"Ada and the Engine" at DalekoArts

Lauren Gunderson currently holds the title of the most produced playwright in America (see: her Pride and Prejudice fan fiction produced annually at the Jungle). Her plays often center on female heroes, fictional or historical. It's no wonder her plays are frequently produced; this is exactly the kind of play we're hungry for right now. DalekoArts is producing the regional premiere of Ada and the Engine, a play about 19th century mathematician and arguably the world's first computer programmer Ada Lovelace. This smart, funny, poignant (spoiler alert: Ada died young), insightful play is beautifully realized by DalekoArts and 100% worth the drive to charming New Prague.

"Peter and the Starcatcher" at Daleko Arts

DalekoArts, a professional theater in New Prague, Minnesota on the very southern edge of the metro area, is closing out their seventh season with the multiple Tony-winning Broadway play-with-music Peter and the Starcatcher. It's a charming, quirky, innovative little play, and therefore a great choice for Daleko. This is my fourth year attending their spring musical(ish) and I continue to be impressed with the care and energy they put into the work that they do. Season 8 looks just as promising, with a walking ghost tour around historic downtown New Prague, a Scrimshaw Christmas comedy, a play about 19th Century mathematician Ada Lovelace, and the hilarious musical Spelling Bee. If you're in the mood for a theater road trip (about an hour from the cities), head south to Daleko.

"Red Velvet" by Walking Shadow Theatre Company at Southern Theater

In just four days, I saw two plays in which an actor of color donned white face. A little strange, a little disturbing, but a very good sign that the #TCTheater community is telling some important and relevant stories right now. Mu's Charles Francis Chan Jr.'s Exotic Oriental Murder Mystery deals head on with the practice of yellow face and Asian American stereotypes in media, while paying homage to real life pioneers of Asian American theater. Walking Shadow's Red Velvet deals with art, politics, and race in theater while telling the story of a real life pioneer of African American theater who had a successful career doing Shakespeare in Europe in the 19th Century. Both plays provide astute social commentary through historical stories that are also engaging and entertaining, and are both well worth seeing.

"Safe at Home" by Mixed Blood Theatre at CHS Field

NFL player Colin Kaepernick started a controversy when he chose not to stand during the National Anthem at a football game last year, saying "I am not going to stand up to show pride in a flag for a country that oppresses black people and people of color." Imagine if a star starting pitcher chose to take the mound in Game 7 of the World Series and not throw a pitch to draw attention to the issue of immigration reform. Professional athletes are idolized in this country, and their words and actions speak loudly. Should they then use the opportunity to speak out on issues that matter to them, or simply play the game they're paid to play? Such is the subject of Mixed Blood Theatre's immersive, site-specific, ambulatory play Safe at Home. In nine short scenes, this story of a baseball player using his celebrity to make a statement is told in various locations in and around CHS Field, the beautiful new ballpark of the St. Paul Saints. It's an incredible one-of-a-kind theatrical experience, and I'd love to see this world premiere play created by Gabriel Greene and Alex Levy and directed by Jack Reuler performed at ballparks around the country. But in the meantime, head to St. Paul's Lowertown neighborhood to experience this engaging mix of baseball, politics, and theater.

"Dancing at Lughnasa" at Yellow Tree Theatre

Irish playwright Brian Friel's Dancing at Lughnasa is a perfectly lovely play, and a wonderful choice for the perfectly lovely Yellow Tree Theatre. The eight-person cast is actually on the large side for their cozy and intimate space nestled inside an Osseo strip mall, but the warm, humorous, and melancholic tone is a perfect fit. It's a beautiful play and a beautiful cast, and will leave you with a warm and wistful feeling.

Despite being a fan of all things Irish, I don't believe I'd ever seen a Brian Friel play, other than his adaptation of Checkhov's Uncle Vanya at the Guthrie a few years ago. In his story of the five Mundy sisters living together in a small farmhouse in County Donegal in 1936, he has captured the mix of joy, sadness, music, and family that is uniquely Irish. The sisters are a loyal and devoted family, yet are all individuals searching for something, something they never quite find. It's a bittersweet joy to watch their struggles towards a better life.

the sisters dancing

Dancing at Lughnasa is a memory play in the spirit of The Glass Menagerie. Michael, the son of youngest sister Christina, narrates the story as his adult self, while his 7-year-old 1936 self is never seen but is often talked to and about by the Mundy women, who obviously dote on the fatherless child. Or rather, the child of a father who's never around except for occasional visits, including during the events of the play. Gerry stirs up all of the women, especially Chris, with a hope that can never be fulfilled. Also throwing their world into disarray is the return of their older brother, the "leper priest" Jack, from 25 years of serving in Uganda, where he became a bit too enamored of the native ways for the Church's liking. These two events, along with developmentally disabled sister Rose's possible romance, the closing of the knitting factory where she and Agnes work, and the family's new wireless, create a moment in time that Michael remembers as one of the last happy times in the family, soon to be followed by work, sadness, and tragedy. The play is a lovely and bittersweet exploration of this family and their relationships in a changing world.

the cast of Dancing at Lughnasa

Under the direction of Jon Cranney, this wonderful cast feels like a family, with all the love, connection, and annoyance that goes along with it. Katherine Ferrand, Jessica Lind Peterson, Carolyn Trapskin, Rachel Weber, and Melanie Wehrmacher play these five very different sisters, and throughout the course of the play we get to know and love each of them, despite their shortcomings. Jason Ballweber's Michael is a warm and likeable guide through the story, Michael Lee is the charming absent father, and Patrick O'Brien is appropriately befuddled as the newly returned Father Jack. The ninth character in this play is Jeffrey Petersen's set, which somehow transforms the small thrust stage at Yellow Tree into the Mundy's entire world - the warm and rustic farmhouse and the rich green of the Irish countryside.

Dancing at Lughnasa is a great beginning for Yellow Tree Theatre's 8th season, which continues with a remount of last year's holiday hit A Hunting Shack Christmas, the smart and funny Raisin in the Sun follow-up Clybourne Park (last seen at the Guthrie), and one of my favorite musicals - Violet. It's a good time to go to Osseo!


This article also appears on Broadway World Minneapolis.

"The Pavilion" at Yellow Tree Theatre

This is the way the play The Pavilion by Minnesota playwright Craig Wright begins:

This is the way the universe begins. A raindrop (that isn't really a raindrop) drops, like a word, "rain" drops, into a pool (that isn't really a pool, more like a pool of listening minds), and tiny waves circle out in an elegant decelerating procession, -cession, -cession. Then, after a time, the pool of listening minds grows still once more.

Now, but backwards, this is the way the universe begins: the still pool of listening minds, the sudden shrinking circles dissolving at the center, conserving at the center until boom, sloop!, up goes the droplet, up towards the voice that raindrops words, up towards the voice and it hangs in the air — remember it there — because that’s the way the universe begins. A little pavilion. A momentary sphere. A word made of stars, dancing.

The play is filled with beautiful, poetic, profound, airy language such as this, interspersed with very real and grounded scenes of average humans at their 20-year high school reunion. The story itself is not very original (in life or literature) - high school girl gets pregnant, boy leaves her to deal with it alone, forever changing both of their lives. The original thing about this Pulitzer Prize nominated play is that this very common idea is used as the seed to explore themes of time, regret, happiness, letting go of the past, and second chances. It's funny and earthy at the same time that it's deep and philosophical. The Pavilion is another great choice by Yellow Tree Theatre - it shines on their intimate and homey stage.

Pine City class of 1977's "cutest couple," Kari and Peter, reunite at their 20-year reunion, and it's not a happy reunion. She's still deeply hurt and angry that he left her when she got pregnant, a situation that isn't soothed at all by his deep regret. Unfortunately neither of them have been able to leave this unhappy incident behind them; she is trapped in an unhappy marriage and he is dating a 23-year-old because she's too young to realize how messed up he is. They begin the evening by trying to avoid each other, but by the night's end they have put it all out there. A narrator tells us about this couple and where they fall in the creation of the universe. There is much fourth wall breaking, as the narrator says things like "this is a play about time," calls for lighting and sound from the crew, and speaks directly to the audience. At one point the characters in the story, mostly oblivious to his presence, speak directly to the narrator. It's a really clever construction and an innovative way to tell a story.

Bonni Allen, Jason Peterson, and Michael Lee

Yellow Tree co-founder Jason Peterson as the narrator speaks these beautiful words with clarity and meaning. He also has the fun of playing multiple characters at the reunion who function as sounding boards for our two main characters. Bonni Allen, whom I've previously only seen in musical comedies, proves that she's a great dramatic actor too as she brings life to the conflicted Kari. Michael Lee is earnest and sincere in Peter's love for Kari. Local actor Terry Hempleman (who starred with Jason in the gripping Fool for Love at the Jungle last fall) does a beautiful job directing the piece.

At intermission I had a discussion with my friends about who to side with. There's no question that Peter did Kari a great wrong, but she's been holding on to the grudge for 20 years. We agreed that she needs to find a way to get over it and let it go for her own sake, not his. Whether or not he deserves her forgiveness, she deserves to forgive him and be at peace about it. The play doesn't wrap things up so neatly. It's an ambiguous ending, as the evening ends and the play fades away into starlight, with no clear direction about what happens next. It's one of those plays that's so full, I wish I could see it again.

The set (designed by Jeffrey Petersen) couldn't be more simple - a large square wooden dock with the word "PAVILION" in lights behind it, the stage empty except for a few crates. But the language is so specific that the imagination can easily fill in the details so that you can almost feel the wind off the water and smell the fresh air. The lighting (by Courtney Schmitz Watson) creates some really lovely effects, from the blue light under the dock to the stars overhead.

Minnesota playwright Craig Wright (who has also written for such TV shows as Six Feet Under and Lost, and graduated from my alma mater) has set this play (and several others) in Pine City, and the play is filled with Minnesota references. The characters casually drop many Minnesota place names, and he has perfectly captured the way that out-staters talk about "the Cities." It's great to see the work of Minnesota artists represented on our stages, especially a play like this that's so funny, bittersweet, and wistful. (Playing now through March 2 at Yellow Tree Theatre in Osseo.)

Because the language is so beautiful, I'll leave you with another quote from the play:

At every single moment, the whole creation is beginning again, stretching the tent of the present moment to bursting. And the waves that push up through the oceans, and the waves that push up through the stars; and the waves that push upwards through history are the same waves that push up through us. And so we have to say yes to time, even though it means speeding forward into memory; forgetfulness; and oblivion. Say "no" to time; hold on to what you were or what she was; hold onto the past, even out of love... and I swear it will tear you to shreds. This universe will tear you to shreds.

"On Golden Pond" at Yellow Tree Theatre

On Golden Pond is a classic American movie. And like many classic American movies, I've never seen it. Also like many classic American movies, it was a successful Broadway play before it was a movie. The 1979 play was adapted by playwright Ernest Thompson into the 1981 movie starring Katherine Hepburn, Henry Fonda, and his real-life daughter Jane Fonda. I'm glad that I haven't seen a lot of these old movies so that I'm able to experience them first in their original form - on the stage. And one of my favorite stages on which to see such work is Yellow Tree Theatre; these small-cast character pieces are what they do best. This play is truly delightful, with real-life married couple and veteran Twin Cities theater artists Jon Cranney (who also directs) and Katherine Ferrrand serving as the heart of the play.

On Golden Pond takes place one summer at the family cabin, something many of us Minnesotans are familiar with. Even though the original play and movie were set in New England, it feels very Minnesotan. In fact, they've changed a few place names so that this version does take place in Minnesota, which feels very natural. Anyone who visits a cabin "up north" knows that it's a special place, a place of respite, away from the busy life of the city. Aging couple Norman (Jon Cranney) and Ethel (Katherine Ferrand) have spent summers at their cabin on Golden Pond for over 40 years. This particular summer, their daughter Chelsea (Melanie Wehrmacher) visits from California to celebrate Norman's 80th birthday, bringing along her boyfriend (Stephen Pearce) and his 13-year-old son (Jack Alexander). Mailman and family friend Charlie (Michael Lee) completes the picture of life at the lake. Not a lot happens, other than fishing, skinny-dipping, and drinking coffee, but much is explored in the relationships between father and daughter (they never got along), mother and daughter (mother is frustrated that daughter can't get along with father), grandfather and step-grandson (they become fast friends and fishing buddies), and husband and wife (Norman suffers from ill health including heart problems and memory loss). It's a lot like being at the cabin, you don't really "do" much, but life is full.

Norman and Ethel (Jon Cranney and Katherine Ferrand)
looking out on Golden Pond

At the center of this very fine cast are Jon and Katherine, who, understandably, are very natural as the long-married couple. Jon is appropriately cantankerous with a dry wit, and Katherine is simply radiant. Michael provides much comic relief and character as the mailman who's really more like a member of the family. Melanie, Stephen, and Jack complete this family well.

As usual, Yellow Tree makes the most of their small space, which is jam-packed with rustic furniture, books, hats, games, and other cabin accoutrements. The set (designed by George Marsolek) is so inviting that I wanted to take a seat on one of the comfy chairs, dig into one of the books on the shelf, and have a cup of coffee and a biscuit with honey and butter.

On Golden Pond is the first play in Yellow Tree Theatre's sixth season and continues through October 13. The five-play season includes a remount of the original version of the hugely popular holiday series, Miracle on Christmas Lake, and concludes with the hilarious 39 Steps next summer. If you have yet to take the trip to Osseo, now is the time to "be here." And for dinner before the show, I recommend Ethnic Foods Company's new restaurant Collage Global Cafe, in the space previously occupied by Nectar Wine Bar. They've only been open a week or two so they're still working out a few kinks in service, but what doesn't need work is their food, which is delicious, local, fresh, and healthful. It makes for a great "dinner and a show" night in Osseo!

"A Don't Hug Me Christmas Carol" at New Century Theatre

I purchased a three-show package at New Century Theatre (the newest of the Hennepin Theaters), mostly because I really wanted to see 2 Sugars, Room for Cream, and the other two shows in the package looked interesting: Deer Camp The Musical (starring Newhart's brothers Darryl) and A Don't Hug Me Christmas Carol. I found 2 Sugars, Room for Cream to be a delightfully original sketch comedy, and the other two... well, let's just say they didn't quite live up to what I believe musical theater can do (see this and this). That being said, I chuckled more than once, and the audience seemed to be having a great time. A Don't Hug Me Christmas Carol is very similar in structure and feel to Deer Camp The Musical, but since I can relate to the traditional Minnesota Christmas more than I can relate to a weekend getaway based on killing animals, I enjoyed this one a little more. It's a very loose retelling of the Dickens classic A Christmas Carol, set in small town Minnesota. Local bar owner Gunnar falls in the frozen lake and is in a coma, whereupon he's visited by his romantic and musical rival, Sven Jorgenson, showing him his past, present, and future. And like in the classic story, this Scrooge learns to be a little more kind and grateful, and yes, even allow his wife to hug him every once in a while.

Highlights of the show, such as they were, include:

• A very enthusiastic and talented cast make the most of the material they're given. Number one among them is Bonni Allen as Gunner's long-suffering wife Clara. Bonni played Kate Monster in Mixed Blood's delightful production of Avenue Q last year, and I was quite amused when she once again put on a puppet, this time in the form of Barbra Streisand (it's a long story). Ross Young also appeared in Deer Camp, and once again he puts everything he's got into grumpy but loveable Gunner.
• Like Deer Camp, Don't Hug Me's original songs are sung live by the cast to canned music, but at least there's an excuse for it this time - the music comes out of the bar's karaoke machine. Most of the songs are cute and amusing (except for one disappointingly homophobic song). And I can never resist a singalong, even if it's to a stupid song about Grandma cutting the cheese.
• The dancing that accompanies the songs is also quite amusing (choreographed by Doug Anderson, who also plays the dimwitted bar patron Kanute, perhaps a nickname for Knutson?).
• The spirit Sven Jorgenson (Michael Lee) gives an amusingly bad Robert Goulet impression.
• The set is a very realistic looking small town Minnesota bar, judging by the responses I got when I posted a picture of it on Facebook with the caption "guess where I am?"
• A Christmas Carol wouldn't be A Christmas Carol without Tiny Tim, and he appears here in a very wacky version - actress Emily Moore (who also plays waitress and aspiring singer Bernice) on her knees with a Cockney accent.
• Again like Deer Camp, this show does not take itself at all seriously, and doesn't try to be more than it is - a silly, entertaining, mindless romp through bad jokes and cheesy story. You gotta respect that.

I've heard about these Don't Hug Me musicals (there are several in the series) and often wondered about them. Now I know they're not really my kind of musical. But they serve a purpose I suppose, and less adventurous theater-goers might enjoy them. A Don't Hug Me Christmas Carol is playing now through January 6. (But in the genre of Minnesota-themed holiday shows, I highly recommend Yellow Tree Theatre's Miracle on Christmas Lake II.)

the lifelike bar set of A Don't Hug Me Christmas Carol