"Nina Simone: Four Women" at Pillsbury House Theatre

Nina Simone: Four Women premiered at Park Square Theatre in March of 2016 to great acclaim. It won a couple of Twin Cities Theater Blogger Awards, and was remounted the following year, when the world was a much different place than it was the previous year. It's now ten years after this play premiered, and the idea of arts as advocacy, which Nina Simone is such a great example of, is even more vital today. Rather than tell Nina's entire life story, playwright Christina Ham focuses this play on one moment in her life, when she wrote her first Civil Rights song, and pivoted from being just a singer of pretty songs, to using her voice to advocate for change. Pillsbury House + Theatre's new production reunites the director of the original production, former PHT Artistic Director Faye M. Price, the music director Sanford Moore, and three of the original four cast members. It's an inspirational story that reminds us that we all have a voice, and that art is, was, and always will be political. Don't miss the chance to see this powerful and moving locally created play with music, even more relevant now than when it premiered (continuing through September 27).

"Hungry Like the Wolf" at History Theatre

Hungry Like the Wolf, History Theatre's new play written by actor-turned-playwright Sandra Struthers (original cast-member of their smash hit musical Glensheen), is a delightful mash-up of so many ideas. Growing up in the '80s, a historic bank strike for equal pay, a Hollywood legend, domestic abuse, Duran Duran, and so much more. Sometimes when a play includes so many ideas, it can feel like it's trying to do too much, like some things are never fleshed out. But that is not the case here; this play succeeds brilliantly in weaving all these things together, using many different types of storytelling to great effect, in a wholly satisfying way. It achieved my favorite thing in any entertainment - it made me laugh, and it made me cry. And although much of it is set in the '70s and '80s, it speaks directly to today, when so many of us feel hopeless, when it feels like the fight for a better world will never end. It shows us that we've gotten through tough times before, and we will continue to do so, if we work together and stand up for what's right. But that sounds preachy, which this show definitely is not. It's messy and goofy and vulnerable and inspiring. It's a play that defies description and is its own thing, telling this story, these stories, in an inventive and innovative way. Head to downtown St. Paul now through April 12 to experience this mashup of history and present, pop culture and social justice.

"Magic Girl" by Emily Michaels King at Red Eye Theater

One year after multi-hyphenate #TCTheater artist Emily Michaels King's stunning solo piece Star Keeper, which I called "her greatest work yet," she returns to her 2019 Minnesota Fringe show Magic Girl, the show that she says "started it all." In some ways Magic Girl is a more innocent show than Star Keeper; she merely alludes to the childhood trauma that the latter show dives deep into. But we still see the bright bubbly child learn to hide her light in response to the darkness of the world, until she comes back again at the end. The show is funny, heart-breaking, relatable, and joyful, and will make you want to hug your inner child. As with all of Emily's work, the show is very thoughtfully constructed, very detailed, very carefully choreographed not just in the movement and dance but also in the structure of the show, including sound and lights (the former by Emily herself, the latter by Karin Olsen). The night I attended, there was a technical issue that stopped the show for several minutes near its conclusion, but when it resolved, she very gracefully brought us back to where we were and picked up where she left off. As an audience member, you feel safe in her hands, as she is in ours. Emily is truly a one-of-a-kind performer, so raw and vulnerable and honest and fearless. There's really no one like her. Just three more performances remain at Red Eye Theater!

"The Show" by E/D at Red Eye Theater

The uniquely special theater partnership known as E/D, comprised of Emily Michaels King and Debra Berger, is remounting their glorious pink explosion of a show entitled simply The Show. Originally scheduled for March 2020, The Show finally premiered in the fall of 2022. And now, two and a half years later, they're bringing it back. As they mention in the intro, a lot has happened in the last two and a half years. They're different, and we're different. The Show may be a little different, but it's pretty close to what I remember of the original, which is and "emotionally raw, thoughtfully executed, and completely engrossing show by two uniquely talented artists, who combine to form a whole greater than the sum of its parts." Read on for my review of the 2022 production (with some slight modifications), and then click here for all of the details and to purchase $20 tickets through April 5 only. I guarantee you will not see a more original Show this year.

"Hells Canyon" by Theater Mu at Jungle Theater

The world premiere new play Hells Canyon is a revenge fantasy, in which the revenge comes almost 140 years after the crime - the murder of 34 Chinese goldminers in Oregon. The spirits of the murder victims are restless, and use a group of friends having a fun getaway at a cabin to enact their revenge. It's modern dramedy-horror with social commentary, in the vein of Get Out. Horror isn't really my thing, but this play is thrilling. It'll make you laugh, and think, and feel, and maybe jump out of your seat a little. Theater Mu's production is brilliantly cast with an incredible design that pulls off some real scares, and it's a must-see, especially if you're a fan of the horror genre (and even if you're not). It plays at the Jungle Theater* Wednesdays through Sundays until March 17. 

"Three Decembers" by Skylark Opera Theatre at Jungle Theater

Skylark Opera Theatre is definitely my kind of opera. No offense to traditional opera with large casts in large venues sung in foreign languages. But the kind of opera that Skylark does - always sung in English, usually with smaller casts in smaller or non-traditional venues - is easier for me to connect with. For six performances only they're presenting the new (i.e., written this century) opera Three Decembers, with music by Jake Heggie and libretto by Gene Scheer based on a play by Terrence McNally. Just three performers accompanied by two pianos tell the intimate (and Mother's Day Weekend appropriate) story of a mother and her two adult children. She may not be the best mother, but she loves her children, she just may love the theater more (can you blame her?). I had an almost front row center seat for this gorgeous performance, feeling really connected to the story that's told so beautifully through words and music in the entirely sung-through show. The characters are singing their dialogue instead of speaking it, which only heightens the emotions of love, grief, frustration, disappointment, and betrayal. If you're someone who feels intimidated by opera, or isn't quite sure it's something you'd like, I encourage you to start with the accessible, intimate, English kind of opera that Skylark does (click here for info and tickets).

"Atacama" by Full Circle Theater at Park Square Theatre

Full Circle Theater Company, a new-ish #TCTheater company that "produces heartfelt, groundbreaking theater that artfully addresses issues of diversity and social justice for 21st century audiences," is producing a new play by California-based playwright Augusto Frederico Amador. I believe I attended a virtual reading of Atacama sometime in the last two years (it's all kind of a blur), and now it's taking the stage for nine performances only on Park Square Theatre. This two-hander examines the long-lasting and devastating of Chilean dictator Augusto Pinochet's 17-year reign, during which he executed thousands of citizens who disagreed with him. It's a timely piece, when violence and human rights violations are occurring around the world. 

"The Hollow" by Trademark Theater at the Tek Box

New #TCTheater company Trademark Theater's newest creation The Hollow defies categorization, defies description really. They call it "a concept album, performed live on stage, combined with movement," but that doesn't quite capture it. It's a dreamlike mesmerizing journey of music, dance, emotion. The 75 minutes fly by as you're swept up in this thoughtfully created piece. The music, the dance, the lighting, the costumes, the performances, all beautifully combine in this lovely, unique, and moving work of art.

"The Brothers Paranormal" by Theater Mu and Penumbra Theatre

For the first time in their long and celebrated histories, #TCTheater's African American and Asian American theaters (Penumbra and Mu) are joining forces in the regional premiere of the new play The Brothers Paranormal. In it, an African American couple hires two Thai brothers to investigate some mysterious happenings around their house. The result is a totally captivating thriller that also deals with some pretty serious issues surrounding culture and mental health. It's a play that's both wildly entertaining, and speaks to our world today in a meaningful and thought-provoking way. And as usual with these two theaters, the production is top notch, with an excellent cast and spot on design. Don't miss this historic and fantastic #TCTheater collaboration!

"Buyer and Cellar" presented by Hennepin Theatre Trust at New Century Theatre

Imagine being so wealthy and successful that you need to build a mall in your basement just to hold all of your excess stuff. Such is the situation that living legend of stage and screen Barbra Streisand has found herself in, as described in her 2010 book My Passion for Design. Playwright Jonathan Tolins has taken his fascination with this idea, and Barbra herself, and turned it into a successful Off-Broadway play Buyer and Cellar. Hennepin Theatre Trust has brought this delightfully amusing one-man show to Minneapolis, starring the uber-talented local theater artist Sasha Andreev and directed by acclaimed director Wendy Knox of Frank Theatre. The one-person cast and many-person creative team have come together to create a wonderfully entertaining evening of theater that is funny, fantastical, chock full of pop culture references, and surprisingly touching. Playing through April 24, you would be wise to pencil this one into your theater schedule.

"Yellow Fever" by Mu Performing Arts at the Guthrie Theater

Thirty years after its debut, Rick Shiomi's play Yellow Fever is being produced in the Guthrie Studio Theater, as part of Rick's final year as Artistic Director of Mu Performing Arts, one of the largest Asian-American theater companies in the country (the multi-talented Randy Reyes will be taking over as Artistic Director at the end of this season). Yellow Fever is part classic noir detective story, and part exploration of racism in Canada a few decades after the internment of Japanese-Canadians during World War II. It's like a Japanese-Canadian version of Guy Noir, Private Eye, but with more serious undertones behind the mystery, drama, and romance. And like many crime/mystery TV shows, the actual mystery is less interesting than how the characters go about solving it and their interaction along the way, as well as the implications of the truth that eventually comes out.

The setting: March 1973, Powell Street in Vancouver. Sam Shikaze, P.I., is the main character and narrator of this tale - divorced, middle-aged, a loner and workaholic. He spends most of his time in his shabby office, helping out the locals, and in Rosie's tea shop. When the newly crowned Cherry Blossom Queen is kidnapped, he's on the case, and soon learns that it's more than just a simple kidnapping. Helping him out is his old buddy Chuck Chan, a suave downtown lawyer in beautiful suits, and spunky reporter Nancy Wing. Sam's frenemy, police Captain Kadota (Sam flunked out of the academy and stayed in the neighborhood, while Kadota moved out and up) and a couple of crooked cops complete the characters in this distinctly drawn universe.

Sam Shikaze, P.I. (Kurt Kwan) with
girl reporter Nancy Wing (Sara Ochs)

This strong cast is led by Kurt Kwan, who perfectly portrays the classic noir detective in all his world-weariness. Sara Ochs is delightful as Nancy, a strong independent woman who tries to break through Sam's tough veneer, and Alex Galick is charming as the smooth player Chuck. Wade A. Vaughn, star of last year's Ivey-winning Compleat Female Stage Beauty, is completely unrecognizable as the elderly Japanese expert Goldberg. But as Superintendent Jameson, leader of the Sons of the Western Guard (Canada's version of the KKK), he has that familiar compelling stage presence.

The set (by Joseph Stanley) and lighting (by Karin Olson) do wonders in creating the 1970s noir feeling. Sam's sparse office is detailed and authentic, and Rosie's tea shop looks homey and comforting. Lighting changes signify time of day or mood, whether it's streetlights shining through the blinds, or the lowered lighting every time Sam does his noir-ish narration.

Yellow Fever works on several levels - as an entertaining homage to noir detective stories of old, complete with clever witty lines and those classic characters. But it also explores the effects of Japanese interment that wasn't that long ago in our history, and extended beyond the U.S. to our neighbors in the north (a fact previously unbeknownst to me). It's what Mu does best - Asian-American (or Canadian, in this case) theater that appeals to everyone because it's really about our shared history and experience. There are many reasons to go to the Guthrie right now, and Yellow Fever is one of them.