling theme for a musical or one I'm particularly interested in seeing. But this tired old story, seen often in fairy tales and '80s movies, is so charmingly told in the infectious new musical A Night in Olympus with a dynamic cast, that it's almost possible to forget that it's about a prom. And the tired story is given a bit of an interesting twist with the injection of Greek mythology. So while I can't really get behind a story written and directed by men in which a girl just wants to be pretty, even if she does learn the obligatory lesson at the end, it's hard not to have a good time at this campy fun musical.

"The Critic / The Real Inspector Hound" at the Guthrie Theater

Two one-act comedies, written by two of my favorite playwrights, covering the topic of theater criticism? I'm in! While I don't consider myself a "critic" I do spend a considerable amount of time seeing theater and writing about it. So these two plays that skewer theater critics (and poke a bit of fun at theater in general) are right up my alley! The pairing of Richard Brinsley Sheridan's The Critic (adapted by Minnesota's favorite playwright Jeffrey Hatcher) and Tom Stoppard's The Real Inspector Hound, written 200 years apart, is genius. This fruitful collaboration between the Guthrie and Shakespeare Theatre Company in Washington D.C. features a fantastic cast (that includes actors from both communities) playing in these two very different worlds that both deal with the relationship between theater and theater writing. The result is a hilarious farce, or rather two hilarious farces (or maybe four hilarious farces as both plays feature a play-within-a-play) that is enjoyable for anyone who loves theater. And if you don't love theater, you're in the wrong place.

"Glensheen" at the History Theatre

Americans love a good true crime story. And truth doesn't come any stranger than the story of the elderly heiress and her nurse who were murdered in Duluth's most famous mansion. The murder weapons: a silk pillow and a candlestick. The murder location: the old woman's bed and the grand staircase, where a violent struggle occurred. The prime suspect: the heiress' son-in-law, allegedly acting out the wishes of her daughter who was desperate for money to feed her insane spending habits. The key evidence: an envelope mailed to the son-in-law from Duluth containing a valuable stolen coin. The result of two of the most sensational criminal trials in Minnesota history: both suspects go free, one to later commit suicide, the other to leave a string of suspicious deaths and fires in her wake. I mean really, you cannot make this stuff up. Truth is indeed stranger than fiction. What better subject for a new musical at the History Theatre, known for developing new work that explores important events in Minnesota history? This bizarrely fascinating story practically writes itself, so when talented and prolific Minnesota playwright Jeffrey Hatcher applies his biting and clever wit to the story, along with songs from the famed Minnesota musician Chan Poling of The Suburbs¹ and The New Standards, what you get is dark comedy-musical gold. The potential was there at the reading of the new musical last year as part of History Theatre's annual "Raw Stages" festival,² and it's a pleasure to see how that potential has blossomed into a fully formed piece of music-theater. It's dark and delicious, hilarious and musically entertaining, poignant and tragic.

If you're not familiar with the story of Chester Congdon, the East Coast lawyer who very wisely invested in iron ore in late 19th Century Duluth, you should visit the grand estate on Lake Superior that he built for his family (wife Clara and seven children) and left to the University of Minnesota - Duluth upon the death of his last child. Which happened to be his youngest daughter Elisabeth, who never married and lived at Glensheen her entire life, adopting two daughters with whom to share her life, love, and fortune. It's her daughter Marjorie (named for Elisabeth's beloved older sister) upon whom this little tale hinges. Diagnosed a sociopath as a teenager, Marjorie had an insatiable spending habit that put her in constant debt and eventually, allegedly, led her to convince her second husband Roger Caldwell to kill her mother in order to receive her inheritance. The details of the story are too strange to be believed, except, of course, that it's true.

Marjorie Congdon sings her story
(Jennifer Maren and cast, photo by Scott Pakudaitis)

The musical begins on a modern-day tour of the historic Glensheen mansion. The people on the tour become a little too curious about the famous staircase and the tour guide tries to steer them towards the architecture of the house, but to no avail. This fabulous cast of seven then leads us on a tour of bizarre and tragic life of Marjorie and those around her. The musical stays fairly close to the facts of the case, although of course some is conjecture or rearranging to make a compelling story. But don't worry, at the end of the show they tell us exactly what was made up and what wasn't.³ It's all very tongue-in-cheek and darkly comedic, done in the heightened reality style of musicals, but with some grounded and poignant moments that remind us these were real people who suffered great tragedy. The tone walks the fine line of being campy, funny, and outrageous, while not disrespectful to the lives that were lost. The show engenders sympathy not just for the two women who died that night, but also Marjorie's husband Roger, who certainly didn't know what he was getting into when he married her, and perhaps even Marjorie herself. Perhaps.

Highlights of the show are many, including:

• Rick Polenek's rich set looks like a mini-Glensheen, a reproduction of the famous staircase leading up to the stained glass window on the second floor, with stately furnishing and lush carpeting that extends into the audience.
• Director Ron Peluso and his cast make great use of the multi-level stage and the aisles in the audience, drawing us into the story, even at one point using us as potential jurors.
• Musical Director Andrew Fleser (whose piano is dressed out as a bar) leads the just barely visible band through a really great score with big ensemble numbers, soaring ballads, quiet plaintive songs, and some fun and rousing songs, accompanied by Tinia Moulder's choreography.
• Most of the fantastic seven-person cast play multiple roles - maids, cops, detectives, lawyers, reporters, etc. - except for Jennifer Maren, who brings Marjorie to life in all her murderous, arsonous, seductive, sad little girl glory. She's an endlessly fascinating villain, the kind that you love to hate.
• Dane Stauffer is great as the drunken patsy Roger, without making him a caricature. We also see Roger's human side in his confession and death - just another one of Marj's victims.
• Stealing scenes in a multitude of roles, including Elisabeth, her nurse (with a sad and lovely song), and, briefly, Agatha Christie, Wendy Lehr is a delight to watch, most especially in her gleeful turn as a rock and roll defense attorney who may or may not be known "Beshmesher," shimmying her way through a rollicking defense of Marjorie.
• Ruthie Baker, Gary Briggle, Adam Qualls, and Sandra Struthers Clerc gamely jump into whatever role is asked of them, and the seven-person cast seems much larger with all the characters in the story.
• The costumes (designed by E. Amy Hill) help define the various characters and place it in that '70s/'80s timeframe. Marj's wardrobe is particularly fabulous (I'm not sure the real Marj is this fashionable), always in red, reminding us of the blood and fire she leaves in her wake. Barry Browning's lighting design bathes the stage in a red glow when appropriate, as well as creating some startling lighting strikes.

Glensheen is a fantastic new original musical, based on one of the most fascinating true crime stories in Minnesota history. It's a sordid and epic tale just ripe for some kind of theatrical treatment, and Jeffrey Hatcher and Chan Poling have given it just the right kind. A dark and campy musical about a stranger than fiction true crime story? Yes, please! (Playing through October 25.)

1. For more about The Suburbs and other bands of early '80s Minneapolis, go see Complicated Fun next spring, another new piece developed through the "Raw Stages" festival.
2. The History Theatre's "Raw Stages" Festival takes place in mid-January. So when the weather is cold, go see what's hot in new historical theater (including a reading of my favorite new musical Sweet Land).
3. If this story fascinates you as much as it does me, I highly recommend the book Will to Murder, written by former Duluth crime reporter Gail Feichtinger with input from the lead investigator and prosecutor, so it's chock full of details and evidence.

"Sherlock Holmes and the Ice Palace Murders" at Park Square Theatre

The old adage "the show must go on" was tested last night. On the day that Park Square Theatre's world premiere play Sherlock Holmes and the Ice Palace Murders was scheduled to open, Steve Hendrickson, aka Sherlock himself, underwent surgery for an aneurysm. The good news is he's going to be fine and will hopefully return to the show soon, but what to do about opening night? Director Peter Moore to the rescue! With one emergency rehearsal and script in hand, he took the stage to embody one of the most iconic characters in literature and film. And it was a success. Even though he often looked at the script (not even a show biz vet like Peter Moore can learn an entire play in a few hours), he never broke character and was able to convey that distinct Sherlock Holmes-ness. It probably helps that he's surrounded by a great cast playing multiple characters, acting a script written by one of Minnesota's best playwrights Jeffrey Hatcher, based on a novel by Larry Millett, based on the characters created by Sir Arthur Conan Doyle. That's a recipe for success that's able to withstand last-minute challenges.

In Larry Millett's story, Sherlock Holmes and his trusty partner Watson are on a three-month tour of the US in 1896. They're about to depart Chicago to head back to London when they read about the strange disappearance of a wealthy groom in St. Paul. The mystery is too much for Sherlock to resist, so they take a detour to St. Paul to see what they can find. What they find is a daughter and son of wealthy businessmen with a stake in the Winter Carnival, about to be married in the Ice Palace until the groom disappears and the bride suspiciously returns her wedding dress. Holmes and Watson team up with a local barkeep/ex-cop named Shadwell Rafferty, along with journalist Miss Pyle who wrote the article enticing them to come to St. Paul. They discover a horrific scandal in the groom's past, and secrets that the bride is keeping as well. Suspects abound, from family members to Ice Palace workers to the town burglar. It's great fun to watch these two sleuths uncover the truth, especially in the second act as the clues start falling into place with greater speed.

Steve Hendrickson has played Sherlock multiple times on Park Square's stage (most recently in The Adventure of the Suicide Club two years ago), so those of you who see the show after his recovery are in for a treat! But even now, Peter Moore does a fine job filling in for him, and Bob Davis is so comfortable in the skin of Dr. Watson (a role he has also played multiple times) that it seems like a quite natural pairing. As their new partner/friend/adversary Rafferty, E.J. Subkoviak is a delight with his Irish-by-way-of-Boston accent and roguish charm. Tamara Clark and Taylor Harvey do as much as they can with the roles of the plucky reporter and the bride with secrets (the world of Sherlock Holmes has always been a boy's club, but it's too bad a modern update doesn't have better roles for women). The rest of the cast ably plays multiple roles, including Neal Hazard as the affable driver and the grieving father; Jason Rojas, reveling in the opposite roles of the bride's spurned and moody lover and her spoiled rich boy brother; James Cada, almost unrecognizable in his three roles of the Swedish Ice Palace guard, the father of the bride, and the gruff police chief; and Stephen Cartmell, deliciously creepy as the cross-dressing burglar and mysterious as the ice sculptor.

The stage is mostly empty, surrounded by a scroll frame, with images that look like book illustrations projected on a screen at the back of the stage to set the scene. There are some creepy cool effects in this murder mystery, and a charming sled (scenic design by Lance Brockman). Amy B. Kaufman's period costumes are lovely, especially the hats worn by the would-be bride.

Despite the opening night set-backs, Sherlock Holmes and the Ice Palace Murders is a smart, funny, and entertaining mystery, with plenty of local references and jokes. The audience also seemed to enjoy the references to other Sherlock Holmes stories that I didn't get, not being a huge fan of the series. If you're a fan of Sherlock Holmes, or if you're looking for a light and fun summery mystery (set in the winter), you might want to check this one out (continuing through July 26).

 
Sherlock Holmes and the Ice Palace Murders from Park Square Theatre on Vimeo.