"My Mother Has 4 Noses" at the Jungle Theater

Jonatha Brooke took care of her aging mother, suffering from dementia, for the last two years of her life. And because she's a singer/songwriter, she wrote some songs about it. And then she wrote some stories about it. And prompted by an idea from her mother, herself an artist, she wove these stories and songs into a one-woman show called My Mother Has 4 Noses. First performed off-Broadway in 2014, just two years after her mother's death, Jonatha now brings it to the Jungle Theater in Minneapolis. Everyone who has ever had a mother should go see this show. It's a funny, painful, moving, beautiful story of love, brilliantly and very personally told by the woman who lived it. Theater doesn't get much more real than this.

"Playlabs" at The Playwrights' Center

It's late October in Minnesota, and that must mean it's time for... Playlabs at the Playwrights' Center (you thought I was going to say Halloween, didn't you). In this week-long festival, three of PWC's core writers have the opportunity to work with a group of actors, a director, a dramaturg, and sometimes a designer on a new work. With just a few days of rehearsals, the plays receive two public readings, often with much rewriting between the two. This year I attended the final readings of all three plays, and was once again blown away by the creativity, thoughtfulness, and innovation of playwrights, as well as the talents of actors (many from the #TCTheater scene) in bringing these plays to life, even while standing in one place reading from a script.

A Reading of "Minneapolis/St. Paul" at the Playwrights' Center

"Now in its 12th year, the Ruth Easton New Play Series gives selected Core Writers 20 hours with collaborators to workshop their script—to write, rewrite, experiment, and shape their work. For playwrights, this means great leaps forward for their plays. For audiences, this means a thrilling and intimate night of theater."

The Ruth Easton Series concludes at the Playwrights' Center tonight, and I was fortunate to attend all five new play readings in the season. The final reading is a full circle moment for this theater blogger - the very first reading I attended at PWC was a reading of core writer Lee Blessing's Minneapolis/St. Paul, which the Twin Cities Theater Bloggers were invited to attend and discuss with the playwright. It's hard to believe that was less than a year ago, and since then I've attended as many readings as I am able to. As Lee himself said in an interview, "There's no more useful tool a playwright has to improve a play than the chance to watch it presented to an audience of willing victims." Consider me a very willing victim for this sort of experiment. It's been so much fun to experience these five plays in development (see also December's Wink by Jen Silverman, January's queens by Martyna Majok, February's Eden Prairie 1971 by Mat Smart, and January's The Sea at the Stars by Harrison David Rivers). If you've never been to a reading at the Playwrights' Center, I highly encourage you to pay them a visit and be a part of the great work they're doing in their 45th season.

A Reading of "Wink" at The Playwrights' Center

"Now in its 12th year, the Ruth Easton New Play Series gives selected Core Writers 20 hours with collaborators to workshop their script—to write, rewrite, experiment, and shape their work. For playwrights, this means great leaps forward for their plays. For audiences, this means a thrilling and intimate night of theater."

And that it is! I attended the second reading of the new play Wink by New York-based Jen Silverman at the Playwrights' Center. It's so much fun to be part of the play development process and get a peek inside what it takes to get a play on the stage. Here's a description of the play:

"Le Switch" at the Jungle Theater

Two years ago I saw Philip Dawkins' one-act play Failure: A Love Story at the Minnesota Fringe Festival, and it was one of my favorite things I've ever seen at the Fringe. In fact I called it "everything I want in theater," a perfect blend of comedy and tragedy, with tons of heart (and it made me cry perhaps more than any other theater I've seen). At the time I didn't know who Philip Dawkins was, but now I know he's a Chicago-based playwright who is a core writer with the Playwrights' Center in Minneapolis. His name has come up again recently when his new play Charm (also a mix of comedy and tragedy with heart) was produced at Mixed Blood earlier this year. And now comes Le Switch, developed at the Playwrights' Center and having a rolling world premiere this year, including at the Jungle Theater. I'm happy to report that like Failure, it gave me all of the feels (although I only shed a few tears, not buckets, probably because there are no animals in this one). Like Failure, Le Switch is a funny and beautiful love story, but not just a romantic love story (although there is that, and a wonderful one). It's also a love story between a brother and a sister who are each other's only family; a love story between childhood best friends who, despite their differences, still love and support each other unconditionally; a love story between the main character and a man who was more of a father to him than his biological father ever was or could be. It's a fantastic new play and I'm excited to see where it goes next.

"Lullaby" by Theater Latte Da at the Ritz Theater

2015 was my 5th full year as a Twin Cities Theater Blogger, and I saw a record high 200+ shows. When I look at those numbers, or at my busy schedule, I sometimes think, why do I do this? Why do I devote all of my free time to this part-time job for which I don't get paid? And then I see a show that reminds me why I do this. That reminds me why I started going to theater, why I started writing about theater, why I think theater (and specifically music-theater) is the most beautiful and powerful art form we have. Lullaby is one such show. This new original play-with-music is everything I want music-theater to be: funny, smart, relevant, relatable, moving, poignant, with awesome songs and a brilliant cast and creative team pouring their heart and souls into the work. This is the first of 20 new works of "theater musically" that Theater Latte Da has committed to developing by 2020 in a project they're calling "Next 20/20.*" It's an exciting thing to create the future of music-theater, and Lullaby has set the bar high for this project.