"King Lear" at Theatre in the Round

To begin their 73rd season, the oldest theater in Minneapolis is going back to a classic - the Shakespearean tragedy about a king gone mad and his scheming heirs, King Lear. In an interesting twist, Theatre in the Round has tapped veteran #TCTheater actor Meri Golden to play Lear as a pants role (meaning Lear is still a King not a Queen, and referred to as male). She's fantastic, and it's wonderful to see a female actor get a crack at this iconic role. She's supported by a large and talented cast, and sparse but effective design, for an engaging take on this classic that I haven't seen in so long I didn't remember the details of the story or characters. When the board member introducing the show (as they always do at TRP) said "we do murder well," he was referring to their annual Agatha Christie play (this year: The Unexpected Guest opening in November), but he could just as well have been talking about this show. There is a lot of murder, some of it bloody, and it is, indeed, done well. King Lear continues at Theatre in the Round through October 6.

Minnesota Fringe Festival 2024: "Playing Dead"

Day: 5

Show: 16

Title: Playing Dead

Category: Comedy

By: Kari Heistad

Written by: Kari Heistad

Location: Mixed Blood Theatre

Summary: A woman and her two daughters gather to prepare for her mother's funeral, when one of the daughters seems to be possessed by the dead woman's spirit.

Highlights: Grief does strange things to people. In this family dramedy, it makes a granddaughter pretend to be possessed by her recently deceased grandmother's spirit. Or maybe she really is possessed, or maybe she's having a nervous breakdown, or maybe she's just an eccentric actor (she also occasionally channels Lady Macbeth). Either way, the play explores mother/daughter and sister/sister relationships in a funny, real, and relatable way. The three women tell stories, bicker, and make up after a health scare. Written and directed by Kari Heistad, the talented three-person cast feels like a real family, with all the love and frustration that comes with it. #TCTheater veteran Meri Golden (you can see her play the title role in Theatre in the Round's King Lear this fall) is wonderful as the family matriarch, Laura Carlson is a hoot as the eccentric daughter and her grandmother, and Natosha Guldan is convincing as the serious stable daughter who feels like she's taken for granted. With more set pieces than usual at a fringe show, we feel like we're in this homey living room for all the fun family dysfunction.

Read all of my Fringe mini-reviews here. 

"Wit" by Hypnic Jerk Theatre at Theatre in the Round

I first saw the Pulitzer Prize winning play Wit six years ago, when I called it "simply devastating," "also funny, and smart, and philosophical, and enlightening," and "brilliantly written." Hypnic Jerk Theatre, a newish #TCTheater company in their first post-pan show, is currently presenting a new production at Theatre in the Round, and it's excellent. Joy Donley gives a strong, funny, and heart-breaking performance in "one of the juiciest roles in theater - a smart, educated, independent, confident woman who experiences life in a whole new way while approaching death from cancer." But this isn't a one-woman show, and the ensemble gives great support. The staging and design in the in-the-round space are effective in telling the story of this woman's journey, in a thoroughly compelling and moving 100 minutes of theater. This is another short run show with only six performances, so act quickly to see this fine execution of a new classic (click here for info and tickets).

"By the Bog of Cats" by Theatre Pro Rata at the Crane Theater

Some people drink green beer, I celebrate St. Patrick's Day (and any other holiday, or just a regular day) by going to the theater. I had no idea how appropriate By the Bog of Cats would turn out to be as a St. Patty's Day observance. Written by Irish playwright Marina Carr, it's a tragically beautiful and beautifully tragic story in that specific Irish way (see also recent Oscar nominee The Banshees of Inisherin by another Irish playwright, Martin McDonagh). It's a great choice for Theatre Pro Rata, which has a penchant for making bold, interesting, unusual choices. With haunting live music, strong performances by the large and talented cast, and lovely design, it's an exploration of motherhood, grief, generational trauma, and what it means to be human. See it at the Crane Theater in Northeast Minneapolis weekends through April 2.

"Pyrates" by Theatre Coup d'Etat at Historic Fire Station 24

Ten years ago, I saw the first part (Millennium Approaches) of Tony Kushner's epic two-part masterpiece Angels in America on stage for the first time, by a new-to-me theater company Theatre Coup d'Etat. I was so impressed with how this small company handled this big play, and "found myself wondering when Theatre Coup d'Etat will present the second part." The bad news is they never did, and now they're leaving town. The good news is I've been fortunate to witness ten years of their work, which is always interesting, thoughtful, and unexpected, most often produced in an intimate non-traditional space; and that they have one more show before they leave #TCTheater. Pyrates, an original play by Artistic Director and frequent actor/director with the company, James Napoleon Stone, follows in this tradition. It's a rousing pirate story about loyalty, legacy, and camaraderie, featuring a talented and diverse cast and live music in an up-close-and-personal in-the-round space. Your final chance to see Theatre Coup d'Etat perform in #TCTheater ends on June 27 (click here for info and tickets).

"The Tempest" by Theatre Coup d'Etat at SpringHouse Ministry Center

Wikipedia tells me that The Tempest is "now considered to be one of Shakespeare's greatest works," but I'd never seen it (everything I know about theater I learned from watching #TCTheater). Until this week. Theatre Coup d'Etat brings us a stripped down, one act, in-the-round, intimate production in the non-traditional theater space that is SpringHouse Ministry Center, where they've often performed. I found that I like the play, that ends neither with everyone dead nor everyone married, like most Shakespeare plays seem to (although one couple is betrothed). Furthermore, the moral of the story seems to be forgiveness and peace, which is quite a refreshing story to experience these days. In the hands of this wonderful cast 13-person cast, this clear adaptation with great use of space, physicality, and music is the perfect introduction to The Tempest.

"Peter and Alice" by Candid Theatre Company at Fallout Arts Initiative

Peter Pan and Alice in Wonderland are two of the most iconic characters in children's literature. Both were inspired by real people, Peter Llewelyn Davis and Alice Liddell, who were children befriended by the authors J.M. Barrie and Lewis Carroll. One would think they'd have a lot in common, and a lot to talk about, both living their lives under the shadow of this iconic image of childhood. History tells us they actually did meet, and playwright John Logan imagines what their conversation was like in the play Peter and Alice. Reality, memories, and imagination all mix together to tell a moving story of the joy and pain of growing up. Candid Theatre Company's wonderful and intimate production of Peter and Alice is playing at Fallout Arts Initiative in South Minneapolis through March 4.

"Ludlow" by nimbus theatre at the Crane Theater

What I love most about nimbus theatre (other than the fact that they perform at the Crane in Northeast, a 15 minute drive from my house) is that they usually perform new works, often historical, always interesting and thoughtful. Their latest creation is Ludlow, about the Colorado Coalfield War of 1913-1914, the deadliest labor dispute in US History, resulting in the deaths of dozens or even hundreds of people. Playwright Josh Cragun and director Liz Neerland, Co-Artistic Directors of nimbus, have created an ambitious new work with a large and talented ensemble that not only brings the lives of the victims and survivors to life, but also speaks to current issues of unions, immigration, and the haves vs. the have-nots.

"Deathtrap" at Theatre in the Round

Who knew murder could be so fun?! In Theatre in the Round's production of the 1978 play Deathtrap, it is. This stage thriller that pays homage to classic stage thrillers while at the same time mocking them is full of jaw-dropping plot twist and plenty of humor. Twin Cities Theater Bloggers' winner for favorite comedic performance in 2016, Shanan Custer, directs the strong five-person casts and keeps the laughs and the surprises coming. Deathtrap is a fun and engaging escape from the troubles of the real world, a place where we all know murder is pretend so we can laugh at the ridiculousness of the plotting.

"Richard III" at Theatre in the Round

There's no tale more twisted than that of the English monarchy. Betrayal, murder, illness, disappearances, fierce battles, and marriage between close relatives are common occurrences. King Richard III's brief two-year reign in the late 15th Century was marked by all of the above, and therefore makes for good fodder for historical fiction. I recently read Philippa Gregory's Cousins War series, which was made into the Starz drama The White Queen, and tells Richard's story along with others of that era. One of the things that makes these books so fascinating is that they're told from the very different perspectives of the women in the story, including Richard's sister-in-law Queen Elizabeth, his wife Anne Neville, and the mother of the man who dethroned him, Margaret Beaufort. The first two are also characters in Shakespeare's version of Richard III historical fiction, currently playing at the longest-running Minneapolis theater, Theatre in the Round. I went into the play with all of this background, and therefore unlike a lot of Shakespeare, I was able to follow the many characters and plot twists and quite enjoyed this take on a bizarre and fascinating period of history.

"Dogwood" by Candid Theater Company at The People's Center Theater

One of the most fun parts about being an independent theater blogger is getting to see theater by many different companies in many different venues. I've seen work by over 60 local theater companies (click here for the full list), but there are still some that I've never seen. Last weekend I saw one of these theater companies I'd never seen before (although it was founded 15 years ago) in a location I'd never been to. Candid Theater Company's new play Dogwood, written and directed by Founders Seraphina Nova and Justin M. Kirkeberg, respectively, is a dysfunctional family drama, complete with secrets, illness, affairs, arguments, dark humor, and love.

The Dogwoods are a family living in suburban Milwaukee. Dad is retired and spends most of the day in a fog watching his "programs," while Mom flutters around pretending everything is OK. Daughter Evelyn lives just down the street and has put her own life on hold to take care of her parents (or is she using them as an excuse not to live a fuller life?). Rachel and Nathaniel have moved away, and their trips home are becoming fewer and farther between. They all congregate at the family home for Dad's favorite holiday, Independence Day. Rachel brings her assistant instead of her husband, and Nat arrives without his much talked about but never seen fiance. Secrets come out and old grievances come back around as this not-so-happy family finds themselves under the same roof again. After the holiday is over, not much has changed, except perhaps a better awareness of the situation.

James Napoleon Stone, Katherine Preble, and Angela Walberg
as the Dogwood siblings

The cast does a fine job with the material and feels like a comfortable family. Angela Walberg is painfully sympathetic as the responsible daughter Evelyn, and along with James Napoleon Stone and Katherin Preble form a believable sibling trio. As the parents, David Roberts and Meri Golden are excellent, David poignantly playing the extremes of a dead-eyed stare and an anger and frustration at the situation he finds himself in, and Meri is all motherly love and concern hiding a deeper pain. And kudos to the talented Michael Terrell Brown who just joined the cast a few days before opening and seems like he's been with the group all along. This play does not have a happy ending, as there is an impression that things will only get worse, especially for Evelyn as she's left to care for her parents after her siblings leave. In the end I wasn't quite sure what I was supposed to take away from the play, other than frustration that this poor girl is destined to live a lonely life caring for her aging parents while her siblings enjoy their independent lives hundreds of miles away.

The new-to-me venue is The People's Center Theater. It's a nice intimate space on the third floor of the People's Center Health Services' Cedar Riverside Clinic. The set looks like a typical lived-in Midwestern home, with blankets on the couch and tchotchkes on the shelf. At one point during a heated scene the table broke, and the cast dealt with it so well I thought it was part of the script.

Dogwood is a compelling and entertaining dark family drama. If, like me, you're unfamiliar with Candid Theater, check it out to take a chance on something new (discount tickets available on Goldstar).

"Bohemian Flats" at nimbus theatre

The chance to experience a new theater and learn about Minnesota history? I'm in! Last night I attended my first play at nimbus theatre in Northeast Minneapolis (I really wanted to see their production of The Cripple of Inishmaan last fall after seeing A Behanding in Spokane by the same playwright, Martin McDonagh, but didn't quite make it). I love checking out new theater spaces, and in this case an unassuming exterior leads to a quite nice space inside. Their current production is the new original play Bohemian Flats, written and directed by Co-Artistic Director Liz Neerland, about the life of immigrants living in a Minneapolis community of that name in the late 19th and early 20th century. Bohemian Flats was located on the west bank of the Mississippi, at the site of what is now the Washington Avenue bridge. Residents built their own little wooden houses, and those on the lower levels moved out every spring when the river rose. The city of Minneapolis eventually cleared out the flats in the name of progress, but the community lives on in this play which is less of a cohesive story and more of a series of vignettes about life in the flats throughout its 60-year history. More globally, it's a common story of our immigrant ancestors who came to this country to make a better life for themselves and their families.

the cast of Bohemian Flats

The play opens in the 1930s with a man who has lived in the flats for 50 years, in the house his father-in-law built. He reminisces about the people who lived in the once busy community (it housed a church and a saloon, two things every town needs), and the good times and bad they experienced. The drab little wooden shanties soon come to life with flowers and people, and we see scenes of weddings, tragedies (the 1878 explosion at the Washburn A. Mill, where many of the residents worked), arriving immigrants, and community life. Several scenes include immigrants reading letters from family members left behind in the old country, or writing to them of their new life in America. The eight-member ensemble ably brings these many characters to life. I found myself looking for a little more follow-up on some of the stories (did the woman's son survive the mill explosion? did the young girl ever make it out of the flats?), or a return to the man from the beginning of the play for some sort of closure. There's no one thread to follow through the play, no one person to grab on to and become emotionally invested in as you follow their story. Still, the play effectively brings the audience into the world of Bohemian Flats, a unique community on the very shore of the river, but with a universal story of the immigrant life.

Helping to create this world are the set (by Brian Hesser, also one of the ensemble members) and costumes (by Andrea M. Gross). Walking into the theater space at Nimbus, I was immediately charmed by the rustic shanty town on stage, which later blossoms with life as flower beds and other decorations are added. The costumes reflect a plain, hard-working people, with people from "up in the city" differentiated by their somewhat more distinguished clothing.

Bohemian Flats is playing now through April 7 at nimbus theatre. Check it out for an entertaining lesson on local history.

a historical photo of the community know as Bohemian Flats

a historical photo of the community know as Bohemian Flats

"Romeo and Juliet" by Theatre Coup d'Etat at the Southern Theater

In Theatre Coup d'Etat's production of Shakespeare's classic tragic love story Romeo and Juliet, there's a big twist: Romeo is a woman. But the surprising thing is that it doesn't change the story one bit. It's the same beautifully tragic, frustratingly doomed love story we all know and love. The only language that's been changed are the pronouns referring to the lady Romeo. The problem everyone has with Romeo and Juliet being together is not because of their gender, but because they belong to warring families in Verona. It's a very quick and easy transition to get used to a female Romeo, and from there, the power and drama of the classic story take over.

But before we get to the play, there was a strange but fascinating pre-show show. First, the cast gathered onstage for a yoga and vocal warm-up, which was kind of fun to watch. Then all of the actors transformed into animals, crawling around the stage sniffing and growling at each other. I had a brief moment of fear - they're not going to do Romeo and Juliet as animals, are they? Fortunately that was not the case, and the exercise ended as quickly as it began. The actors/animals left the stage, and after a moment, the Prince entered, and the story began. I still have no idea what that was about; it was a strange preamble that seemed to have nothing to do with the play, but it certainly was interesting!

the Friar (Paul Schoenack)
with the (momentarily) happy couple
(Christina Castro and Briana Patnode)

On to the main event. Strong performances by the entire cast are led by our Romeo and Juliet. Christina Castro is a strong and likeable presence as Romeo, believably falling in the love with the girl across the room at a party, who just happens to be the daughter of her family's enemy. Briana Patnode's Juliet is all sweet wide-eyed innocence, until her new love kills her cousin and is banished from Verona, and her innocence turns to despair. Meri Golden provides some comic relief as Juliet's story-telling nurse. Also notable are Alec Barniskis as the Prince, with appropriately imposing height and commanding voice; James Napolean Stone as Mercutio, especially his entertaining fight and death scene ("a curse on both your houses!"); and Paul Schoenack as the friar who tries to do right by the young lovers.

The Southern Theater contains the most beautiful stage in the Twin Cities. With the cavernous space in front of the original arch, the possibilities are endless, and it's perfectly suited to a classic story like Shakespeare's. Theatre Coup d'Etat makes good use of the space with just a few necessary and basic set pieces. The costumes (by Tyler Stamm) are simple but beautiful, classic with a modern twist. I appreciate that the Capulets wear a bit of red, while the Montagues wear a shade of blue, because sometimes I have a hard time remember who's on which side. Romeo's look - boots, leggings, and jacket - is not overly feminine, but not that different from what women wear today. Juliet's wardrobe is as lovely and sweet as she is.

This is a great production of a classic piece of theater. Romeo and Juliet is a show that's done so often, you almost need a new take on it to justify doing it again. Or rather, I need something different and interesting to make me want to see it again. Re-imagining Romeo as a woman is just that twist that makes you see and appreciate the story in a new way, without significantly changing it.

the gorgeous wide open stage at the Southern Theater

"Edith Stein" at Open Window Theatre

Open Window Theatre's play Edith Stein* is a powerful and thought-provoking play.  But it's not an easy one, either to watch or to write about.  Partly because it's about the Holocaust, which is an extremely complicated and sensitive issue.  And partly because I have my own personal issues with the Catholic Church, which are difficult to set aside.  Maybe the solution is not to look at it not as a general statement about the Holocaust and Jewish/Catholic relations (I think Minnesota Jewish Theater's Our Class did a better job of exploring the subtleties and complexities involved), but to look at it as a depiction of the life of one woman, who was inspirational not because of her conversion or death, but because of her intelligence, ambition, and conviction.

Edith Stein was a Jewish woman who converted to Catholicism and joined a convent, was killed in a concentration camp in 1942, and was later declared a martyr and a saint by the Catholic Church.  The play begins with a Jewish historian visiting a convent near the site of Auschwitz, asking them to move out of respect for the millions of Jews who died there.  The nun engages the historian in a conversation, and the story of Edith's life is then told, with occasional flashes to the present to return to the conversation.  We see Edith celebrating the holy day of Purim with her family, and hear about her work with wounded soldiers during WWI.  She leaves the home and family she loves to pursue her education and career.  She's inspired by reading about the life of St. Teresa of Avila to convert to Catholicism and join a convent.  Despite my issues with the Catholic Church, I do have great admiration and respect for nuns; throughout much of history the convent was one of the few places where women could go to receive an education and live an independent life.  Perhaps that's part of what drew Edith to it.  While she's preparing to take her vows, a Nazi soldier named Karl-Heinz begins to visit the convent and speak with Edith (now called Sister Teresia Benedicta of the Cross) through a screen.  He becomes obsessed with her, and she is asked to continue speaking with him as part of her service, despite (or because of) the fact that he represents everything she's fighting against.  This part of the play is fictional, but her conversations with him help to shed light on her beliefs as she tries to explain them to this man.  Edith is eventually transported to Auschwitz and killed along with millions of Jews.

Highlights among the very capable cast, directed by actor Josh Campbell, include, first and foremost, Kendall Anne Thompson as Edith.  She does a wonderful job portraying this strong and independent woman, at the same time expressing her vulnerability and doubts.  Meri Golden is believable and sympathetic as Edith's mother, who clearly loves her daughter despite being disappointed at the choices she's made and the direction her life has taken.  Jeremy B. Stanbary, the Artistic Director of Open Window, is a commanding presence as Karl-Heinz, somehow creepy and charismatic at the same time.  Unlike Karl-Heinz, the other Nazis in the play are caricatures of pure evil, which is an easy trap to fall into.  This oversimplification can be dangerous; if we forget that Nazis were human beings just like us who let their fears take over and turn into hate and discrimination, we run the risk of going down that same road, in small ways or big.

I always enjoy checking out new theaters.  This one is actually new, not just new-to-me.  Open Window Theatre is in its inaugural season in a warehouse behind the Basilica in Minneapolis.  The space reminds me a little of Yellow Tree Theatre in Osseo - unassuming exterior, warm and cozy lobby, and black box theater (I think they even have the same comfy lawn chairs as theater seats).  The stage itself is set up as a cross (I doubt that's a coincidence) with the chairs facing in different directions.  There are no set pieces; the sparseness works well for the piece.  Despite whatever issues I may have with the subject matter, the play is very well done.  I wish them well in their new venture and will continue to keep an eye out for future productions.  Next up: The Hobbit, which is sure to be much lighter!


*I received one complementary ticket to see Edith Stein.