"Scapin" by Ten Thousand Things

This spring, Michelle Hensley left the company she founded 25+ years ago, Ten Thousand Things, through which she nurtured a new kind of theater. The kind of theater that thinks first about the audience, makes the storytelling accessible to everyone, and brings theater to people who may never have experienced it before. I think we were all a little worried about the future of TTT without their esteemed leader, but never fear. Michelle has taught us well, and left the company in great hands - those of new Artistic Director Marcela Lorca, as well as adapter/director of the first post-MH show, Randy Reyes. This fun and wacky adaptation of the Moliere comedy Scapin is very TTT, and an absolute delight. Long live Ten Thousand Things!

"Hand to God" at Jungle Theater

Hand to God is a little like Avenue Q, but with less singing, more frequent cursing, and more graphic simulated puppet sex. The 2015 Tony nominee for best play is having its regional premiere in a fantastic production at Jungle Theater, and if you don't mind being a little uncomfortable at the theater (you shouldn't, it's good for you), it's well worth braving the construction, traffic, and parking headaches that come with a trip to Uptown to see this funny, irreverent, and sad little play.

"A Christmas Carol" at the Guthrie Theater

One of my favorite #TCTheater holiday* traditions is the Guthrie Theater's annual production of Charles Dickens' classic A Christmas Carol. Now in my 15th year as a Guthrie season subscriber, I've only missed it a couple of times in that span. As I wrote last year, "I never tire of seeing it, because Charles Dickens' story of redemption, community, family, and human kindness never gets old. It's a beautiful and necessary thing to be reminded that what brings us together is greater than what drives us apart.' That it's never too late to change, to grow, to become a kinder and more generous person." This timeless story of generosity, gratitude, compassion, and kindness is something we need to cling to, perhaps now more than ever.

"Intimate Apparel" by Ten Thousand Things at Minnesota Opera Center

I saw recent two-time Pulitzer Prize winner Lynn Nottage's play Intimate Apparel at the Guthrie almost 12 years ago. I usually don't remember anything about shows that I saw before I started blogging in 2010 (that's why I started blogging, to keep a record of my theater experiences), but I clearly remember loving this play. I even remember the basic plot, although not a lot of details. But what I remember most clearly is that feeling you get when you see a play that really touches you, really gets under your skin, and stays with you - even for 12 years. Last weekend I saw Ten Thousand Things' new production of Intimate Apparel, and now I remember why I love this play so much. It's a beautiful story of a woman discovering her strength through friendships, a failed relationship, and her own sense of self-worth. And as always, Ten Thousand Things brings us the truest version of the story, with little in the way of sets, lighting, or other theater magic to get in the way. Along with beautifully real acting, clear direction, and an intimacy with the story that only the specific TTT "all the lights on" up-close-and-personal style can bring, this Intimate Apparel is one I will remember.

"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.

"A Christmas Carol" at the Guthrie Theater

A rich, greedy, selfish old man with no regard for his fellow human beings, especially those that are different from him, that are suffering, that could benefit from a little kindness. Why is it that the story of Ebeneezer Scrooge seems so familiar? It must be because this is my 11th time seeing The Guthrie Theater's gorgeous, lively, and warm-hearted production of A Christmas Carol. And I never tire of seeing it, because Charles Dickens' story of redemption, community, family, and human kindness never gets old. It's a beautiful and necessary thing to be reminded that "what brings us together is greater than what drives us apart." That it's never too late to change, to grow, to become a kinder and more generous person. In today's current environment when there's so much division among us, so much violence and ugliness, A Christmas Carol shows us how good humanity can be.

"Sense and Sensibility" at the Guthrie Theater

The Guthrie's 2016-2017 season marks my 14th season as a subscriber, and I'm still just as excited as I ever was to walk into that big beautiful building on the river. In fact, more than excited, it feels like home. It's my happy place (especially when preceded by dinner at my favorite restaurant, Spoonriver). I've always been a fan of the Guthrie, but there's a new excitement in the air. It's the second season for new Artistic Director Joseph Haj (who recently accepted the Ivey for the ensemble of Trouble in Mind), and you can already see the changes, specifically in a greater commitment to new works and greater diversity onstage and behind the scenes. The first play in the new season is a wonderful example of that. While Jane Austen's beloved novel Sense and Sensibility is over 200 years old, this is a brand new adaptation that tells the story with a freshness and drive that makes it feel new. And by the way, the playwright is a woman, a young woman, an actress, who played the role of Marianne in her adaptation off Broadway. The Guthrie's production is directed by a woman (Sarah Rasmussen, herself an exciting new Artistic Director over at the Jungle), with scenic and costume design by a woman, and featuring a cast that is two-thirds women and ethnically diverse. That is reason for excitement indeed, especially when the end product is this delightful.

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

A few weeks ago, the Twin Cities Theater Bloggers (TCTB) were invited to attend a reading of a new play by Lee Blessing at the Playwrights' Center. The reading was open to the public, but the bloggers were invited by Marketing Manager Jessica Franken to attend and have a private conversation with the playwright after the reading. Our first official event as a group, it was an incredible opportunity to learn more about what the Playwrights' Center does, experience a fantastic new play still in development, and talk with a playwright about what we all love best - theater. We have another TCTB event coming up at Park Square Theatre, a pre- and post-show discussion at the Sunday matinee of Calendar Girls on June 26 (more details on that coming soon). As a group, one of the things we hope to do is increase connection among the theater-going audience, with each other and with theater-makers. We look forward to partnering with more theaters in the future as we work towards this goal (send us a message at our Facebook page or email me if you'd like to learn more).

"Trouble in Mind" at the Guthrie Theater

Friends, something exciting is going on at the Guthrie Theater. In the wake of (not unjustified) criticism about their lack of diversity onstage and backstage, they are currently presenting a 60-year-old play written by Alice Childress, one of the most important female African-American playwrights of the 20th Century, and directed by Valerie Curtis-Newton, the first African-American woman to ever direct on a Guthrie mainstage. And I'm happy to report that Trouble in Mind succeeds on so many levels. First of all, it's hilarious, engaging, and entertaining, and offers a behind the scenes look at the theater world we love so well. But more importantly, it talks about racism, sexism, classism, ageism in a smart and nuanced way that has as much resonance in today's world as it did in the 1950s NYC theater world depicted in the play. I was fortunate enough to attend on a night when there was a post-show discussion with the cast, which just made the experience that much richer. The best and most important work of theater is to start conversations about the world we live in, give voice to everyone's stories, and in doing so help us to better understand our fellow human beings. Trouble in Mind, and the conversations it will hopefully spark amongst its audience, is a fantastic example of that.

"Dear World" by Ten Thousand Things at Open Book

I consider myself a fan of musicals (although perhaps not quite an expert), but I had never heard of the 1969 musical Dear World that won Angela Lansbury her second Tony. It has certainly not seen the success of composer/lyricist Jerry Herman's other works, which include La Cage aux Folles and Hello, Dolly! That's hard to comprehend after seeing Ten Thousand Things' new production of Dear World, which reveals it to be a perfectly charming and lovely musical. But then, Ten Thousand Things productions have a tendency to reduce any work of theater, from Shakespeare to a Broadway musical flop, to it's most perfect, accessible, relatable heart. Under the direction of Jungle Theater's new Artistic Director Sarah Rasmussen, with one-man orchestra Peter Vitale and a beautifully diverse eight-person cast, Dear World is a musical that's sweet, funny, hopeful, and just a little bit wacky.

"A Christmas Carol" at the Guthrie Theater and Lyric Arts

Charles Dickens' novella A Christmas Carol has become a staple of holiday traditions. It shouldn't be surprising, then, that this classic story can currently be seen on multiple stages* in the Twin Cities. The biggest of these is the Guthrie Theater; this is the 40th year that the Guthrie has produced A Christmas Carol (I have seen one quarter of those productions). I think it's safe to say this is one of their most popular shows every year, with many families incorporating it into their annual traditions. Lyric Arts is also producing the show on their Main Street Stage in Anoka. I was lucky enough to see these two different interpretations of this classic story on back-to-back nights. And while I do have a clear favorite between the two, it's really unfair to compare them too closely. Both are entertaining and creative interpretations of Charles Dickens' heartwarming story about the rich-in-money poor-in-friends businessman who learns through the visitation of four ghosts that it's better to be kind than rich.

The Guthrie Theater

If you've seen the Guthrie's A Christmas Carol in the last few years, it's pretty much the same show. But that's not a bad thing. It's familiar, warm, and comforting, like your favorite holiday dish shared with your family. Joe Chvala returns as director and choreographer, which means there are many fun dance scenes, including one of my favorites - the Fezziwig party scene. Also returning are Mathew J. LeVebre's gorgeous Victorian costumes, Walt Spangler's elaborate moving set, and lovely renditions of traditional Christmas carols. It all looks and feels like a traditional Victorian Christmas card come to life before your very eyes.

Even though it's basically the same show every year, there are a few tweaks and cast changes to keep it interesting. One of my friends asked me what's new with the show this year, and I responded: Tyler Michaels. The My Fair Lady scene stealer makes his Christmas Carol debut in a few small but fun roles. Joel Liestman is also a newcomer to the show as the Ghost of Christmas Present, with a big booming voice both laughing and singing. Making their welcome Guthrie debuts are the charismatic Bear Brummel as Scrooge's nephew and an appealing Zach Keenan as young Scrooge. Peggy O'Connell returns to the show after a long absence as Mrs. Fezziwig, with an impish grin and sprightly spirit. Most of the rest of the cast will be familiar to those of us who've seen the show recently, which is actually a very good thing. I love seeing this beloved stage filled with so many familiar and beloved faces. There's J.C Cutler as Scrooge, making a delightful and believable transformation from grumpy to giddy; Kris L. Nelson as his beleaguered clerk Bob Cratchit, who still manages to find interesting and surprising moments after many years of playing the role; Virginia S. Burke as his devoted wife and mother to a passel of children; Angela Timberman, hilarious as ever as the drunken Merriweather; Jay Albright hamming it up in the best possible way as Mr. Fezziwig; and Tracey Maloney floating across the stage in a swirl of skirts as the Ghost of Christmas Past. This is the first time I recall young Marley and ghost Marley being played by the same actor, which is kind of genius, especially when you have a versatile actor like Robert O. Berdahl who can play the creepy ghost version as well as the living but still disagreeable version. The rest of the big Guthrie stage is filled with children and adults in all kinds of roles, over 40 people passing through that stage - so much going on and so much fun to watch.

After 40 years, the Guthrie has A Christmas Carol down to a science, with many intricate pieces - sets, costumes, music, dance, and story - all working together flawlessly. In short, if this doesn't warm the cockles of your heart, then you really are a Scrooge. It's truly the feel-goodiest of feel-good shows, and who doesn't need that at this busy and stressful time of year? Head to the big blue building on the Mississippi between now and December 28 to experience this holiday goodness.

Lyric Arts

Unlike the Guthrie, Lyric Arts does not have a 40-year tradition of producing A Christmas Carol, but this year is producing a steampunk version of the classic. What is steampunk you might ask? It seems to involve a lot of gears and machinery and clockwork. And it makes for a darker, grittier, more sinister Dickensian world (although with some silly humorous moments that don't quite match the overall tone). Working from an adaptation by Michael Wilson that focuses more on the ghost aspect of the story, director Daniel Ellis and his team have created a version of A Christmas Carol that's spooky, wacky, and fun to look at, but not as warm-hearted as other versions.

There are some familiar things about this version, including a crotchety Ebeneezer Scrooge (an effective Richard Brandt) and a chorus of children, although they're a little dirtier and more ragged in this version. The Ghosts of Christmas Past, Present, and Future are played by the same actors as play people Scrooge encounters in his waking life, people who owe him money, which makes the ghostly visitations seem more like a dream (like Dorothy dreaming that the farmhands are the Scarecrow, the Tin Man, and the Cowardly Lion). The ghosts all have elements of steampunk, particularly the Ghost of Christmas Past - a life-size windup mechanical doll (Christy Nix does a great job with the mechanical movements). The steampunk element is also brought in with the silent chorus of three women and a man in top hat who dance across the stage in a mechanical robot sort of way (choreography by Hannah Weinberg). The set and costumes are really quite cool and pull off the steampunk look in a way that's fun and interesting to look at (set by Sadie Ward and costumes by Stephanie Mueller).

Lyric Arts' A Christmas Carol is a little bizarre and unexpected, especially seen right after the Guthrie's familiar version. It feels a little like that nightmare you might have from a bit of undigested beef or uncooked potato. But the steampunk ghost angle is an interesting one, and this story is so rich there's room for many versions (playing weekends through December 21).

So there you have it - two very different versions of this beloved classic story. One traditional and heart-warming, the other new and steampunk. Take your pick.


*In addition to the above two productions, versions of A Christmas Carol can also be seen at East Ridge High School in Woodbury and Chaska High School. If you know of any other local productions, please comment below.


This article also appears on Broadway World Minneapolis.

"Drunken City" by Dark & Stormy Productions at the Lyric at Carleton Place

New theater company Dark & Stormy Productions is really hitting their stride; they've become one of those theater companies that I rely on to never let me down. Their fourth production in just under two years continues their tradition of short, intense, real, small-cast, smartly written plays in unusual locations. Drunken City (written by Adam Bock, the same playwright as their last show, the hilarious dark comedy The Receptionist) introduces us to three recently engaged girlfriends out for a wild night in the city. The seemingly innocent good time turns into more as the three women, and the men that they meet, ponder life and relationships, and whether or not they are where they want to be in both. Spend 75 minutes with this fantastic cast (directed by Associate Artistic Director Bill McCallum, who's more often seen on stage) for a fun, entertaining, and surprisingly deep night at the theater.

As they explain to the audience in the opening scene of the play, Marnie (Sara Marsh, founder and Artistic Director), Linda (Tracey Maloney), and Melissa (Adelin Phelps) have all recently gotten engaged. They have a history of destructive nights of drinking "in the city" (Linda drinks too much), but that doesn't stop them from going back again to celebrate Marnie's bachelorette party. They predictably drink too much (Linda couldn't resist the pretty pink drinks) and run into a couple of guys from their town, Eddie (Paul de Cordova) and Frank (Kris L. Nelson). Marnie promptly begins kissing Frank, much to her friends' dismay. Marnie's not sure she wants to get married after all, and Melissa and Linda have their own reasons for insisting that she does, reasons that are more about them and their insecurities than they are about Marnie and what's right for her. The girls call their reliable friend Bob (Benjamin McGovern) to come and help them get Marnie home and away from Frank. As the six characters wander through the streets of the drunken city, we learn a little about each of them in conversations and short monologues. This is where the surprisingly deep part comes in, as their hopes, fears, and dreams about their lives and relationships echo our own.

a drunken night in the city (photo by Heidi Bohnenkamp)

It's truly a joy to watch this cast perform this smart and funny play, playing characters that seem familiar from our own lives. They're all so wonderful and funny, partly because most of them play drunk for most of the play, and do it well. But also because they bring depth to these characters and make them more than what they first appear - Sara as the runaway bride in over her head, Tracey as the woman who drinks too much to mask her deep fears about life, Adelin as the tough-talking friend who insists that Marnie's marriage work out because hers didn't, Kris as the sad-sack Frank who so sweetly listens to Marnie, Paul as Frank's hilariously mumbling friend Eddie, and Benjamin as everyone's best friend who opens up and learns a thing or two about love. All of these characters are changed by this one drunken night, for better or worse.

The play takes place in a cool, modern, brightly-colored theater space in the Lyric at Carleton Place, a new apartment complex on University in St. Paul (with free parking across the street). Make a date to spend a night with these six friends before the party ends on June 7 (drunkenness optional).

"Othello" at the Guthrie Theater

Shakespeare's Othello, now playing at the Guthrie Theater, is billed as "an astonishing epic of sweeping passions and murderous ambition – a thrilling meditation on the power of love and the destructiveness of suspicion, all triggered by one of literature’s most seductively manipulative villains." It's the kind of Shakespeare play where half of the characters end up dead in the epic final scene, a delicious drama. Unfortunately it also requires a level of focus and concentration that I did not have after too many late nights out at the theater; the three-hour running time was just too much for me. But I was still able to appreciate that it's a beautiful production with marvelous performances by the large cast of Guthrie favorites.

The basic plot of the play is this: Iago hates Othello, his superior in the Venetian army, and plots to bring him down. This plot involves making him think that his new wife Desdemona is having an affair with his lieutenant Cassio. The plot succeeds, in a way, but Iago is not left unscathed.

Some thoughts on the show:

• I didn't understand why Iago hates Othello so much, or why Othello so gullibly believes Iago when he tells him Desdemona is cheating on him. It's like on Survivor when one tribemate tells another that someone wants them out, and they believe it when it's so obviously a manipulative lie. (Yes, I just compared Shakespeare to Survivor, my apologies.)
• I've recently been watching the Netflix series House of Cards, and couldn't help but be reminded of Kevin Spacey's slimy manipulative politician when watching the lengths Iago goes to and the many people he manipulates to get back at Othello.
• The costumes by ESOSA (aka Project Runway contestant and Tony-nominated designer Emilio Sosa) are gorgeous, especially Desdemona's parade of dresses that would make Queen Marjaery jealous. Emilia's bold orange gown is also stunning, as are the men's multi-layered costumes. And the wigs are really nice as well.
• The fight scenes are great fun to watch, and also frightening as they often end in tragedy.
• Every member of this huge cast of Guthrie favorites does a wonderful job with whatever role they're given, large or small. Stephen Yoakam is deliciously dark and evil as Iago; Peter Macon (who I so clearly remember kneeling with blood streaming from his eyes in Oedipus) has a beautiful commanding voice, and plays the range from giddy in love to devastated and rageful; John Catron is the charming Cassio with another great drunken scene; the three women in the cast - Tracey Maloney as Desdemona, Regina Marie Williams as Iago's wife and Desdemona's lady-in-waiting, and Sun Mee Chomet as the courtesan in love with Cassio - are all wonderful; Kris L. Nelson provides some comic relief as Iago's pawn Roderigo who's in love with Desdemona (fun fact: he's married to her in real life!).

Othello, playing now through April 20, is worth seeing for this wonderful cast directed by the always great Marion McClinton. But if, like me, you are not a Shakespeare expert, I recommend you read a plot summary before you go (you can do that here), and if, like me, you are not a night person, consider seeing a matinee and/or getting a good night's sleep before seeing the show.

"Pride and Prejudice" at the Guthrie Theater

Pride and Prejudice is the final production in the Guthrie's 50th anniversary season, and my tenth season as a subscriber. It's also the first repeated show in that 10 years (not counting the annual production of A Christmas Carol). Pride and Prejudice was the first production in my first season as a subscriber in the summer of 2003 (that has a nice symmetry to it, doesn't it?). It almost didn't work out that way - when the season was announced last year, the final show was Born Yesterday. Earlier this year the decision was made to move that show to this winter, with Pride and Prejudice replacing it. Which I imagine caused a bit of a ruckus, getting all the required ducks in a row for this scale of a production on a shortened timeline, including a last-minute actor change. You wouldn't know it, as this is a gorgeous production, impeccably cast, and a charming rendition of a classic literary love story.

Jane Austin's most popular novel centers on the Bennet family in early 19th century England - five daughters of marriageable age, an exasperated father, and a mother whose only goal is to see her daughters married and taken care of, since none of them can inherit their father's estate under English law. Wealthy gentlemen arrive in the country, and the Bennets are all aflutter. Balls, witty repartee, misunderstandings, scandals, and reconciliations continue for two hours, in a story I'm sure most of you are familiar with (if not - see Wiki). This adaptation by Simon Reade (a different one than they used 10 years ago) stays pretty faithful to the story as I remember it, condensing it nicely for the stage and keeping much of Austin's prose in the form of letters that are read by both the sender and recipient.

Ashley Rose Montondo
and Vincent Kartheiser
as Elizabeth and Darcy

The Guthrie has assembled an excellent cast of familiar faces and new, beginning with Ashley Rose Montondo as our heroine, the smart and spirited Elizabeth. Ashley was a last-minute replacement, stepping in just a month before previews began, and a fortunate one at that. She is so natural and charismatic as Lizzie; it's a star-making turn for someone with a relatively short bio (it's worth noting that Ashley, along with five other cast-members, is a product of the U of M/Guthrie BFA program). As her Darcy, Minnesota-actor-turned-TV-star Vincent Kartheiser* is initially stoic, disagreeable, and cold - as Darcy should be (he is the "pride" in Pride and Prejudice). But as he shows his softer side, Elizabeth warms to him, and so do we (it's lovely to see a natural smile on Vincent's face, something his Mad Men character never quite manages). They make quite a charming pair, and it's easy to root for and celebrate their happiness when it comes at long last. All of the Bennet sisters are perfectly cast, from Christine Weber as the eldest, the sweet and beautiful Jane, to Thallis Santesteban as the amusingly bookish Mary, to Aeysha Kinnenun, stealing scenes as the young and flighty Lydia. Completing the family, Mr. and Mrs. Bennet are played by the appropriately frazzled Peter Thomson and ridiculously silly Suzanne Warmanen. Kris Nelson is excellent as always as the quite creepy Mr. Collins (showing quite the range from his last role - the creepy-in-a-different-way Stanley Kowalski). Hugh Kennedy is charming as always as the good Mr. Bingley, and Anna Sundberg does haughty privilege well as his sister. Last but not least, Sally Wingert has a couple of nice turns as two completely different aunts - the girls' friendly aunt and Darcy's hilariously stern aunt.

The set is dominated by a gorgeous and fascinating moving showpiece (set design by Alexander Dodge). The floor of the thrust stage is cut into concentric circles that rotate in opposite direction, the outer supporting a set of huge stately white columns, the inner a wall with three glass doors. As the circles spin in opposite directions, the set pieces are arranged in seemingly infinite combinations to represent various indoor and outdoor settings. The stairs around the familiar thrust stage are covered with green grass, with green topiary adorning the back of the stage. The only downfall of this relatively simple set is that it's difficult to see the difference between the Bennet's modest home and the more extravagant homes of the Darcys and Bingleys, but that's what the imagination is for. The costumes, hair, make-up, etc. are of course stunning; I expect no less at the Guthrie. Adding a little visual action to the drama, Joe Chvala has choreographed some charming English country dances. I was particularly impressed that Darcy and Elizabeth carry on a complete conversation while effortlessly performing the steps of an intricate dance.

Pride and Prejudice is a great choice to close the Guthrie's landmark season. A classic and well-loved story; a cast that features Guthrie vets, new young local talent, and one of Minnesota's famous sons; and gorgeous production values. I found it to be quite charming.




*I have to admit, when Vincent Kartheiser was announced as Mr. Darcy, I was very excited. You see, before I was a theater junkie, I was a TV junkie, and I still am. I believe Man Men to be the highest form of the art that television can be. And I love it when my fellow Minnesotans make it big on the national scene and then come home to share their gifts. I met Vincent a few weeks ago at the Guthrie's 50th Anniversary Gala and made a blithering idiot of myself, so in shock I was to see him live and in person instead of on my TV screen in 60s period garb. It took a minute to get used to him in a different role, but I saw no traces of Pete Campbell in Mr. Darcy. He's in a position of success where he has many choices before him, and the fact that he chose to do a play in his hometown is a pretty cool thing.

"A Streetcar Named Desire" by Ten Thousand Things at Minnesota Opera Center

Ten Thousand Things does theater like no other company I've seen, and Tennessee Williams wrote some of the best American plays of the 20th Century - full of drama and tragedy and beautifully written characters. Combine these two powerhouses and you have a pretty remarkable experience at the theater. A Streetcar Named Desire is one of Williams' best-known plays and deals with complex issues of family relationships, spousal abuse, rape, poverty, and mental illness. My first introduction to the work was a beautiful production at the Guthrie three years ago, a memory I try to hold on to in an attempt to displace the memory of last year's unfortunate Broadway production, which had audiences laughing at inappropriate moments. It was like Streetcar, the Comedy, and it was not good. The concept was a good one - an ethnically diverse cast - but the tone of the production was much too light. I thought perhaps it was also due to the unsophisticated audience that the TV actors on stage brought in, but I've learned from Ten Thousand Things that it doesn't matter if an audience member has never seen a play before in their life, or has seen hundreds. If you do it right - they'll get it. In addition to performing for the typical theater-goer like myself, TTT takes their shows into prisons, homeless shelter, schools, and community centers in an effort to bring theater to a wider audience. And they have a really wonderful and unique way of stripping the work down to the essentials and presenting it in a way that anyone can relate to, regardless of prior theater experience. They've done that with Streetcar, and the result is a brutally real and emotionally affecting two hours that's at times difficult to endure. Seeing Williams' tragic story so up close and personal is almost too much to bear. In other words - they did it right.

Austene Van as Blanche

This production of Streetcar focuses on the four main characters and removes several minor characters that don't factor into the main plot. The play begins with Blanche visiting her sister Stella and her husband Stanley in New Orleans. Blanche and Stella grew up in a wealthy Southern family, but hard times have caused Blanche to lose the home place, while Stella and Stanley live in two small modest rooms. Blanche is high-strung, to put it mildly. She takes long baths and drinks to calm her nerves, and can't possibly speak about the troubles in her past. She's a woman who's all about appearances; if things look pretty and put together, then everything must be all right. Reality is much too harsh for the world that Blanche lives in. Her young husband died tragically years ago, which, along with her family's financial hardship and the deaths of her parents, sent her on a downward spiral. No where else to go, she lands with her sister, with a trunk full of pretty clothes, fur, and jewelry, mementos of her past. Blanche finds companionship with Stanley's buddy Mitch; they're two lonely people who need someone. It's the beginning of what seems like could be a quiet, simple love, as opposed to Stella and Stanley's passionate but abusive love. Stanley is suspicious of Blanche and thinks that she's holding something back. He learns some gossip about her and uses it against her. In the end, Stella must choose between her husband and her sister. It's a tragic story with no happy endings.

Stella (Elizabeth Grullon) and
Stanley (Kris Nelson)

This fantastic four-person cast is directed by the equally fantastic Randy Reyes. All of these characters are interesting and complex, but none more so than Blanche, and Austene Van plays every layer. Blanche becomes more and more unhinged as the play goes on, and by the end, her eyes are just vacant; she's gone. Elizabeth Grullon is also great as Stella, always hot and frazzled and wanting to believe in her husband and sister both, until she has to make the terrible choice. Kris Nelson may not look like the Stanley Kowalski type, but he's got that sinister attitude in every word and look. He's one of my favorite local actors and usually has this great positive energy, but in this case he's turned that energy much darker in an almost scarily realistic way. Rounding out the cast is Kurt Kwan as the sweet and charming Mitch. All four of these actors have great chemistry with each other and play well together.

This is a fairly elaborate set by Ten Thousand Things standards. In case you've never seen a TTT show before, they create a "stage" by placing a few rows of chairs in a square. The space in the middle is where the story takes place, but it also spills outside the square as the fully lit room allows you to follow the actors as they leave the space. Dean Holzman has effectively transformed this empty square into the two rooms, with an imaginary curtain separating the tiny bed in one corner from the kitchen table in the other. Peter Vitale adds a soundtrack to the play, adding in jazz music playing on the radio or creepy carnival music when Blanche remembers her difficult past.

The last several shows that TTT has done have been on the more light-hearted side, which allowed the cast to play with the audience a little. But not so with Streetcar. The actors keep the intensity of the story and reside in the world they create, as if the audience isn't even there. Not since Doubt two years ago (also starring Kris Nelson) have they tackled such a serious drama. As always, I highly recommend that you go see it. I went with a friend who had never seen TTT before, and we're already talking about getting season passes next season (which includes A Midsummer Night's Dream, The Music Man, and a new play by Kira Obolensky). Warning: the kind of real, raw, intimate theater that Ten Thousand Things does can be addictive.

"Speed-the-Plow" by Dark & Stormy Productions at the Miller Bag Building

the playbill for Speed-the-Plow, constructed
as a movie script with typewriter font
and brass fasteners holding it together

Today is Oscar Sunday, the day when we celebrate the best that Hollywood has to offer. It's entirely appropriate, then, that last night I saw the David Mamet play Speed-the-Plow*, about the inner workings of a Hollywood studio and how one movie gets made instead of another. It's a rather cynical look at the movie business; the characters care most about making money. Judging from what's playing at my local cineplex, it's not entirely inaccurate. But with such small indie films as Amour and Beasts of the Southern Wild on the Best Picture list alongside blockbusters Django Unchained and Lincoln, it seems there is a way for smaller (radiation) films to get made and appreciated. But not in the world of Speed-the-Plow, where a newly promoted studio executive has to decide between a sure money-maker, pitched by his longtime coworker and friend, and an artsy book about the end of the world, brought to him by a naive young woman who may have ulterior motives. It's smart, funny, and fast, and a great choice for Oscar weekend.

The new theater company Dark & Stormy Productions is again staging a theater production in a non-traditional setting, i.e., not an actual theater. Last summer they staged Outside Providence, a trio of short plays, in an office building in downtown Minneapolis. The location for this production is a building in Northeast Minneapolis. It looks like a cool office space, entirely appropriate for this play that takes place in a movie studio office. Also like Outside Providence, there are multiple staging areas, with the action moving to a new location in the space for the second act, and the audience following along. It's a fun change of pace from the usual theater where you sit in your seat in the dark for two hours. I also appreciated the high stools in the second row which provided a great view without having to see around someone's head.

Karen (Sara Marsh) makes her pitch
to Bobby (Bill McCallum)

The play begins in the office of Bobby Gould, sitting at a desk filled with movie scripts (the playbill itself looks like a movie script, a nice touch). In walks Charlie Fox to hand him a sure blockbuster with a big movie star. The two agree to share producing credits, a huge career boost for Charlie. Bobby will pitch it to the studio head (a mere formality, he assures), but can't get a meeting until tomorrow, which makes Charlie nervous. In the meantime, for a little misogynist fun, the two make a bet that Bobby can have "anything but a professional relationship" with temp secretary Karen. Bobby gives her a book to read as an excuse to get her to come to his house. But what he doesn't expect is that she takes the assignment seriously, and is so moved by the book (an end-of-the-world tale where all the world's radiation was sent by God to end life as we know it, or something like that) that she earnestly tries to convince Bobby to back the film. He has a decision to make, and in doing so rethinks his entire life and career.

Charlie (Kris L. Nelson) makes his pitch
to Bobby (Bill McCallum)

The dialogue is fast and funny, with characters speaking the way real people do, not always smooth and polished, but hesitating and talking over each other. The quick banter is well-executed by the three-person cast which includes a couple of Guthrie regulars, Bill McCallum and Kris L. Nelson, alongside Dark & Stormy Artistic Director Sara Marsh (add in frequent Guthrie director Benjamin McGovern, and you have a pretty high caliber of talent for a fledgling theater company). Sara is believable as the sweet and innocent Karen, who just wants to make a good movie out of this book she is so moved by (or does she?). Bill portrays Bobby as a typical greedy and confident studio exec, but with a little self-doubt creeping in when he's unexpectedly challenged by this woman he's just met. Last but not least, Kris is fantastic as Charlie, in a very physical performance that has him jittery and excited in the first act, and working himself into a frenzy in the third act when Bobby threatens to not back his film.

The mission of Dark & Stormy is to develop the 18-35-year-old theater audience, something they say is lacking. I'm slightly outside of that age range, but looking around at the theater I often find I'm one of the youngest people there (especially at certain theaters or on a Sunday matinee), so I think they have a point. The audience had a good laugh when Sara talked about the mission before the show, as we looked around to see that very few of the 30 or so people in the audience fit into this age range. The ideas are great - cool space, a small audience leading to an intimate experience, inexpensive ticket prices, relatively short run times - so hopefully the young audience will find them. But whatever your age, this is a great play by one of the best known American playwrights/screenwriters, with a great cast, in an interesting non-traditional space, which makes for a unique and entertaining evening at the theater, even for us old folks.



*Wikipedia tells me that the playwright explains the perplexing title thusly: "I remembered the saying that you see on a lot of old plates and mugs: 'Industry produces wealth, God speed the plow.' This, I knew, was a play about work and about the end of the world, so 'Speed-the-Plow' was perfect because not only did it mean work, it meant having to plow under and start over again."

"A Christmas Carol" at the Guthrie Theater

You can always count on the Guthrie's annual production of A Christmas Carol* for perfectly satisfactory holiday entertainment. Charles Dickens' 1843 novella is such a classic story of gratitude, forgiveness, and appreciation for one's life and the people in it, that no matter how many times I see it, it never gets old. This is my ninth year in a row attending A Christmas Carol at the Guthrie, and while the core story is always the same, there are enough changes from year to year to keep me interested. Whether it's a new adaptation (by Crispin Whittel, which the Guthrie began using in 2010), new direction (this year by Joe Chvala of Flying Foot Forum, bringing his signature style of motion to the dance numbers and the way characters move around the stage), or new actors playing familiar roles (more on that later), every year brings a slight twist to a familiar and beloved story.

I spent some time this morning looking through my nine (and counting) scrapbooks full of ticket stubs and playbills, remembering past versions of A Christmas Carol. It was fun to see the revolving cast, with many constants returning year after year along with a few newbies every year. About two-thirds of last year's cast returns, with notable newcomers including Chanhassen fave Jay Albright (applying his entertainingly expressive face to the diverse roles of the jolly Mr. Fezziwig and the somber priest at the graveyard), the newly crowned Ivey Award-winner Hugh Kennedy (charming and natural as usual in the role of nephew Fred), and yet another graduate of the U of M/Guthrie program Paris Hunter Paul as young Scrooge. J.C. Cutler returns as Scrooge after his magnificent performance as artist Mark Rothko in Red at Park Square, his performance even more poignant and delightful than last year. Kris L. Nelson returns for the third year as Scrooge's hard-working clerk Cratchit, a likeable fellow who is eventually rewarded for his loyalty to the old Mr. Scrooge. Also returning for the third year is Angela Timbermann as Scrooge's housekeeper Merriweather, once again stealing scenes with her singing, drinking, and general disdain for everything. Returning ghosts include Tracey Maloney as the lovely but sad past, and Robert Berdahl as the merry present that turns much darker (also appearing as the boy Scrooge's literary friend Ali Baba and old Scrooge's fellow stingy businessman). But the award for longest tenure with the show has to go to Suzanne Warmanen as Mrs. Fezziwig. She has played the role in all but one of the nine productions I've see (I guess she was busy in 2009?), and who knows how many years before that. She's got the role down pat, but continues to make it fresh and funny. Rounding out the cast are countless children and adults playing "rich men, poor men, carolers, Fezziwig guests, villagers, Londoners, and Morris dancers." The children are especially impressive as always, including the little darling playing the all important role of Tiny Tim, singing a beautifully clear and high carol so slowly and patiently while standing all alone on stage. Judging by these kids, the future of Twin Cities theater continues to look bright.

My favorite scene in A Christmas Carol is always the Fezziwig party, or rather parties, as we see young Scrooge change over several years at the annual event held by his generous employer. Filled with music, dancing, food, and lots and lots of people, it always looks like the most wonderful party you've never been to. The dancing (choreographed by director Joe Chvala) is delightful, and everyone joins in. But this show is not all fun and games; the special effects involving the forlorn future shown to Scrooge are pretty creepy. Which makes the final transformation all the more satisfying. And it goes without saying that the sets and costumes are a feast for the eyes.

If you've never seen the Guthrie's production of A Christmas Carol, it really is something you must experience at least once. And if the last time you saw it was prior to 2010 when they started using the darker, sharper, funnier adaptation with completely new sets, you'll probably want to see it again to see how much it's changed. Finally, if you're like me and you see it every year, rest assured that this year's production does not disappoint. Playing now through December 29.

*I received two complementary tickets to A Christmas Carol as part of Blogger Night at the Guthrie.

"A Christmas Carol" at the Guthrie Theater

The Christmas season has officially begun - we had our first snowfall here in the Twin Cities over the weekend, and I saw the Guthrie's annual production of A Christmas Carol last night.*  And even though the snow might melt shortly, A Christmas Carol continues through the end of the year.  So if you're looking for a way to get into the holiday spirit, this show will do it.  The themes of Charles Dickens' classic tale go beyond any religion or holiday; being kind to everyone, spending time with the people you love, appreciating what you have in life, and sharing with those less fortunate are ideas we can all stand to remember at all times of the year.

This year's show is fairly similar to last year's version, again using the new adaptation by Crispin Whittell and direction by Joe Dowling, with just enough tweaks to make it interesting for return customers.  The fabulous set (by Walt Spangler) is the same as last year, depicting a street scene with shop windows and a revolving centerpiece to reveal the inside of the office of Scrooge and Marley.  For the Fezziwig scenes a huge set of shelves with all kinds of goods rolls out for a backdrop.  There's some pretty amazing engineering going on.  Much of last year's cast returns, with some reshuffling and new blood added.

Highlights include: 

• J.C. Cutler is a very convincing Scrooge, especially in his transformation to the joyful, generous man dancing through the streets sharing his wealth and his love (read this StarTribune article to find out more about our Scrooge).
• Zach Fineblum was equally convincing in the reverse transformation.  From the young open-hearted Scrooge to the miserly old Scrooge, he almost physically transforms before the audience's eyes.
• The fabulous Angela Timberman, aka Miss Hannigan,  reprises her role as Scrooge's boozy maid.
• Kris L. Nelson also reprises his role as the loveable and hard-working family man Cratchit.  It's a family affair again; his brother Lee Mark Nelson plays several characters including Mr. Fezziwig, and his wife Tracey Maloney plays the Ghost of Christmas Past, floating in on feathers and light to remind Scrooge of what he lost.
• Sam Bardwell was a bit of a scene stealer as the dim-witted party guest Topper and young Scrooge's friend (roles he also played last year).
• Other faves include Robert O. Berdahl as the jolly Ghost of Christmas Present, Suzanne Warmanen as the charming Mrs. Fezziwig, and Viriginia S. Burke as Cratchit's hard-working wife.
• Some of the dialogue about the rich vs. the poor sounds oddly current, including the rich man who insists on being called a "job creator."
• This production again features a flock of talented kids, some of whom I recognized and some of whom are new.  What fun to be able to play make-believe in such a realistic way!
• As usual, the dancing at the party is wonderful (movement by Joe Chvala of the Flying Foot Forum).  It's quite a feat just to manage the large cast of people moving in and out, and make it look smooth and natural.

The Guthrie's all around top-notch production of A Christmas Carol is a Christmas card come to life.  A Dickensian Victorian scene complete with dingy children begging on the streets, snow softly falling, a turkey and figgy pudding feast, carolers in bonnets and full skirts, merry dancing, mistletoe, and of course the famous phrase delivered by an adorable sweet-voiced child, "God bless us, everyone!"



*I received two complimentary tickets to this play as part of "Blogger Night at the Guthrie."  Very nice seats in the front row of the balcony, center stage, which provided a very nice overhead view of all the action on stage.

"In Conversation with Rainn Wilson" at the Guthrie

It's fairly obvious that I'm a huge theater fan.  But I also watch way too much TV, and I love it when those two obsessions intersect, as they did at the Guthrie today.  Before becoming famous as Dunder-Miflin's assistant (to the) regional manager Dwight Schrute on The Office (one of my favorite TV comedies ever), Rainn Wilson was a theater actor in New York and around the country, including right here at the Guthrie.  His busy TV and movie schedule prevents him from coming back to the Guthrie to do a play (for now, anyway), but he was kind enough to spend the weekend in Minneapolis and share some of his experiences acting in theater, TV, and movies.  Guthrie Artistic Director Joe Dowling conducted an informal interview of Rainn on the deck of the H.M.S. Pinafore on the thrust stage, followed by a question and answer session.  Rainn was charming, funny, and spontaneous as he interacted with the audience, and the two men obviously have a lot of respect for each other.


Rainn Wilson and Lee Mark Nelson in
Philadelphia, Here I Come!



Joe's questions led Rainn through the chronology of his career as an actor, beginning with earning an MFA from NYU and traveling around the country doing Shakespeare with The Acting Company (which partners with the Guthrie and presented The Comedy of Errors and Romeo and Juliet here in January).  Rainn first appeared at the Guthrie in 1996 in Philadelphia, Here I Come!, which he called "a singular moment" in his life and career.  His favorite plays are ones in which there's no limit to how funny and how tragic it can be.  He returned a few years later for The Importance of Being Earnest and The Venetian Twins (which included a planned "stabbing" of an audience member, followed by an ambulance driving onto the stage).

Rainn worked as a struggling actor in NYC and around the country for about ten years.  He had other odd jobs during that time, including owning a moving company called "The Transcendent Moving Company" with the slogan, "A man, a van, and a sense of higher purpose."  He moved from New York to L.A. when he saw that actors with a TV credit on their resume were more likely to get cast at some theaters.  He thought he'd do a few TV roles so that he could return to theater and have an easier time getting roles.  Turns out he had some early success in L.A., including bit parts in the movies Galaxy Quest and Almost Famous.  But then he didn't work much for a year and half, so he returned to what he loved.  He did Taming of the Shrew at the Old Globe in San Diego, and did "what he does best" - crazy, hammy comedy using every trick in the book to get laughs.  He had a great time, and upon returning to L.A. he started booking roles in TV and film.  He was cast as apprentice mortician Arthur in HBO's brilliant series Six Feet Under (starring native Minnesotan Peter Krause), which changed his life and eventually led to his role as Dwight on The Office.  Before he got the role he had seen the original British version, calling it "a revelation" because of, among other things, the awkward pause and the way they used the camera as another character.

Rainn also talked about a couple of other projects he's involved in; causes he's been able to support and promote because of his celebrity status.  He created the website (and companion book) Soul Pancake - a way for people to grapple with life's big questions in a way that's cool and accessible for young people.  Rainn and his wife (writer Holiday Reinhorn, who was in the audience) also work with the charity The Mona Foundation, "non-profit organization that supports grassroots initiatives focused on education and raising the status of women and girls in the US and abroad."  He spoke about his experience teaching the arts to adolescent girls in Haiti as one example of the foundation's work.  It's quite obvious that in addition to being a talented stage, film, and TV actor, Rainn is also a pretty cool person.

Rainn had great things to say about his time at the old Guthrie and the new facility, and commended Joe Dowling's leadership in bringing it to life (even if he did compare him to the Lucky Charms Leprechaun).  He also joked about the annoyance of the thrust stage and having to include the people on the sides.  There were a few people sitting there, and he directed them to other open seats so that he wouldn't have to worry about them.  He's very funny and quick-witted (despite never having done improv or stand-up) and would go off on tangents or get distracted by things or people in the audience.  He gamely answered many questions from the audience, everything from audition tips to "do you hang out with your co-stars."  Rainn ended the afternoon by encouraging everyone to support the Guthrie and local theater, a sentiment with which I heartily agree!

"Arsenic and Old Lace" at the Guthrie Theater

Who knew murder could be so funny?  I'd never seen the 1944 movie Arsenic and Old Lace but I knew the general idea - sweet old ladies who poison people.  It was great fun to watch it all unfold in hilarious fashion with a fantastic cast of Guthrie favorites, led by Sally Wingert (who has appeared in over 75 Guthrie productions) as Martha Brewster.  Her sister and partner in crime, Abby, is played by 1980-83 Guthrie company member Kristine Nielsen, whom I last saw as the storyteller in the weird and wonderful Bloody Bloody Andrew Jackson on Broadway.  Both women are wonderful as the wealthy sisters who take their charity to lethal levels - putting "lonely" people out of their misery and giving them a lovely burial in their cellar.  They really think they're doing a kindness! 

Martha and Abby are not the only crazy Brewsters; madness runs in the family.  The sisters have three nephews.  Teddy (another Guthrie regular, Bob Davis) lives with them and thinks he's Teddy Roosevelt.  He dresses the part, thinks the basement is Panama, and yells "charge" every time he ascends the stairs.  Teddy's brother Mortimer (the always charming Jonas Goslow) seems quite normal and well-adjusted; he's a theater critic (which allows playwright Joseph Kesslring to get in many jokes about the theater and critics) and newly engaged.  His fiance Elaine (Kathryn Lawrey) is a smart and spunky minister's daughter, who's also a neighbor and friend of the Brewster sisters (and she wears fabulous shoes).  Mortimer loves his aunties and is quite shocked when he stumbles upon their dirty little secret.  Instead of turning them in, he tries to find a way to protect them and get them out of the situation, even though they don't think they need any help. 

The third brother is the long absent Jonathan, who left town as a troubled teenager, and continued in his devious ways.  He's on the run from the law and comes home to hide, bringing some baggage with him.  Jonathan (Tyson Forbes) is a tall, creepy figure out of an old horror movie (his face has been surgically altered to look like Boris Karloff).  Accompanying him is his plastic surgeon accomplice Dr. Einsten (the hilarious Kris Nelson, who recently showed his dramatic side in Ten Thousand Things' Doubt, in which he co-starred with Sally Wingert).  The aunts and Mortimer try to get rid of Jonathan, but he insists on staying.  He soon discovers their secret and uses that as leverage.  In the end, Mortimer devises a complicated plan to solve the aunts' problem as well as get rid of his criminal brother, with the help of some bumbling police officers who happen to come in at the right time.  And his fears about going mad like the rest of his family are alleviated when he finds out an interesting bit of news about his past.

The entire play takes place in the Brewster family home in Brooklyn.  The two-story set looks like a child's dollhouse cracked open to reveal the details of a charming traditional old home.

Arsenic and Old Lace, directed by Artistic Director Joe Dowling, is another quality production from the Guthrie.  Which reminds me, it's time to renew my season subscription!  The 2011-2012 season, which will be my ninth season as a subscriber, features Shakespeare, Greek tragedy, Neil Simon, Tennessee Williams, a Cole Porter musical, and a production with the Penumbra Theatre Company.  A little bit of everything and a lot I'm not familiar with.  Which should add up to another great season.