"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 Cherry Orchard" at Jungle Theater, a Co-Production with The Moving Company

After seeing The Cherry Orchard last night at the Jungle Theater, in partnership with The Moving Company (aka MoCo), I have now seen all four of late 19th Century Russian playwright Anton Chekhov's major plays (which also include The Seagull, Uncle Vanya, and The Three Sisters). And I find that I appreciate his work more each time I see it. All four plays share a few common themes - large and complicated families, social commentary on the Russia of the day that somehow is still relevant today, and a mix of humor and sadness. Chekhov famously referred to The Cherry Orchard as a comedy, but the first director thought of it as a tragedy. In short, it's both - like life. Maybe that's the reason for my growing appreciation; Chekhov so beautifully depicts the joys and the sorrows of being human in a changing and challenging world. This production of The Cherry Orchard, with the combined talents of MoCo and the Jungle, is so lovely, so thoughtfully constructed with every attention to detail, so beautifully performed by the seven-person cast, and so gorgeously sad. See it at Jungle Theater in Uptown through November 2.

"at low tide" by The Moving Company at The Southern Theater

I love The Moving Company, but they make my job very difficult. Because mere words cannot describe the magic that they create on stage. I didn't fully understand everything that was happening on the Southern Theater stage last night, but I found myself inexplicably moved by the combination of words, silence, movement, performance, sound, and lighting. I guess that's why they call themselves The Moving Company; they move people, and isn't that what art is all about? So I can't tell you exactly what you'll see if you go see at low tide (and you should), and what you see may be different from what I saw. But I can guarantee that you will be moved, and transported into another dimension for about 80 minutes.

"Speechless" by The Moving Company at Jungle Theater

The Moving Company is remounting their 2017 original piece Speechless, although I think it's more of a reimagining than a remounting. It is once again directed by co-Artistic Director Dominique Serrand and starring co-Artistic Director Steven Epp and Producing Artistic Director Nathan Keepers, but the other three company members have changed. So while maybe the framework is the same (loosely speaking, a group of friends mourning the death of a friend), the new ensemble members bring their own talents and skills to the equation, resulting in something new and different. Truthfully, I don't remember many details about this show from seven years ago other than there were literally no words, and it was unique and inventive and moving. So it was like a new and surprising show to me, and I was able to enjoy each delightful and sometimes mysterious turn. For that reason I won't give too many details about what happens in the show, because you need to experience that yourself without any preconceptions. So head to the Jungle before November 10, let go of expectations about narrative form, and enjoy the speechless but not silent experience of Speechless.

"Say All the Truth" at the Jungle Theater, a co-production with The Moving Company

In the last couple of years, the Jungle has brought us several successful co-productions, combining their resources, audiences, and artistry with other theaters around town (including Theater Mu, Trademark Theater, and WeAreMarried). Their latest successful co-pro is Say All the Truth, an adaptation of Moliere's The Misanthrope created by The Moving Company. MoCo was birthed out of Theatre de la Jeune Lune, the Tony Award-winning company that ended in 2008. Between the two companies, they've done all of Moliere's plays, except this one. The story of a man who doesn't like people and wants to live away from society resonates particularly well right now, when that's sort of what we were all forced to do during the pandemic, and maybe some of us discovered we liked it, because people can be exhausting and infuriating. But still, the play quietly illustrates the power of and need for human connection. And like all of MoCo's work, it's mesmerizing, thoughtful, elemental, creative, and quite lovely. Say All the Truth continues through November 26, but tickets are selling well with the combined popularity of these two companies, so don't wait too long to grab yours.

"Anamnesis" by The Moving Company at the Southern Theater

Two years after their last live show (during which interval they produced a charming, funny, and profound little web series called Liberty Falls 2020), the Moving Company is back on stage where they belong. As I found my seat in the nearly full-to-capacity vaxxed and masked crowd at the Southern Theater last night, and saw the black tarp-covered object filling the space under the historic arch, I had no idea what I was in for. But after ten years of experiencing this company that is the descendent of the famed Tony-winning Theatre de la Jeune Lune, I knew it would be unique, inventive, and, yes, moving. Anamnesis is all that and more (continuing at the Southern Theater through December 4).

"Liberty Falls 2020" web series by The Moving Company

The Moving Company is remounting their absurd comedy Liberty Falls 54321 as a four-part web series called Liberty Falls 2020, and I couldn't be happier about it. We revisit the specifically odd characters from the play (last seen in early 2017) in the specifically odd year that is 2020. The first three episodes are free to view, and if you like what you see, the fourth episode can be viewed for only $6.99. The talented and hilarious original cast (plus a few welcome additions) has reunited in creative ways to bring us wonderfully silly story, not without some social commentary. Click here to watch.

"what if" by the Moving Company at the Lab Theater

The Moving Company's latest original work what if is made up of two separate and very different parts that together form a "moving," "funny," "thought-provoking" piece of theater. I use quotes because in this sort of meta, fourth wall breaking piece, the performers talk about theater, and how we talk about theater, and say just about every world I've ever used to write about theater. It's sort of about theater itself, why we do theater, why we go to the theater. And it's also about humanity, and the origins of storytelling, and the what if of imagining ourselves in someone else's shoes - both as performers and as audience members. It's a process of creating empathy, of making this very big world seems smaller, or more familiar, or more connected. Forgive me if I'm not making sense, or talking in circles, but such is this piece of new and original theater.

"The 4 Seasons" by the Moving Company at the Lab Theater

The Moving Company (which grew out of the ashes of the Tony-winning Theatre de la Jeune Lune) is back this fall with a very Moving Company kind of show. Which is to say original, profound, silly, thoughtful, delightful, sweet, surprising, and a little odd. Conceived by co-Artistic Directors Steven Epp, Nathan Keepers, and Dominique Serrand, The 4 Seasons was inspired by the idea of the four seasons, including Vivaldi's famous composition Four Seasons and Piazzolla's less famous composition Four Seasons. They also drew inspiration from Chekhov, and this quote from the Russian playwright about his work could also describe MoCo's work, and this piece in particular: "What happens onstage should be just as complicated and just as simple as things are in real life. People are sitting at a table having dinner, that's all, but at the same time their happiness is being created, or their lives are being torn apart."

"Speechless" by The Moving Company at The Lab Theater

"Words are heavy. They're like stones. If birds could talk they couldn't fly.*" This quote from my favorite TV show Northern Exposure perfectly expresses my feelings about words (anyone who's met me knows I save the bulk of my words for this blog). Words are hard. Sometimes words aren't enough to express our thoughts and feelings (as Evan Hanson sings, "words fail"). And words are open to interpretation, sometimes they come out differently than how we intended them. The Moving Company (one of my favorite #TCTheater companies in the last six years, since seeing Come Hell and High Water in 2011) has taken that idea of the inadequacy of words and extended it into a 75-minute wordless (but not entirely silent) exploration of... well... a bunch of stuff. Created by the five-person ensemble under the direction of Dominique Serrand and using movement, music, and a little how'd-they-do-that theater magic, Speechless is poignant, heart-breaking, funny, and mesmerizing.

"Refugia" by the Moving Company at the Guthrie Theater

One of my favorite theater companies, The Moving Company (an offshoot of the dearly departed Theatre de la Jeune Lune), made their Guthrie debut last weekend with Refugia, after five or so years of producing new work that is interesting, bizarre, lovely, or all of the above. Several of my fellow Twin Cities Theater Bloggers* saw it opening night and had some strong reactions, to say the least. Even though I mostly stayed out of the conversation, when I saw the show last night I couldn't help but look for issues. And I did find some, although I also found some really beautiful moments and a powerful and timely message. Would I have noticed these issues if not for my friends? I don't know, but I'm grateful to them for speaking their experiences honestly and opening up a conversation. A conversation that will continue with an open forum discussing representation** in theater coming up at the Guthrie (I'll post the details when they become available). In the meantime, go see the show and decide for yourself.

"Liberty Falls 54321" by The Moving Company at The Lab Theater

This weekend, The Moving Company is bringing back their "absurdly funny, surprisingly musically delicious, awkwardly cringe-worthy, and just plain ridiculous (in the best possible way)" Liberty Falls 54321, an operatic comedy. I really loved it the first time around in December of 2015 (and yes, I just quoted myself), and fortunately they've brought back the entire dream team of a cast (I think I've got my first nominee for "best comedic performance by an ensemble" for next year's TCTB Awards). The show is mostly the same show, with a few more topical jokes added referencing the recent election. Whether or not you saw it last time, Liberty Falls 54321 provides a hearty laugh in bleak times, best said by a note in the playbill: "You've got to admit, there's a lot of ugliness out there right now. So, we ask ourselves - what would Moliere do? Well, he'd look at it right in its wrong, ugly face. And make some fun out of it. Have a good old laugh at it. Yes, sometimes you just have to laugh at it all." A good old laugh indeed.

"Every Sentence is For the Birds" by the Moving Company at the Lab Theater

The Moving Company is a unique theater company in this town of over 70 theater companies. The descendant of the beloved departed Theatre de la Jeune Lune, MoCo's productions are typically original ensemble-based creations. Like the proverbial box of chocolates, you never know what you're gonna get with them: over-the-top ridiculous comedy, lovely achingly beautiful poignancy, or more likely, somewhere in between. Their new piece Every Sentence is For the Birds falls more towards the sublime end of the ridiculous-to-sublime spectrum that they cover. The two-person show about a scientist and her subject is both simple and profound, dealing with topics no less than the nature of science and art, and what it means to be human. Words are inadequate to describe The Moving Company's work, so you should just go see it for yourself. I guarantee it's unlike anything you will see on any other stage in town.

"Liberty Falls 54321" by The Moving Company at the Lab Theater

The Moving Company has done it again. With their newest work Liberty Falls 54321, they have yet again created a crazy brilliant original piece of theater that is absurdly funny, surprisingly musically delicious, awkwardly cringe-worthy, and just plain ridiculous (in the best possible way). The story of a 105-year-old woman's birthday celebration in a small town in Wisconsin, created by the company and directed by Dominique Serrand, is really just an excuse for these specifically defined oddball characters to gather and show off their quirks and talents, skillfully brought to life by this dream cast. If you've never experienced the unique genius that is MoCo, let Liberty Falls be your introduction.

"Love's Labour's Lost" by the Moving Company at the Lab Theater

The Moving Company's new adaptation of one of Shakespeare's earliest romantic comedies, Love's Labour's Lost, includes at least one line from each of his 37 other plays. Not being a Shakespeare expert, I only recognized a few, mostly from Hamlet and Romeo and Juliet, the two plays with which I (and probably most people) am most familiar. If I didn't know that they had removed sections of the original play and replaced them with lines from other plays, I would never have known; it feels very much like one cohesive story, not at all the mash-up that it is. Which is a credit to creators Steve Epp, Nathan Keepers (both of whom also star in the play), and Dominique Serrand (who directs), who have so seamlessly woven in lines and plot points from other plays to create something entirely new and original. In typical Moving Company style, it's at times wacky, or funny, or moving, or just plain entertaining.

The original plot of Love's Labour's Lost follows a king who convinces his three companions to join him in three years of intense study, fasting, and avoiding the company of women. This only lasts until the daughter of the King of France arrives with her three comely companions, and the men forget their vows to woo the women. We follow these four love stories through the ending, which is not your typical happy ever after, but allows room for the possibility.

Other than Steve Epp and Nathan Keepers (Co-Artistic Director and Artistic Associate), the rest of the 13 person cast are all new to The Moving Company, but it doesn't feel that way. They all mesh very well in the MoCo aesthetic and bring their own skills to the table. As one of the four pairs of lovers, Emily King and Lucas Melsha have created several stunningly beautiful dances, in a sort of animalistic modern dance style. These two characters speak no words but say everything with their bodies. Jim Lichtsheidl is such a unique and gifted physical comedian, a skill that's on great display here. There's music too, with a couple of songs sung by the ensemble in gorgeous harmony (not surprising with voices like Ricardo Vazquez and Jennifer Baldwin Peden). Steve and Nathan are a couple of goofballs and work so well together after years of collaboration. Heidi Bakke as the object of their affection completes this silly trio.

Director Dominique Serrand has created an exceedingly simple set that is so lovely and evocative - just an AstroTurf-like carpet unrolled on the floor, and sheer fabric creating the green of the field and the blue of the sky, that ripple with the slightest motion. I absolutely loved the costumes (by Sonya Berlovitz), so unique and creative and perfectly suited to each character. In the first act everyone is dressed in military garb - traditional camouflaged soldiers and warrior women looks; the second act civilian costumes are beautiful but whimsical, with each pair a perfect matched set. Of particular note is the king's daughter, who goes from an armored breastplate to a lusciously full-skirted gown.

This is my 6th Moving Company show, and they never cease to surprise and delight me with their innovative and unique style of creation. Love's Labour's Lost, billed as "a fresh new riff on a very old play," covers all the bases - it's sweet and poignant, with some lovely dancing and music, and silly entertaining antics. Watch the video below to get a taste of the show, and then order your tickets here.

"Out of the Pan Into the Fire" by The Moving Company at the Lab Theater

The Moving Company is bringing back last year's hit Out of the Pan Into the Fire.* Even though I saw it last year, I was very happy to see it again. It's that kind of play that is so rich it benefits from multiple viewings, plus there have been a few tweaks and changes. Like everything that The Moving Company (a newish company that is a descendant of Theatre de la Jeune Lune) does, Out of the Pan is highly creative and inventive, marvelously acted by company members, and delightfully unique. A new original fairy tale inspired by the classics collected by the brothers Grimm, but bearing no direct resemblance to any of them, Out of the Pan Into the Fire is at times amusing, moving, poignant, odd, sad, and sweet. If you missed the show last year now is your chance to see it, and especially if you've never seen what The Moving Company can do, this is a must see for local theater lovers.

Serving as a storyteller and narrator, as well as a character within the drama, the endlessly watchable Steve Epp plays Angelo. He begins the show reading a story from a book, a story from "a time when wishing was of some use," and then takes part in that story. Angelo collects children to raise and then send off into the world, and is left with just two oddballs who've never quite left. Elsie (Christina Baldwin like I've never seen her before, but just as captivating as always) is the super smart young woman who knows everything but has experienced nothing. She's deathly afraid of leaving her safe home and going out into the world. She's a sort of awkward child-woman, dressed in rags and dorky glasses with clothespins in her hair. Her brother Thirteen is her exact opposite - dumb as a rock and afraid of nothing, because "he doesn't know enough to be afraid." In Nathan Keepers' usual physical style of character creation, Thirteen is like a big eager happy puppy dog, who only wants to be loved and be happy and play with his best friend, potato. Christina and Nathan created a beautifully doomed romantic couple two years ago in Werther and Lotte, and now with Elsie and Thirteen they have created a funny, sweet, and genuine sibling relationship. This odd little family is happy, but Angelo knows that he has to send his children out into the harsh world to complete their development as human beings. Angelo leaves so that Elsie will have to face the world and experience the heartbreak that goes along with it (for true wisdom is knowledge plus experience), and Thirteen will learn fear (which is, as Elsie tells him, dread plus reverence). They encounter the exceedingly creepy Stumpfmutter (Justin Madel), who is like something right out of the darkest German fairy tale. Growing up is hard, as these two overgrown children learn, but entirely necessary and in the end, rewarding.

Angelo (Steve Epp) plays with Thirteen (Nathan Keepers)

The world in which this story takes place is quite magical, and the set from last year's production at the Southern Theater has been transported to the Lab Theater exactly as I remember it. The Southern and the Lab are two of my favorite theater spaces in town, both with gorgeous open spaces, but the Lab feels a little more intimate and close to the action. There is so much to look at in this set, my favorite of which are the little chairs in graduated sizes, from child-sized to doll-sized. The set (designed by director Dominique Serrand) is comprised of odd spaces created by cardboard, a locker, a raised stage area, plastic garbage bags, and various other compartments. There are secret doors and windows, from which characters suddenly appear and disappear (leading to several moments of "how'd they do that?!"). Delightful and surprising things happen with the set and props; there is wind, ice, rain, feathers, blood, and dirt (without spoiling everything, there is significant clean-up that must happen between shows).

The cool thing about The Moving Company is that often the actors help in creation of the work (this one was written by Steve, Nathan, and Dominique), so that the characters are suited to the particular talents of the actors, whether it's Nathan's crazy physicality, or Christina's lovely voice (which she does use here, singing a beautiful Rilke poem in German), or Steve's great storytelling. Watching the three of them play in this strange and magical world is a joy. One that you really must experience to fully comprehend. Check them out at the Lab Theater through March 2.

*Yes, I borrowed liberally from what I wrote last year. But don't accuse me of plagiarism, I gave myself permission to use my words.

"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).

"Out of the Pan Into the Fire" by The Moving Company at the Southern Theater

If you're a theater fan living in the Twin Cities, you need to experience The Moving Company at least once (and like potato chips, you probably won't be able to stop at just one show). What they do is so totally unique and innovative, and completely their own style - original work with creative storytelling, sometimes perplexing, sometimes profound, always interesting. Their new production is a modern original fairy tale, inspired by the classics collected by the brothers Grimm, but bearing no direct resemblance to any of them. Out of the Pan Into the Fire is at times amusing, moving, poignant, odd, sad, and sweet.

Serving as a storyteller and narrator, as well as a character within the drama, the endlessly watchable Steve Epp plays Angelo. He begins the show reading a story from a book, a story from "a time when wishing was of some use," and then takes part in that story. Angelo collects children to raise and then send off into the world, and is left with just two oddballs who've never quite left. Elsie (Christina Baldwin like I've never seen her before, but just as captivating as always) is the super smart young woman who knows everything but has experienced nothing. She's deathly afraid of leaving her safe home and going out into the world. She's a sort of awkward child-woman, dressed in rags and dorky glasses with clothespins in her hair. Her brother Thirteen is her exact opposite - dumb as a rock and afraid of nothing, because "he doesn't know enough to be afraid." In Nathan Keepers' usual physical style of character creation, Thirteen is like a big eager happy puppy dog, who only wants to be loved and be happy and play with his best friend, potato. Christina and Nathan created a beautifully doomed romantic couple in last year's Werther and Lotte, and now with Elsie and Thirteen they have created a funny, sweet, and genuine sibling relationship. This odd little family is happy, but Angelo knows that he has to send his children out into the harsh world to complete their development as human beings. Angelo leaves so that Elsie will have to face the world and experience the heartbreak that goes along with it (for true wisdom is knowledge plus experience), and Thirteen will learn fear (which is, as Elsie tells him, dread plus reverence). Growing up is hard, as these two overgrown children learn.

The world in which this story takes place is quite magical. Upon entering the Southern Theater, I was immediately captivated by the little chairs in graduated sizes, from child-sized to doll-sized. The set (designed by director Dominique Serrand) is comprised of odd spaces created by cardboard, a locker, a raised stage area, plastic garbage bags, and various other compartments. There are secret doors and windows, from which characters suddenly appear and disappear (leading to several moments of "how'd they do that?!"). Delightful and surprising things happen with the set and props; there is wind, ice, rain, and dirt (without spoiling everything, there is significant clean-up that must happen between shows).

The cool thing about The Moving Company is that often the actors help in creation of the work (this one was written by Steve, Nathan, and Dominique), so that the characters are suited to the particular talents of the actors, whether it's Nathan's crazy physicality, or Christina's lovely voice (which she does use here), or Steve's great storytelling. Watching the three of them (along with Sam Kruger, who plays a couple of small but impactful roles) play in this strange and magical world is a joy. One that you really must experience to fully comprehend. Check them out at the Southern Theater through May 26, and in the meantime, you can contribute to their Kickstarter campaign to help fund the project.

Nathan Keepers, Steve Epp, and Christina Baldwin

"The War Within / All's Fair" by The Moving Company at the Southern Theater

Absurd. Perplexing. Wacky. Unexpected. Delightful. Those are the five words I would use to describe The Moving Company's new piece The War Within / All's Fair (a recent challenge on their Facebook page). I never quite know what to expect when I go to see a Moving Company show, and that's what I like best about them. It's always inventive and creative, a new perspective on a familiar topic. And there's no exception here in this piece created by Moving Company's co-Artistic Directors Steve Epp and Dominique Serrand, along with Artistic Associate Nathan Keepers and some lucky students at the U of M.

How can I describe The War Within / All's Fair? I think this quote from the playbill says it best: "If you're looking for a play here you won't find it. There is no overriding agenda, rather a parade of unfortunate encounters in a fictional workplace. The daily circus of the socially, economically and politically marginalized. Bits and pieces strung together, you might say, to create a more horrifying whole. Inspired by the great tradition of the buffoon, it is a world peopled by characters with little-to-no respect for anything or anyone, and even less for themselves."

From the moment the show starts you know you're in for something unique - each character makes their entrance walking across the stage, staring at the audience, finally striking some odd character-specific pose. They move around this unnamed workplace/factory/warehouse in choreographed chaos. The show is loosely structured as random scenes and interchanges between various groups of characters as they go about a day on the job. The most consistent characters leading us through are chameleon Nathan Keeper's janitor, going about his daily tasks of sweeping, vacuuming, and complaining, and the hilarious Susan Warmanen's gum-chewing, pink-wearing gossip (every workplace has one), speaking in nonsensical metaphors. Other characters include Jon Ferguson as the jerk of a boss with a neck brace, Haley Carneol as the self-described pansexual, Christian Bardin as the awkward girl with a lisp, Sam Kruger as new employee Gaush (that's pronounced Josh, not gowsh), whose lifeless body is quite brilliantly and gracefully maneuvered by Peter Lincoln Rusk, when he's not making odd sound effects. Each of these characters is a distinctly wacky creation. And they occasionally break out into song!

There's really not much else I can say - check out this absurdly entertaining show if you're looking for an unconventional and innovative evening of theater.  Playing now through June 10 at the Southern Theater.  (Check out my new favorite website Goldstar.com for half-price deals.)

"Werther and Lotte" by the Moving Company at the Lab Theater

I first saw The Moving Company last year when they created an original work called Come Hell and High Water, based on a William Faulkner novella about the 1927 Mississippi River flood.  I found it to be unique and moving and unexpected.  Their new work, Werther and Lotte, reunites two of the actors as well as the director and co-creator of that piece, Dominique Serrand.  This one is again based on a novel, set in a specific time and place in history - Johann Wolfgang von Goethe's The Sorrows of Young Werther, set in late 18th century Germany.  And it's equally lovely.  What I appreciate most about The Moving Company is that they go beyond what we conventionally think of as theater, pushing the boundaries by combining music, images, movement, and ideas.  It's truly lovely and a breath of fresh air.

Werther is a man on a journey, who meets Lotte (short for Charlotte) and instantly falls in love with her, despite being warned against it.  She's engaged to another man, but they still develop a close friendship.  When Werther returns after an absence to discover that Lotte has married, he's devastated.  The whole play is an exploration of Werther's feelings of being blissfully in love, and finally realizing that it's a love that can never be returned.  Werther narrates much of the action as the play begins, with Lotte taking over and finishing the tale as Werther's madness overcomes him.

Christina Baldwin and Nathan Keepers are the only two actors in the play (other characters are represented by a chair, a jacket, or empty space), and both bring their unique talents to this creation.  Christina, as Lotte, makes it easy to see why Werther falls in love with her.  She radiates lightness and peace and joy, and her voice is, as always, gorgeous, whether she's sing a beautiful French song or a silly little made-up song in German (my name is Werther, poor me, my umbrella is small, I have no potatoes).  Nathan has a great physicality in his acting, which he uses here to express Werther's joy and frustrations - climbing on tables and chairs, swinging on a swing, scaling the wall.  Both actors have their own unique style and play together very well (I should note that both were involved in creating this piece along with Dominique Serrand).

Recorded music mixes with live music in a creative and interesting way, as Edde Hou (violin) and Matt Blake (upright bass) play along with an old phonograph.  The costumes (designed by Sonya Berlovitz) are simple but effective.  Lotte's clothing changes from light and airy in the beginning of the play, to a darker palette as the play continues and her life gets more difficult.  The set is very sparsely populated with a few tables and chairs and some odds and ends, in the beautiful cavernous space that is the Lab Theater.  Images are projected onto the brick wall of the theater, of snow, or the woods in the fall, or a babbling brook in spring, bringing nature into this sterile space.  The play ends with a beautiful image, after which there was a moment of silence from the audience as the actors came back onstage to take their bows.  I think we all knew it was the end, but didn't want it to be!

The Moving Company includes this note in the program:

Our work evolves on its feet as we explore how text, physicality, and music intertwine to tell our story.  The simple, necessary objects onstage are there, like toys in the sandbox, to spark our imagination and suggest the landscapes of our space.  By paring down to the fundamental theatricality of the story, we aim to land the production in a universe which can be in turn surreal, brutal, impassioned, and vulnerable.

To that I say - mission accomplished.  I highly recommend this show, if only to see an exploration of what theater can be.  The show officially opens tonight and runs through April 15.