"memento vivere: remember to live" by The Moving Company at The Southern Theater

Sitting down in the red velvet seats of the gorgeous and historic Southern Theater last night, I had no idea what I was about to see. This is usually the case with The Moving Company; they sometimes do productions of established plays but more often than not they do their own original pieces. And that's a rare and wonderful thing, to not know what to expect, to be swept away in something unique and surprising and sometimes perplexing. Their newest piece memento vivere: remember to live, is just such a piece. It's difficult to write about, because mere words can never do their work justice. You just have to see it for yourself. And you should - this piece is moving and funny, speaking directly to the present while still connecting with our shared past. It plays Wednesdays through Sundays, and while it is not overtly Halloween-themed, there definitely are some spooky and even (humorously) gory parts that would make it a great choice for this Halloweekend!

"The Mother" by Black Label Movement and Sod House Theater at Sokol Hall

My first show of the 2025-2026 #TCTheater season is a new work by two companies I've never seen before, and it set the bar pretty high for the season. Black Label Movement (a dance theater company) and Sod House Theater (specializing in site-specific theater) are combining forces on a music-dance-theater piece based on the 1906 Russian novel Mother by Maxim Gorky. This "punk rock dance musical" tells the story of striking workers in early 20th Century Russian in a way that feels modern and relevant. The intimate and immersive space at the historic Sokol Hall in St. Paul's West 7th neighborhood, a center for Czech and Slovak culture, makes you feel like you're part of the revolution, and the original music by Annie Enneking, who also plays the title role, is so inspiring. The Mother is a fusion of theater companies, artists, and art forms that really makes you feel the emotions of the story viscerally in a captivating 90 minutes. But it's playing for one weekend only - click here for info and tickets to the remaining shows (through Sunday).

"An American Tail: The Musical" at Children's Theatre Company

How did it take more than 35 years for the animated movie musical An American Tail to be adapted into a stage musical?! I guess because it's not part of the Disney machine. But for anyone who has been waiting for it, this world premiere production at Children's Theatre Company is worth the wait! And it couldn't come at a better time, with the recent rise in anti-Semitic and anti-immigrant sentiment (although sadly that's never gone out of style). This "American Tail" shows us the best version of America, where "anything is possible if we work together." Unfortunately there are indeed cats* in America (read: anti-Semitism, racism, sexism, classism, ignorance, poverty, oppression), but if oppressed groups work together instead of fighting against each other, as the oppressors try to make them do, we can make a world in which everyone can achieve the American dream - the one that's promised to everyone but denied to many. That sounds like a lot for a kids' show, but it's also a really fun and engaging show that's such a joy to watch, no matter your age. It doesn't feel like a "lesson," but kids may walk away with a better understanding of the immigrant experience and the inclusive community America was always meant to be.  Or better yet - their parents will, because grown-ups seem to be the ones who don't get it these days.

"God of Carnage" by Dark and Stormy Productions at Gremlin Theatre

For their 10th anniversary season, Dark and Stormy Productions is trying something new - performing in an actual theater, rather than the Northeast Minneapolis studio space that was their home for five years pre-pandemic, or a number of other found spaces (most recently - in a jacuzzi in Stillwater). But what hasn't changed is their tradition of doing one-act, small-cast, darkly funny plays, and God of Carnage is one of the best of that sort. The 2009 Tony-winning best play was first seen in #TCTheater at the Guthrie, when I called it "a tightly wound, intense, darkly hilarious four-person play about what happens when our baser natures come to the surface." Lyric Arts did it several years later, and now it's a perfect fit for Dark and Stormy. Since the theater space they chose is the Gremlin Theatre, it still has that intimate up-close-and-personal feel (if you're in the front row you may want to duck at a few moments). The sharply written four-person play is perfectly cast with some of #TCTheater's best actors, which makes for a very entertaining evening. Pair it with libations from Lake Monster Brewing next door and food from their rotating schedule of food trucks, enjoyed on their outdoor patio, and you have a practically perfect late summer night out (continuing through September 11).

"Twelfth Night" at the Guthrie Theater

For their annual Shakespeare production, the Guthrie is bringing us a truly delightful, innovative, and playful rendition of the comedy Twelfth Night. And in a surprising and wonderful choice, the cast is 100% local. I'm someone who often calculates that percentage at the Guthrie, and while I appreciate the chance to see national talent on the local stage, I'm also the biggest fan of our #TCTheater community, so I always want that percentage to be higher. It's wonderful to see that rich, deep, broad, diverse, incredibly talented community 100% represented on stage in this production. The show is as Shakespeare's comedies are meant to be - fun, playful, accessible, almost interactive, heartfelt, and hilarious.

"The Norwegians" by Dark and Stormy Productions at Grain Belt Warehouse

Seven years after their debut, during which time they've brought us a couple of dark and stormy little plays every year, Dark and Stormy Productions is doing their first remount. If you're going to remount a show, the hilarious and very Minnesotan dark comedy The Norwegians, first presented in 2016, is a great choice. This story of two Southern women so beaten down by Minnesota winters and bad relationships that they hire Norwegian gangsters to kill their exes is worth seeing again. In 2016 I called the play "a cross between a Prairie Home Companion sketch and an episode of Fargo, with more edge than the former but without the latter's ominous cloud of despair." They've reunited most of the original cast and creative team, with a few new faces, for what is once again is a very funny, entertaining, and intimate anti-holiday* #TCTheater choice.

"Blackbird" by Dark and Stormy Productions at Grain Belt Warehouse

Don't let the Christmas lights strung across the ceiling fool you, Dark and Stormy's Blackbird is not a feel-good holiday play. Which is why it's a great choice for right now, if you need a break from the sugary sweet holiday fare (I myself have seen 11 holiday shows so far, with a few more on the schedule next week). Written in 2005, Blackbird is a brutal play about a woman confronting her abuser, 15 years after he raped and kidnapped her at the age of 12 (she may have gone willingly, but she was still a child). Yes, it's a difficult one to watch, but with painfully real performances by the two-person cast, in the intimate environment of Dark and Stormy's Northeast Minneapolis studio space, it's worth the effort.

"Park and Lake" by Ten Thousand Things at Open Book

Friends, I love Ten Thousand Things. Seeing a Ten Thousand Things show (in their trademark bare-bones All the Lights On style) never fails to make me happy, and often also moves or inspires or thrills me. Their newest creation Park and Lake, an original piece written by playwright in residence Kira Obolensky and the ensemble, is no exception to that. It's a light-hearted, funny, optimistic fairy tale of a story about a community of people working together to make their lives better. It's as sweet and hopeful as it is ridiculous and silly. Under the co-direction of soon to be retired Artistic Director Michelle Hensley and ensemble member Luverne Seifert, with uniquely comic performances by this wonderful cast, Park and Lake is a delightful place to visit for a few hours. In fact I wish I could move there for an extended stay with these charming oddballs!

"Charles Francis Chan Jr.'s Exotic Oriental Murder Mystery" by Mu Performing Arts at the Guthrie Theater

With their new production of Lloyd Suh's recent Off-Broadway play Charles Francis Chan Jr.'s Exotic Oriental Murder Mystery, Mu tackles the issue of yellow face and the stereotypical portrayal of Asian Americans in media head on. Like Branden Jacobs-Jenkens' Octoroon (recently produced by Mixed Blood Theatre), the play includes yellow face and white face, a play-within-a-play format, and a weird human-sized animal. While Jacobs-Jenkins satirized the "antebellum melodrama," Suh satirizes the many stereotypes that have dominated the depiction of Asian Americans in popular culture, and specifically the dozens of movies from the '20s through '40s featuring detective Charlie Chan (played by a white man, natch). The result is a weird and trippy mash-up of stories, often told in exaggerated style, that effectively and poignantly exposes and skewers the stereotypes surrounding us while paying homage to the pioneers of Asian American theater.

"The Norwegians" by Dark and Stormy at Grain Belt Warehouse

To close out their fourth season, Dark and Stormy Productions once again brings us an anti-holiday selection. Except that this one takes place in winter in Minnesota, so it's pretty holiday appropriate, even if it is about two women who hire two Norwegian gangsters to kill their exes. Austin-based playwright C. Denby Swanson was inspired by her time in Minnesota at the Playwrights' Center* to write this darkly funny play that pokes fun at all things Minnesota in a fun-loving way. The Norwegians is a cross between a Prairie Home Companion sketch and an episode of Fargo, with more edge than the former but without the latter's ominous cloud of despair. Director Joel Sass and his dynamic and dynamite four-person cast bring this wacky story to life in an intimate setting, providing a truly entertaining 90 minutes (no intermission!) of theater. And as if all this wasn't enough to make me love the play, any mention of the 1991 World Series Champion Minnesota Twins (or 1987 of course) is a surefire way into my heart!

"The Last Firefly" at Children's Theatre Company

The new play The Last Firefly by Naomi Iizuka, commissioned by the Children's Theatre Company, feels like a new fairy tale for the modern age. The playwright has combined elements from several Japanese folktales and put at the center a child of a single mother who has never met his father and is living with an abusive stepfather. A lot of today's kids can relate to this situation in some way. Boom goes on a hero's journey in search of his father to help his mother, and along the way discovers his own strength. It's a familiar story, but one told in a new and modern way with some fantastic design elements to create an engaging 80-minute play.

"The Changelings" by Ten Thousand Things at Bedlam Lowertown

The final show in Ten Thousand Things' 2015-2016 season is another new play from their playwright in residence, Kira Obolensky. Ten Thousand Things is in the business of telling stories and sharing human truths through fairy tales, because that distance and sense of fantasy allows their non-traditional audiences (they perform for free in prisons, homeless shelter, community centers, etc., as well as paid public performances for more traditional audiences) to see their own lives and experiences reflected back at them, without the harshness of reality.* The Changelings, like last year's Forget Me Not When Far Away and Dirt Sticks two years ago, is a new original fairy tale set in an unspecified time and place (the playbill tells us the three plays exist in the same universe). And like those two plays, it's charming and funny and poignant as it speaks of love, loss, grief, hope, family, and community, a relatable human story set in a made-up world that appeals to traditional and non-traditional theater audiences alike.

"The Holiday Pageant" at Open Eye Figure Theatre

Continuing with my marathon weekend of holiday shows (read more about that here), last night I saw Open Eye Figure Theatre's Holiday Pageant. Like Black Nativity is to Penumbra Theatre, The Holiday Pageant is Open Eye's annual tradition. And like Black Nativity, I had never seen it before this year. The show began as an entertainment for family and friends in the home of Open Eye Co-Founders Susan Haas and Michael Sommers (who wrote, directed, and designed this version), and has since expanded into the show currently on the charming, intimate, adorably tiny stage of Open Eye. The production values may have increased, with beautiful sets and costumes and a 12-person choir singing original songs by Victor Zupanc, but it still has that homey feel of a family pageant. We're luck that Susan and Michael have invited us into their home and family to experience this oddly sweet little gem.

"Relics" at the Guthrie Theater

It's that time of year when the Guthrie Theater is full of families attending the annual production of A Christmas Carol, which opens this week. There is noticeably more congestion, with a plethora of little girls in their Christmas dresses. But that's not all that's happening at the Guthrie. Up in the 9th floor studio there is something strange and innovative and decidedly nontraditional going on. After making your way through the Christmas crowd in the 4th floor lobby to the elevators that go up to the 9th floor, you are greeted not just by the usual Guthrie ticket-takers, but also by uniformed personnel who scan your neck, and possibly by men with Johnny Depp Willy Wonka bobs who warn you not to go in. The experience continues in the elevator and after you step off on Floor 9, which has been transformed into a museum of 300 year old artifacts, in the year 2314. i.e., today seen through the eyes of future civilizations. This is not theater as we know it where you sit in your seat and watch something happening onstage, but rather an interactive experience of walking through a museum to witness exhibits, presentations, and reenactments. This is not A Christmas Carol.

Craig Fernholz and Luvern Seifert (photo by Heidi Bohnenkamp)

This strange and fascinating concept came from the mind of creators Sarah Agnew, Nick Golfis, and Chantal Pavageaux. An ensemble of more than a dozen actors play museum workers, protesters, and other mysterious figures involved in the exhibit. We learn that in that long ago year of 2014, something called "The Great Wipe" occurred. Anarchyologists have recently discovered a family home and everything that's inside, and have created this museum with their theories about what things are used for. Which of course are completely wrong. But it makes you wonder, just what would future people think about our iPhones and Brita water filters and muffin tins? And not only that, but what if all of our assumptions about archaeological digs are wrong? Or maybe the ancient artifacts we ooh and ah over at museums are just everyday items that ancient people would think we're crazy for displaying?

Relics is a really cool idea, I just wanted a little more of it. I wanted to see more exhibits along with the crazy theories. There seemed to be a few too many moments of waiting around for the next exhibit to open or presentation to start, but maybe that was my own fault of not pacing correctly. The reenactment of ancient life is quite hilarious, narrated by the endlessly entertaining Luverne Seifert. But just as it's getting good, it's over. The chief anarchyologist who mysteriously disappeared returns, and is about to tell us what happened, when the show is abruptly over and we're told to leave. I felt a little cheated by that - I wanted to hear what happened, I wanted more Sarah Agnew! Overall I enjoyed the experience, but it left me wanting more.

If you're looking for something a little different this early holiday season, head up to the Guthrie's 9th floor to discover ancient secrets about the things we use today.

"The Music Man" by Ten Thousand Things at Open Book

"There were bells on the hill, but I never heard them ringing, no I never heard them at all, 'till there was you." So sings Marian the librarian in the classic musical The Music Man when Professor Harold Hill comes into her life and her town, bringing music and community and hope along with him. And this is how I feel about The Music Man after seeing Ten Thousand Things' production. Even though I saw it on stage once before and am very familiar with the movie, I never realized what it was really about until Ten Thousand Things stripped away all of the unnecessary fluff to reveal the true heart of the piece. I was lucky enough to attend a dress rehearsal a few weeks ago, and saw the full production last night (although there was very little difference except that the audience was larger). TTT applies their usual bare bones, straight-to-the-heart-of-the-matter style of theater to the classic musical about a con man salesman and the small Iowa town forever changed by his visit, and it is, in a word, spellbinding. This ensemble of wonderful actors led by Luverne Seifert cast their spell over me just as Professor Harold Hill cast his spell over the people of River City. I've seen a dozen Ten Thousand Things shows over the last several years and love everything they do, but this show is my favorite. So utterly charming, delightful, sweet, funny, and moving, it's a perfectly executed concept.

Marian the librarian and Professor Hill
(Aimee Bryant and Luverne Seifert)

Luverne Seifert is an absolute charmer as Professor Hill, as he easily wins over the town with his smooth-talking ways, and stern Marian the librarian a little less easily. I knew Luverne was a comic genius and the best kind of clown, but I have to say, I fell in love with him a little in this performance. He's a true romantic leading man, a role I've never seen him in before. He shares great chemistry with Aimee Bryant, who conveys Marian's strength of character and longing for something more, and lends her lovely voice to such songs as "Goodnight My Someone." Dennis Spears is a delight as her mother (in a great example of TTT's color- and gender-blind casting, an African American man plays an Irish woman). Recently crowned Ivey Emerging Artist Ricardo Vasquez plays Marian's little brother Winthrop (whose lisp was made famous by little Ronnie Howard). Ricardo completely transforms into a ten-year-old boy, and not just any ten-year-old boy, but a sad, lost, troubled ten-year-old boy. When he begins to open up thanks to music and the band and friendship, it's a thing of beauty. Rounding out the cast as salesmen, townspeople, school board members, and dancing ladies are Bradley Greenwald, literally waving his tail feathers as the mayor's wife; Jim Lichtsheidl, especially funny as the blustering idiot of a mayor (Bradley and Jim work so well together they should always play a married couple!); Sarah Agnew as the Professor's Shipoopi buddy and a fawning teenage girl (ee gads!); and Kimberly Richardson, charming in the piano lesson scene as the breathy little girl with a crush on Winthrop.

Luverne Seifert and the cast of The Music Man

The wonderful thing about musicals as performed by Ten Thousand Things is that because it's quite stripped down (just a two-person band in this case - Jake Endres on keyboard and Peter Vitale on a myriad of instruments), the music feels very organic to the characters and story. Unlike typical musicals in which there's a clear differentiation between full-blown musical numbers and straight dialogue, the actors flow naturally back and forth between speaking and singing, with the band subtly coming in to support them. The Music Man is a good choice for this sort of style, with it's rhythmic talky songs. The fast and lyric-heavy opening number on the train* ("you gotta know the territory!") is extremely well-done by the cast, as is "Ya Got Trouble," and everything with the barbershop quartet and gossiping ladies - the same four actors switching back and forth, often within the same scene! But my favorite moment is the most famous song in the show. How do you create the sound of 76 trombones with just two musicians? You don't even try, you do it as a soft, gentle, reverent plea. In the dress rehearsal I was sitting a few feet from Luverne and could see the awe and wonder in his eyes as he softly spoke of this marvelous band, and I fell completely under his spell as much as the townspeople did. The speaking eventually becomes singing, with the musicians chiming in as it grows into the familiar big band song.

The sparse set (by Joel Sass) and costumes (by Mary Anna Culligan) are so charming and effective. Each of the four corners of the square that is the Ten Thousand Things stage holds a weathered white post on which various signs are hung to represent the billiard hall, the Peroo home, the Wells Fargo Wagon, or the city gymnasium. Costumes are of a pale muted hue one night wear in the hot Iowa summer, and provide a great base for accessories to differentiate characters. In the blink of an eye, the actors change hats or add a shawl and transform into someone else entirely.

There's a reason The Music Man is such a classic. It's a beautiful story about the power of music, storytelling, family, friendship, community, and having a common goal. Professor Hill gives River City hope and something to strive for, and Marian's love and faith in him help him become the man that she thinks he is. With direction by Lear deBessonet and choreography by Jim Lichtsheidl, this is a wonderfully unique and delightful interpretation of this familiar story. Ten Thousand Things productions are always extremely professional, yet retain a playfulness and laid back feeling that draw the audience in, whether that audience is comprised of prisoners or seasoned theater-goers. Only five public performances remain and they're entirely sold out, but they do sell a limited number of 4th row seats at the door (yes, 4th row are the "bad seats" in this intimate staging). If you don't already have tickets, I highly recommend you show up and take a chance on these seats. This is a show not to be missed!




*I once saw Bradley Greenwald perform the opening number by himself, and it was quite impressive!

A Dress Rehearsal of Ten Thousand Things "The Music Man"

Friends, I experienced a rare treat last week. I attended the final dress rehearsal for Ten Thousand Things' new show, The Music Man, and it was scrumptious! They posted an open invitation on their Facebook page so I was sure the seats would be filled. That was not the case; only about ten people took advantage of the opportunity to see some free, live, excellent theater. In a cold church basement in Minneapolis, where the cast and crew outnumbered the audience, I witnessed TTT's usual bare bones, straight-to-the-heart-of-the-matter style of theater as applied to the classic musical about a con man salesman and the small Iowa town forever changed by his visit. In one word, it was spellbinding. This ensemble of wonderful actors led by Luverne Seifert cast their spell over me just as Professor Harold Hill cast his spell over the people of River City. And this was just a dress rehearsal! It was already nearly flawless (and the rare miscue only added more entertainment value in the hands of these professionals), so I can only imagine that the full production (running Feb. 14 through Mar. 9 at Open Book) will be a thing to behold.

Luverne Seifert is an absolute charmer as Professor Hill, as he easily wins over the town with his smooth-talking, and stern Marian the librarian a little less easily. Aimee Bryant conveys Marian's strength of character and longing for something more, and lends her lovely voice to such songs as "Goodnight My Someone." Dennis Spears is a delight as her mother (in a great example of TTT's color- and gender-blind casting, an African American man plays an Irish woman). Recently crowned Ivey Emerging Artist Ricardo Vasquez plays Marian's little brother Winthrop (whose lisp was made famous by little Ronnie Howard). Ricardo completely transforms into a ten-year-old boy, and not just any ten-year-old boy, but a sad, lost, troubled ten-year-old boy. When he begins to open up thanks to music and the band and friendship, it's a thing of beauty. Rounding out the cast as salesmen, townspeople, school board members, and dancing ladies are the very entertaining Bradley Greenwald, Jim Lichtsheidl, Sarah Agnew, and Kimberly Richardson.

The wonderful thing about musicals as performed by Ten Thousand Things is that because it's quite stripped down (just a two-person band in this case - Jake Endres on keyboard and Peter Vitale on a myriad of instruments), the music feels very organic to the characters and story. Unlike typical musicals in which there's a clear differentiation between full-blown musical numbers and straight dialogue, the actors flow naturally back and forth between speaking and singing, with the band subtly coming in to support them. The Music Man is a good choice for this sort of style, with it's rhythmic talky songs. The fast and lyric-heavy opening number on the train* ("you gotta know the territory!") is extremely well-done by the cast, as is "Ya Got Trouble," and everything with the barbershop quartet and gossiping ladies - the same four actors switching back and forth, often within the same scene! But my favorite moment is the most famous song in the show. How do you create the sound of 76 trombones with just two musicians? You don't even try, you do it as a soft, gentle, reverent plea. I was sitting a few feet from Luverne and could see the awe and wonder in his eyes as he softly spoke of this marvelous band, and I fell completely under his spell as much as the townspeople did. The speaking eventually becomes singing, with the musicians chiming in as it grows into the familiar big band song.

There's a reason The Music Man is such a classic. It's a beautiful story about the power of music, storytelling, family, friendship, community, and having a common goal. Professor Hill gives River City hope and something to strive for, and Marian's love and faith in him helps him become the man that she thinks he is. With direction by Lear deBessonet and choreography by Jim Lichtsheidl, this is a wonderfully unique and delightful interpretation of this familiar story. Ten Thousand Things productions are always extremely professional, yet retain a playfulness and laid back feeling that draw the audience in, whether that audience is prisoners or seasoned theater-goers. Mere words cannot express how much I love this show, and look forward to seeing it again at Open Book. It's playful and funny, sweet and touching. I'll be back to update after seeing the final version in a few weeks. In the meantime, reserve your seats for one of the three performances that are not sold out. Trust me, you are not going to want to miss this one!


*I once saw Bradley Greenwald perform the opening number by himself, and it was quite impressive!

"For Sale" by The Moving Company at the Lab Theater

There's a property For Sale at 700 North 1st Street in Minneapolis. Features include: two multi-stall half-baths, 12,000 square feet of space, possible ghosts, genuine Virginia brick, one of two staircases safe for use, an intercom system (that is not as easy to use as you might think), a mail chute, an alley with a tree, and a friendly history-buff caretaker. Trusty realtor Dick Richards and his number two Margie of Dick Richards Realty (keepin' it real!) want to sell it to you! They're holding an open house several nights a week through November 24 and will be happy to walk you through the space and share some development ideas - the possibilities are endless (fitness center, nursing home, end-of-world bunker, farm-to-table restaurant, or just tear it down and build anything!). It's a steal at any price!

Such is the premise of The Moving Company's new original creation For Sale. This is a theater company whose every show I have to see. I never know what to expect (it could be sweet and lovely, or crazy and over-the-top, or a combination of the two), but I'm always entertained by what I find. For Sale falls into the crazy category; it's simply a lot of fun, and definitely unlike anything I've seen before (which is pretty much a MoCo guarantee).

who wouldn't want to buy a building from these two?

The evening is set up as described above, with the audience walked through the gorgeous space at the Lab Theater. Our guides are Dick Richards (Luverne Seifert) and Margie (Sarah Agnew). They have all sorts of things planned - a power point presentation, the pontoon of possibility, fresh-baked cookies, and musical numbers. Unfortunately things don't run as smoothly as they had planned, and we learn a little too much about Dick's personal life (hint: it's not going well). I don't want to give too much away because part of the fun is not knowing what's coming next, but I must mention a musical theater moment that is completely inexplicable, but that I absolutely loved.

This is an unconventional show, but don't be scared, it's not really interactive, you won't be asked to do anything other than walk around and point an arrow. And with the comic genius that is Luverne Seifert, and the fantastic and fully committed actor Sarah Agnew, you're in good hands. Also look for inspired appearances by Chrissy Taylor and Nathan Keepers (who also directs, and co-wrote the piece with Steve Epp).

The Lab Theater is the perfect space for this piece; I don't think it would have worked as well anywhere else. It's as bare as I've seen it, covered in plastic and with just a few items scattered around. They make great use of the space (although I was hoping to get a tour of some of the unseen parts of the building). If you've never been to the Lab before, it's worth seeing the show just to get an up close and personal look at it. If this building really were for sale and I won the lottery, I would buy it, it's a gorgeous space and I have seen much amazing theater there.

If you're looking for a fun and unconventional theatrical experience, a little wacky but highly entertaining, look no further than For Sale by The Moving Company, playing now through November 24 (and wear comfortable shoes - you will be on your feet for a good part of the show).

"A Behanding in Spokane" at Gremlin Theatre

A Behanding in Spokane is a very dark, very funny little play. The 2010 Tony nominated play by Irish playwright Martin McDonagh is this year's selection in what has become Gremlin Theatre's tradition of non-holiday fare in this month of Christmas Carols and jingle bells. I saw it on a three-show weekend, sandwiched between Yellow Tree's Miracle on Christmas Lake II and A Don't Hug Me Christmas Carol. It serves as a nice palate cleanser, but more than that, it's a great play with a fabulous cast of actors that's thoroughly entertaining any time of the year.

The play takes place in a shabby hotel room somewhere in America (kudos to designer Carl Schoenborn for creating the appropriate level of shabbiness). Mr. Carmichael has been traveling around the country for 27 years, looking for the hand that was taken from him as a teenager in a cruel act of violence. He's full of rage and revenge; you get the feeling that this searching for his hand business has been a hard life, but it's all he's ever known. Portrayer David Tufford embodies the years of frustration, exasperation, and darkness this man has lived through. Even though in some ways he's the villain of the play, threatening violence to every other character, you can't help but sympathize with him when he shares the details of how he came to be a one-handed man. There's a sadness there too; once he accomplishes his goal, he's got nothing else to live for, and the life he's known is over.

The event taking place in the hotel room before us is a sort of business transaction. A couple has decided to try to sell him a disembodied hand that they know is not his, but this man is not so easy to fool. He does not enjoy being scammed, and the consequences are dire as the two try to get out of it. Sara Marsh as the slightly dimwitted Marilyn and Brian J. Evans as her somewhat savvier boyfriend Toby are very entertaining as the alternately loving and bickering couple.

David Tufford and Luverne Seifert

Last but certainly not least in this talented four-person cast is Luverne Seifert as "the receptionist guy." I adore Luverne; he's a true clown (I mean that as the highest complement). He's extremely expressive in his delivery and physicality, and is an expert at engaging the audience (go see him in a Ten Thousand Things production and beware if you're sitting in the front row). He delivers an insane monologue that's really about nothing, other than establishing what a strange character this Mervyn is. He inserts himself into the situation happening in the hotel room, and is actually quite delighted that something exciting is finally happening in his life. I won't go into details about how this situation is resolved (you'll have to see it yourself to find out), but it's a crazy fun ride to watch them get there.

I only discovered the Gremlin a year or so ago, but they've quickly become one of my favorite theaters in town. Everything I've seen there has been interesting, or surprising, or touching, or silly, or all of the above. A Behanding in Spokane (with excellent direction by Matt Sciple) is no exception. Gremlin Artistic Director Peter Hansen* called it "an insane play and ton of fun to do." It's a ton of fun to watch, too. Playing now through December 16 at Gremlin Theatre in St. Paul.

*Peter was working the will call desk the night I attended, talk about hands on (no pun intended). Peter will soon be reuniting with his After Miss Julie costar Anna Sundberg for the Jungle's production of the recent Tony Award-winning play Venus in Fur.

"Measure for Measure" by Ten Thousand Things at Open Book

Ten Thousand Things brings their totally unique, stripped-down, bare-bones, get-right-to-the-core-of-it style to another Shakespeare play (one I've never seen or read), Measure for Measure. And they do it in a way that's fulfilling for everyone, from Shakespeare experts (like the people sitting behind me who noticed which lines were cut), to avid theater goes who still sometimes have a hard time getting into Shakespeare's world (like me), to the homeless people and prisoners that comprise TTT's non-traditional theater audience. It's in the way the actors clearly and slowly say the words, with emphasis in the right places to make it more understandable; the humor and lightness they bring to certain moments in the play; the interaction and eye contact with the audience; the playful sounds (from Peter Vitale) that set the tone and highlight certain actions; and the simple but entirely appropriate set pieces and costumes. All of it adds up to really great storytelling, which is what theater is all about, no matter who the audience is.

I did not know that Measure for Measure was a comedy until I read the Wikipedia page. It definitely has comedic moments and the trademark disguises and mistaken identities, but it doesn't have that light-hearted slapstick feel of many of Shakespeare's comedies (it's known as a "problem play" because it doesn't easily fit into one category). The undertone is a bit darker, as it deals with issues of justice, judgement, and mercy. The plot concerns a man named Claudio who is sentenced to death for "fornication" with a woman whom he considers his wife, although the law doesn't. Claudio's sister Isabella, who's about to become a nun, pleads with Angelo, the man who sentenced Claudio, for her brother's life. Angelo agrees to spare Claudio if Isabella sleeps with him, the very act for which Claudio is condemned. Fortunately there is someone observing this mess and plotting to make it right - the absent Duke, who is in disguise as a Friar. Things eventually work out in the end, which is I guess how you know it's a comedy (in Shakespeare's tragedies half the characters end up dead). To summarize, it's like the TV show Undercover Boss, as observed by a homeless man who was in the audience at one of the shelters where TTT performed. The Duke, the boss of Vienna, is observing her subjects in disguise and righting their wrongs.

As usual, TTT found some of the best actors in the Twin Cities for this play. Suzanne Warmanen is wonderful as the Duke, bringing an interesting perspective re-imagining the all-powerful ruler as a woman. Luverne Siefert is his usual clownish self (I mean that as a complement) as Pompey, but there's nothing funny about his portrayal of the deadly serious Angelo. Sonja Parks brings dignity and power to her role as Isabella, despite her tiny frame. A couple of students from the U of M/Guthrie BFA program really shine - India Gurley in a variety of roles, and the utterly charming Nathan Barlow as the accused Claudio and the goofy cop Elbow. Karen Wiese-Thompson is funny as the town prostitute, and sympathetic as Angelo's rejected betrothed. Kurt Kwan is solid as a soldier, a friar, and the exasperated prison provost who helplessly watches the events play out, and Zach Curtis is a range of funny as simple-minded Froth, the well-meaning Lucio who puts his foot in his mouth, and the prisoner who's too drunk to be executed.

Ten Thousand Thing's Artistic Director Michelle Hensley, who directs this piece, also directed Measure for Measure for The Public Theater in NYC a few years ago, and they are continuing the idea of performing for free to atypical theater audiences in the community. I've said this before and I'll say it again - if you've never seen a Ten Thousand Things production, you must go. It's truly unlike any other theater you'll see anywhere, and once you get a taste, you'll be hooked like I am.

"Vasa Lisa" by Ten Thousand Things at the MN Opera Center

Do you know when you go to the theater (or a movie or concert) and become so engrossed in the experience, that it feels like the only reality you've ever known, for that short space of time? And then it's over, and your feet carry you out of the building and into the street, and the world seems a little different, a little strange and unfamiliar. It may take you a few minutes to snap out of it, like you're in a trance. I had such an experience upon seeing Vasa Lisa. I should be used to it by now, but it never ceases to amaze me how Ten Thousand Things can carry me away into a different time and place with just a few makeshift costumes and set pieces, and those words, lots of words truthfully and authentically spoken. This is story-telling at its best and most basic, and it feels like something we as humans have been doing for tens of thousands of years.

Vasa Lisa is a new play by Kira Obolensky based on the Russian fairy tale Vasilisa the Beautiful, directed by Artistic Director Michelle Hensley. The title character is a young woman whose mother has died and left her with a little doll to help her. She goes through many trials and tribulations because of her drunkard father, evil stepmother (is there any other kind in fairy tales?), and the village witch who reportedly eats people! She only wants to have enough bread to eat, and to see her mother again, and ends up learning that the little doll who helps her is the truest, wisest part of herself. This all sounds very trite and and simple, but the way it unfolds is wondrous in the hands of the talented artists of Ten Thousand Things. Tracey Maloney makes Vasa Lisa very relatable, real, and sympathetic. The other four members of the cast play various human and animal roles to hilarious and delightful effect. The incomparable Sally Wingert is equally good as Vasa Lisa's beloved mother, the voice of the doll (sitting just two seats away from me), and the witch. Frequent TTT player Elise Langer is the hilariously annoying stepsister, a hungry cat, and everything in between. The two clowns from the Guthrie's sharp and silly production of 39 Steps are reunited here - Jim Lichtsheidl and Luverne Seifert. Both of them are so talented at creating multiple distinct characters, and so entertaining to watch. It's really a pleasure to watch the entire cast play together.

As usual, everything about the production is sparse but effective, proving you don't need a lot of fancy tricks to create a fantasy world. (For those of you unfamiliar with Ten Thousand Things, they take their shows on the road to such unconventional places as prisons and homeless shelters, and their paid public performances share the same full lights and minimal sets and costumes.) The few set pieces are really cool, intricate, and functional pieces of art (created by Irve Dell). Peter Vitale once again provides an expressive soundtrack, which includes a few little songs sung by the characters in a natural and unintrusive way. This time he has a few musicians to help him, creating a fuller sound.

I often get more out of the children's stories at my church than the sermons for adults, and that's how I felt seeing this show. There were several children in the audience who seemed just as captivated as I was by this story. It's delightful and joyous and wondrous. This final show of Ten Thousand Thing's 2011-2012 season runs for runs for one more weekend. And their newly announced 2012-2013 season looks just as exciting as this one has been - Shakespeare's Measure for Measure, a "hip hop retelling of Aeschulus' The Seven Against Thebes" (say what?), and the American classic A Streetcar Named Desire with a non-traditional cast (which is sure to be better than the version currently running on Broadway). I know I've said this before, but you really can't call yourself a Twin Cities theater fan if you've never experienced Ten Thousand Things.