"Don't Bother Me, I Can't Cope" at Penumbra Theatre

A piece of musical theater trivia that I learned several years ago is that the first Broadway musical with book, music, and lyrics written by a woman is the 1973 Tony-nominated Don't Bother Me, I Can't Cope. It was written by Micki Grant, a Black woman, who also starred in the show (we would have to wait over 50 years for the next Broadway musical with book, music, and lyrics written by a woman who also starred in it - Shaina Taub's Suffs, coming to the Orpheum next month). I couldn't understand why, in 15 years of seeing pretty much everything in #TCTheater, I had never seen this show; no theater company has produced it locally in my memory, and it's never been revived on Broadway after its two-and-a-half-year original run. That glaring omission has finally been rectified with Penumbra Theatre's joy-filled production of this historically significant gem of a musical. It's playing through April 5, and if you're a fan of musical theater history, or just music and/or history in general, do not miss this show.

American Players Theatre 2025

"This world is complicated, sometimes difficult. We hope that your visit to APT is a bit of a refuge for you. We hope it brings you joy, maybe lets you breathe easier. For a few hours, you can lean into a story, together in community with the rest of the audience. The people sitting around you may have different perspectives, beliefs or even politics (yeah, we said it). But we can share this common experience and maybe understand ourselves, and each other, a little bit better. That's the beauty of Theater, and of this place in the woods." This program note from American Players Theatre Artistic Director Brenda DeVita and Managing Director Sara Young so beautifully expresses why I love theater, and why I write about it to share it with others. At this moment, the world feels very complicated, difficult, and scary, so my weekend in Spring Green with my friends from Minnesota Theater Love and Ernest Goes to the Theatre was a welcome retreat. I like to refer to APT as a theater oasis in the middle of the woods of Wisconsin. And it is that, it is a place to take a break from the scary world and enjoy storytelling at its finest. But APT, and theater, is more than that. Some of the plays this season are a fun escape, but some are a brutal reflection of our harsh reality. And all of them are experienced in community with friends, strangers, and this beautiful acting company and creative team. This was just the third trip across the Wisconsin border to APT for this Twin Cities Theater Blogger, but I look forward to many more to come. The summer season of eight plays in rep (although more will be closing each week) continues through October 5, with one play presented in their indoor theater in late October through November, so there is still time for the best theater vacay in the Midwest this year. Or start making plans for the 2026 season, because American Players Theatre is a magical and wonderful experience, just a four-hour drive from the Twin Cities, that every #TCTheater fan needs to experience.

Reading of "The Antipodes" by Table/Read at PAIKKA

After two years at Boston University earning his MFA in Directing, #TCTheater artist Grant Sorenson is back in town and jumping right in making good things. He has plans for a new theater company (which will hopefully continue the great and interesting work of Arrow Theater), but for now, Grant has introduced a new and exciting monthly theater event - one-night-only readings of new plays, fittingly called Table/Read. That in itself is a really cool idea, but what makes this series truly unique is that the name of the play is not announced until the moment the reading begins. We always go into the theater knowing something about the work, even if it's just the title and playwright. But often the promotional materials, social media, and/or the program have information on what the play is about - a short plot summary, character descriptions, or even just the location and time period of the story. It's extremely rare to watch a performance and know absolutely nothing about what's going to happen. And that's exciting! The first monthly Table/Read did not disappoint, with an excellent choice of play read by a powerhouse cast of nine of #TCTheater's best actors that gave fully realized performances despite having just one zoom rehearsal. And it was preceded by drinks and conversation in the lovely courtyard outside PAIKKA, an event space in Vandalia Towers. But I won't get too attached to that; each reading will take place at a different non-traditional space. Follow Table/Read on Instagram or watch their website for details on the next monthly reading. And for artists - check out the artist nights, intended to be a place where artists can connect.

American Players Theatre 2024

This year I made my second visit to American Players Theatre, the magical theater in the middle of the woods of Wisconsin. My friends at Minnesota Theater Love have been going for years, and finally convinced me to join them two years ago. I was enamored of the setting and the quality (and quantity) of work produced, and declared that "if Middle Earth had a theater, it would look like American Players Theatre," so I was happy to make the trip again after missing last year. And now I am thoroughly and irrevocably ensorcelled by the experience that is APT; I don't think I'll miss another year if I can help it. We saw five shows in three days, four of them outdoors, each better than the last. If you're a theater fan in the Midwest, put APT on your must-do list. A lovely four-hour drive from the Twin Cities through the corn fields and rolling hills of Wisconsin brings you to a two-stage, eight-show repertory theater than runs from June through September (with an additional indoor show in October). It's a gem that even the New York Times has visited - so why haven't you? This year we stayed at House on the Rock Resort which is the closest (and perfectly satisfactory) lodging to the theater at just about a mile away, but there are other hotels, B&Bs, and AirBnBs in the vicinity. Plus there are plenty of shops and restaurants in and around Spring Green to entertain you (although I do recommend making a reservation for Saturday night dinner, we visited four restaurants before we found one that could seat us). So make a long weekend of it, visit the truly bizarre funhouse that is House on the Rock (admission included if you stay at the Resort), take in the majesty of Taliesin (which I have yet to do), and enjoy some amazing theater, scenery, and cheese!

"Sugar in Our Wounds" at Penumbra Theatre

In the beautiful and brutal play Sugar in our Wounds, two enslaved men fall in love, finding a song of love that sings in both of them. But this is the American South, shortly before the Emancipation Proclamation, so we know how this story ends. Still, it's a beautiful story to tell, one of love in the face of great danger, that reminds us of our ugly past, and also of the beauty that those who found themselves trapped in the ugliness were able to make for themselves. Penumbra Theatre's production of this play is gorgeous in every way - the design, the true and real emotions of the actors portraying these characters, and the light that it shines on the story of "queer Black love against a backdrop of imminent freedom." See it at Penumbra Theatre through March 19.

American Players Theatre 2022, Spring Green WI

If Middle Earth had a theater, it would look like American Players Theatre. Situated on over 100 acres in the woods of Wisconsin about an hour west of Madison, the sprawling grounds include several picnic areas on rolling hills with artwork and lights hanging from the trees (very Hobbiton), where people set up elaborate picnics complete with baskets, tablecloths, and stemware, and then you walk through tall forests where the Elves might have lived sometime in the past to the "Up-The-Hill" theater, with performances out in the open in a natural amphitheater. The permanent outdoor theater was built in 1980 and renovated a few years ago, and includes about 1000 cushy comfy waterproof seats around a thrust stage, with not a bad seat in the house. The stage is set against the woods, which are lit up at night in rainbow colors. The light of the sun, stars, and moon is amplified by huge sets of stadium lights, specifically directed where they are needed (stage, aisles, audience). The setting couldn't be more magical, but more importantly, the theater that has been produced in that space for over 40 years is fantastic. I don't know how it took this Midwest theater lover so long to discover this national gem of a theater. Their eight-show summer season continues through the first week of October, with a 9th show being presented in their indoor theater from late October through November, so you still have time to make the gorgeous four-hour drive from the Twin Cities to Spring Green (if you can get tickets). Otherwise, start making plans for their 2023 season, opening in June. If you're a theater fan living in the Midwest, APT is an absolute must-see.

"Hopscotch: Pop-Up Plays about the Future" by Wonderlust Productions at Frogtown Farm and Park

Wonderlust Productions' newest project is popping up in St. Paul parks this weekend and next. They asked an intrepid group of playwrights to imagine a future world. Which, as co-Artistic Directors Leah Cooper and Alan Berks admitted in their pre- and mid-show talks, is a difficult thing to do right now. But these ten playwrights, some of #TCTheater's best, did just that. The result is Hopscotch, a series of ten ten-ish-minute plays presented in two sets. I caught one set on a perfectly gorgeous late summer afternoon in Frogtown Farm and Park, and it was an entertaining, inspiring, and at times worrisome look at our future, and through the imagined hindsight, our present. Click here for more information and to make a pay-what-you-will reservation for today's two sets at Frogtown, or next weekend at Newell Park.

Bob Marley's "Three Little Birds" at Children's Theatre Company

"Don't worry about a thing
'Cause every little thing gonna be alright!"
Bob Marley's most well known lyrics describe exactly the feeling one gets from watching Children's Theatre Company's* production of Three Little Birds. In just over an hour, this sweet and fantastical story plays out, about a scared and isolated boy who learns to be brave with the help of his friends, both human and bird. I must confess, I know very little about Bob Marley or his native Jamaica, and I'm not familiar with more than a few of his songs. This show is a great introduction to his music and his message, and it makes me want to board the next flight to Jamaica!

"Autonomy" by Mixed Blood Theatre at the St. Paul RiverCentre

Mixed Blood Theatre's latest project is wildly ambitious, and they accomplish it quite brilliantly. Reminiscent of Safe at Home, a walking play staged in nine locations at CHS Field with precise timing, Autonomy is a driving play staged at nine locations within the exhibit hall at St. Paul RiverCentre. It's a play about climate change, immigration, and autonomous vehicles (aka self-driving cars). A great guideline for making theater is "content dictates form," so when the content is about cars, why not surround the audience with classic cars and have them drive around in golf carts? A little on-the-nose, but it's quite effective. It's really too bad they're only running it for one weekend. There are four more groups of performances but only extremely limited tickets remain. Autonomy is a forward-thinking experiment in theater like you've never seen before.

Prescient Harbingers: "Hype Man," "Hooded," and "Gloria" at Mixed Blood Theatre

As usual, Mixed Blood Theatre is doing something pretty remarkable right now. They're presenting three plays in rep, all written by young black men. Under the umbrella "Prescient Harbingers" (meaning: "having or showing knowledge of events before they take place;" "a person or thing that announces or signals the approach of another"), these three brilliant plays explore what it means to be a black man in America, directly or indirectly (one is even subtitled Being Black for Dummies), along with commenting on race relations in America and more generally on modern life in America. Young black men are dying at an alarming rate, and these are voices we need to listen to if we ever hope to understand the problem so that we can stop it from happening. If you are a young black man, I can only imagine how validating it must feel to see these voices and these stories on stage. If you're not, I encourage you to go see one, two, or preferably all three of these plays with an open mind and an open heart. Listen, hear, laugh, cry, be disturbed, get angry, join the movement for justice and equality. But don't go see these plays just because it's good for you, good for the larger community, but also because they're extremely well-written and beautifully produced by the team at Mixed Blood Theatre, and make for one entertaining and engaging day of theater. All three plays are presented on Saturdays and Sundays through December 2 with about an hour in between, during which you can get sustenance from the lovely sandwiches, salads, and snacks provided by Birchwood (also available for pre-order here), with single plays showing Wednesday through Friday evenings. You can see all three plays for just $35 (click here for information and to make reservations), or, as always, you can take advantage of Mixed Blood's "Radical Hospitality" program - free admission for available seats two hours prior to the performance. Please carve some time out of your schedule to see this important work.

"The Boy and Robin Hood" by Trademark Theater at the Ritz Theater

A third new theater company is making its #TCTheater debut this month, following a charming new original musical Ragtime Women by Theatre Elision and Little Wars, a powerful story of women in their prime brought to us by Prime Productions. Now we have Trademark Theater, comprised of the Tylers Michaels (founder and artistic director) and Mills (artistic associate and resident playwright), with Emily Michaels King on marketing and graphic design. Their mission is to "expand the breadth of original theatrical works born in Minnesota by creating, developing, and producing dynamic stage productions." Their first creation is a new adaptation of an old story - Robin Hood. And it most definitely is original and dynamic. I saw a reading of it as part of Illusion Theater's "Fresh Ink" series last year (under the title The Gest of Robin Hood) and was impressed with the storytelling and original music (written by David Darrow). But now, with the added elements of movement, costumes, set, lighting, and all of the theater magic, plus a super talented and energetic young cast, it's something truly exciting.

"The Parchman Hour" at the Guthrie Theater

"Woke up this morning with my mind stayed on freedom. Hallelu, hallelu, hallelujah!" The closing number of the fantastic music-theater piece The Parchman Hour by Mike Wiley is so uplifting and inspirational. This "docudrama" about the 1961 Freedom Riders, in which primarily young people, black and white, from all over the country, came together to make a stand for desegregation of the bus stations of the South, is pretty heavy and difficult to watch at times. But in the end it left me with an overwhelming feeling of hope. We've come a long way in 55 years, people are no longer beat up by a mob of bigots for sitting in the wrong waiting room, but we have our own issues today (the play ends with a chilling recitation of the names of black men and women who have been killed by police in recent years). But I believe that there are more people in this country like those Freedom Riders, perhaps not as brave and selfless, but with our minds stayed on freedom, than there are like the people who stood in their way. If we stand (or sit) together, stand up for freedom, practice non-violence, and sing, we can get through this difficult time and achieve true justice and equality for all. At least that's how I felt leaving the Guthrie Theater last night; such is the power of The Parchman Hour.

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

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

"Charm" at Mixed Blood Theatre

Sometimes theater is more than just theater. Sometimes theater is about giving a voice to people whose voices are not often heard. Sometimes theater is about increasing our understanding of people who seem different than us, but who really are the same. Sometimes theater is about giving everyone a chance to see their lives and experiences reflected back at them, validating their existence and importance in the world. Mixed Blood Theatre's work often checks all of the above boxes, as is the case with the new play Charm by Phillip Dawkins.* Inspired by the true story of a transgender woman who teaches a charm school to homeless and at risk transgender youth, Charm premiered in Chicago last fall, but Mixed Blood's production is the first to include five transgender actors in the cast, which lends an air of poignant authenticity to this moving, funny, and at times difficult story.

"The Dutchman / The Owl Answers" at Penumbra Theatre

In one of those strange theater-going coincidences, the night after I saw two one-act plays at the Guthrie, I attended opening night of Penumbra's presentation of two one-act plays. Both paired plays by different playwrights linked by a common theme. But unlike the theater comedies The Critic and The Real Inspector Hound, The Dutchman and The Owl Answers are dense and meaty dramas dealing with heavy issues. They might not make you laugh (except, occasionally, uncomfortably), but they will definitely make you think. Written in the '60s as part of the Black Arts Movement, these plays take an unforgiving look at the racism, sexism, and classism of the day, that still have implications in today's world. A stellar ensemble cast and top-notch production design tie the two very different plays together and highlight the playwrights' messages. Though they are not easy to watch and I can't say I understood everything that was going on, I certainly came away with much to chew on, and a greater understanding of our shared history. Which is pretty much a given at Penumbra Theatre.

"Akeelah and the Bee" at Children's Theatre Company

Children's Theatre Company opens their 50th season with an adaptation of the 2006 movie Akeelah and the Bee, about an 11-year-old girl from a poor neighborhood who discovers her power and self-worth through competing in Spelling Bees. Written by Cheryl L. West, directed by Charles Randolph-Wright, and featuring a fantastic local cast, the production will travel to Washington DC after its debut at CTC, with the possibility of continuing on after that. But first, we get to enjoy it here in Minnesota. This heart-warming and inspirational story has been brought to life on the CTC stage with energy, warmth, humor, and heart.

We meet Akeelah, who lives with her mother and older brother, soon after the death of her father in a neighborhood shooting. Akeelah's mother is busy trying to make ends meet and doesn't have time for Akeelah's interest in spelling. Reggie is unemployed and tempted by a life of crime to provide for his family, which includes a new baby. A good student, Akeelah is reluctant to participate in the Bee because of the teasing she receives from her classmates, but her love for spelling, a special connection she shared with her dad, wins out. She trains with the curmudgeonly Dr. Larabee and, like all good teacher/student relationships, she teaches him as much as he teaches her. But to win at the national level Akeelah needs the help of her friends and everyone in her community. They all rally behind her, encourage her, and help her train for the Bee. Her success means success for all of them.

my favorite moment of the Bee (photo by Jeff Wheeler)

Newcomer Johanna Easley portrays Akeelah, and she's a natural actor, easily conveying Akeelah's spunk, sadness, and determination to succeed (and she very likely could win a few Spelling Bees with all of the words she's learned for this part!). She and the other talented youngsters, including the delightful Zaria Graham as Akeelah's fashion- and fun-loving friend, are surrounded by a veritable Who's Who of Twin Cities talent, including the magnificent James A. Williams as Dr. Larabee, Aimee K. Bryant as Akeelah's mother, homegrown talent Nathan Barlow (he trained at CTC as a kid and the U of M/Guthrie BFA program as a young adult) as Reggie, Darius Dotch pulling double duty as the neighborhood gangster and the host of the Bee, and Greta Oglesby and Shawn Hamilton, bringing much heart and soul to the proceedings. The cool set design by Alexander V. Nichols features four rotating two-story metal cells. They represent houses, shops, and, when turned to reveal shelves full of books, Dr. Larabee's library.

Akeelah and the Bee may not be an original story (there are countless variations of the underdog training for and winning at a big competition, and we've seen the odd and delightful quirkiness that is the Spelling Bee onstage before in The 25th Annual Putnam County Spelling Bee), but it's charmingly told and speaks to the power of family, community, education, and a common goal. It's a story worth sharing and is sure to encourage young people to follow their dreams, and maybe not-so-young people as well. Akeelah and the Bee continues through October 11.

"Choir Boy" at the Guthrie Theater

What do you get when you combine a talented young playwright, an excellent cast that includes five up-and-coming actors and two beloved veterans of local stages, stirring a capella gospel music arranged by a local musical legend, and the Twin Cities' best director of "theater musically?" You get Choir Boy, a lovely and affecting play about a young gay man coming of age in an African American boarding school. The playwright is Tarell Alvin McCraney of the excellent Brother/Sister trilogy that Pillsbury House Theatre has produced in its entirety in the last several years. While those plays have an epic, mythical quality, Choir Boy is more grounded in reality, but just as beautifully written. Add in musical direction and arrangement by Sanford Moore and direction by Peter Rothstein, an expert at using music in the best possibly way to enhance the theatrical storytelling, and you have something quite special going on in the Guthrie's Dowling Studio.

Choir Boy centers around five young men at Drew Prep School, a fictional African American boarding school (of which, the playbill tells us, only four exist). We witness their lives over the course of a school year, beginning with graduation at which Pharus (John-Michael Lyles) proudly leads the choir in the school song, until distracted by some homophobic heckling by his classmate Bobby (Darrick Mosley), who happens to be the nephew of the Headmaster (James Craven). This causes some tension in the choir room when the boys return to school in the fall, and newly appointed choir leader Pharus kicks Bobby off the choir, while allowing his sidekick Junior (Kory LaQuess Pullam) to stay. Pharus has a sweet friendship with his roommate AJ (Ryan Colbert), and some unspoken history with David (Nathan Barlow). A new (white) teacher (Robert Dorfman) comes in and tries to shake things up, challenging the boys to think about things in a new way. As graduation rolls around again, these five young men are in a different place in their lives, a bit older, a bit wiser, a bit more lost or a bit more found. It's really a slice of life kind of play, where you can imagine these characters' lives existing before the actions of the play, and continuing after the actions of the play, in a direction that's not clearly spelled out. We don't know the full stories of their lives, but getting to watch a year of their lives over the course of 90 minutes is a fulfilling and rewarding experience.

This play truly depicts the universal struggle of being a teenager and trying to figure out who you are and what your place is in this world, when so many external sources are telling you what to do, be, and think. This is conveyed through the specific challenges of being a young gay man in a strict Christian African American boarding school. And the music, which is absolutely beautiful and essential to the piece, really helps to create the specific world. Under the direction/arrangement of Sanford Moore, these five young men create some beautiful harmonies and fascinatin' rhythms on these traditional gospel and spiritual songs with a modern twist. The music is placed perfectly to enhance the storytelling, whether the song is mournful or joyful, and happens organically in scene transitions, rehearsals, or performances.

the Choir Boys (Darrick Mosley, Ryan Colbert,
John-Michael Lyles, Nathan Barlow, and Kory LaQuess Pullam,
photo by Heidi Bohnenkamp)

John-Michael Lyles is the one member of this excellent seven-man cast who's new to the Twin Cities theater scene, and he's just perfect for his role. He creates a real and well-defined character in Pharus, alternately frustrating and sympathetic (if the Drew choir is Glee, Pharus is Rachel Berry, full of talent and not afraid to say it). The four other young men are bright young local talent seen on various stages around the Cities in the last few years, and it's nice to see them all shine as individuals and as a group in this piece. James Craven always makes everything better, here as the stern Headmaster who truly cares for these boys at the same time he's frustrated, perplexed, and annoyed by them. Last but not least is Robert Dorfman, his portrayal of the eccentric teacher in nice contrast to the otherwise strict boarding school environment and providing some comic relief - bumbling, putting his foot in his mouth, but passionate about his job and reaching young minds.

Michael Hoover's sharp set simultaneously represents five different settings (dorm room, Headmaster's office, showers, classroom, and yard) on multiple levels, making great use of the upper story balcony in the Dowling Studio. And what was it that Chekhov said? If you show a shower on stage, you must have a shower scene? Both Damn Yankees and Choir Boy deliver on that promise, although the latter with more realism.

I saw Choir Boy last Saturday night at the Guthrie Theater, home of three stages in one building. It also happened to be the first preview of The Music Man, and the joint was jumping! Even though I was annoyed to find my usual parking level full, and people clogging the escalator, hallways, and bathrooms, like the man I rode the elevator with said, it's nice to see so many people out supporting the arts. And three such different plays on the three stages - a 90-year-old Irish play that is departing Artistic Director Joe Dowling's swan song, one of the most beloved American musicals, and this exciting new play about young African American men coming of age. Some 2000 people, all gathered together in one space to share in the experience of live theater - what a beautiful thing (thanks again Joe Dowling!). Choir Boy continues through July 5.


This article also appears on Broadway World Minneapolis.

"Marcus; or the Secret of Sweet" by Pillsbury House Theatre and The Mount Curve Company at the Guthrie Theater

With programming on three beautiful and very different stages, the Guthrie Theater provides a great opportunity to see multiple shows, even on the same day. And with free wifi, multiple dining options including a lovely little coffee/snack bar, and plenty of cozy places to sit, the Guthrie is an inviting place to spend the day. I took advantage of this opportunity this week and saw a matinee of The White Snake in the Proscenium Theater followed by an evening performance of Pillsbury House Theatre and The Mount Curve Company's Marcus; or the Secret of Sweet in the Dowling Studio (next week: The Heidi Chronicles on the Thrust Stage). Neither of these two shows are Guthrie original productions, but both are such beautiful and unique expressions of what this thing we call theater can be, from a Chinese legend of a snake that takes human form, to a new and very modern play that draws from Nigerian mythology. You can read my thoughts on The White Snake here, but now - Marcus.

I've been eagerly awaiting the conclusion of Tarell Alvin McCraney's Brother/Sister trilogy, having seen the first two installments presented by Pillsbury House in the Guthrie's Studio theater in the last few years. All three tell universal stories of love, loss, family, and relationships through a specific set of characters in Louisiana, who are named for gods in the Yoruba mythology of Nigeria. We first meet this interrelated cast of characters in the first play, In the Red and Brown Water, which focuses on a young track star named Oya and the choices she is forced to make. The Brothers Size is a smaller cast, focusing on Oya's ex-lover Ogun, his brother Oshoosi, and their friend Elegba. Marcus returns to the large cast format, with the title character being the son of Elegba, long deceased (a handy family tree in the program helps explain the characters and relationships). Many of the characters from the first play, or their offspring, return in this one. The three plays are each stand alone pieces, but seeing all three of them provides a richer understanding of this world that is so specifically created in McCraney's unique voice.

Marcus and the boys
(Nathan Barlow, Mikell Sapp, and Aimee K, Bryant)

This play is a coming of age story about 16-year-old Marcus, who is dealing with the death of a family friend, questions about the father he never knew, growing independence from his mother, an impending storm, and coming to terms with his homosexuality. Marcus' father Elegba, who may also have been "sweet," could dream the future, and Marcus might have inherited that skill. He dreams about a man in a rain storm and doesn't know what it means. This short 90 minute play feels epic and mythical, with Marcus' universal story told in specific detail. This play has a much more hopeful ending than the previous two plays, as if finally Marcus can realize the dreams of those that came before him. Dreams of happiness and love and a life fully realized.

This excellent ten-person cast shines under the direction of Marion McClinton (who has directed all three Brother/Sister plays for Pillsbury House). Rising young talent Nathan Barlow is excellent as Marcus, conveying all the uncertainty of a young man struggling with his identity and his family, as well as the determination to come out on top of that struggle (someone referred to this as his "breakout performance," they obviously didn't see Passing Strange). Lauren Davis and Joy Dolo give a couple of spirited and charming performances as Marcus' best friends, one of whom is more accepting of his truth than the other, and Thomasina Petrus is strong and powerful as Aunt Elegua, who knows more about Marcus than she shares. James A. Williams is the only cast member to appear in all three plays, and his presence is warm, welcome, and familiar as he provides a connecting link between the stories in Ogun Size.

Talented young playwright Tarell Alvin McCraney has such a unique vision and voice, and these three plays create such a specific world with people that are familiar and beloved. A unique feature of McCraney's writing is that the characters speak stage directions (Marcus smiles, Ogun exits), which may take a minute to get used to but really give more insight into the characters. When characters are not in a scene, the actors sit on the sidelines in lawn chairs observing, continuing to witness the story.

Marcus; or the Secret of Sweet continues through October 5. You needn't have seen either of the previous Brother/Sister plays to enjoy this beautifully written and acted play. But definitely if you did see either of the two previous plays, you'll want to see Marcus to see how the story ends and continues. The final moments are a beautiful payoff.

Fringe Festival: "Failure: A Love Story"

Day: 4

Show: 12

Title: Failure: A Love Story

Category: Comedy

By: Campbell Productions

Written by: Philip Dawkins

Location: Illusion Theater

Summary: A love story about a family consisting of three doomed sisters, their adopted brother (who may or may not be in love with them), and the charming young man they all loved.

Highlights: It's the late '20s and the Fail sisters are going to die. That much we know, but watching it all unfold is a series of delightful and heartbreaking surprises. "Comedy" is not a big enough word to describe what this show is. Director Joshua James Campbell and this beautiful eight-person cast have created the perfect tone for the show, walking that delicate line between lighthearted quirky comedy and heartbreaking and heartwarming love story. I'm not going to divulge any plot details so as not to spoil the joy of discovery, but suffice it to say, there are talking animals, epic swims, anthropomorphized clocks, charming ukulele music, tragic untimely deaths, and unexpected love. The lovely Fail sisters are Su Yoon Ko as the practical oldest sister who runs the family clock shop, Andrea San Miguel as the spunky athletic middle sister, and Emily Madigan as the fun-loving baby. As their brother John N. who's "not good with people" and watches all of his beloved sisters die, Sean Dillon has the perfect hangdog expression hiding depths of feeling. The talented Nathan Barlow is charming as the man all of the sisters love, the great Kim Kivens and Charles Fraser embody everyone from the Fail parents to animals to clocks, and last but not least, Revay Henneman as a living gramophone provides a perfect soundtrack with period songs on the ukulele. This show is everything I want from a Fringe show, really everything I want from theater: funny, quirky, whimsical, musical, poignant, touching, surprising, moving, and utterly heartbreaking. Am I the only one who was reduced to a weepy mess at the end of this show? It just touched me so deeply in so many ways with its true and beautiful depiction of love in its many forms. "Just because something ends doesn't mean it wasn't successful." If I didn't have a few dozen other shows I need to see this week, I would go see this one again. Friends - do not miss this show.

"Passing Strange" at Mixed Blood Theatre

The rock musical Passing Strange was short-lived on Broadway, running just five months, but it earned seven Tony nominations and one win for Best Book. I recall hearing about it, but I never saw it. I'm so grateful to Mixed Blood Theatre for bringing it here and for assembling this talented cast and creative team, because Passing Strange is everything I want music-theater to be. It's a completely unique creation that comes from the heart, features an awesome rock score, and is wildly entertaining, poignant, funny, and relevant. Written by the musician known as Stew (with help from Heidi Rodewald on the music composition) and loosely based on his own life, Passing Strange is a coming of age story about a young black man from L.A. who travels to Europe in search of what he calls "the real." The narrator (played by Stew himself on Broadway) and his younger self take us on this epic journey with them, filled with the highs of love and music and the lows of grief and heartbreak, and it's a beautiful thing when he comes out the other end with a better understanding of life, love, and art.

Passing Strange feels more like a rock concert than a musical, with the narrator introducing himself and the band and talking directly to the audience. He doesn't pretend that he's not spinning a tale for an audience, yet at times he's deeply connected to and affected by his story as it plays out before him. We meet a nameless young man, presumably his younger self, in his too comfortable life in L.A. with his mother and the church. It's the late 1970's, and he decides to go to Europe to see who he can be, rebelling against his family and country and society. He lives a life of new friends, sex, drugs, and rock and roll, first in mellow Amsterdam and then in the intense world of Berlin. He loves art above all else, and through it strives for "the real." As he grows up and experiences loss, he learns that there might be more to life than art.

Anthony Manough and Nathan Barlow
backed by Lipica Shah,
Brittany Bradford, and Meghan Kriedler

This highly energetic and talented cast and band (at times it's hard to tell the difference between the two as they're all part of the story) drive through the show like a freight train that never stops or lets up. As two sides of the same man, Anthony Manough (narrator) and Nathan Barlow (youth) are both fantastic. Anthony is a great front man, funny and entertaining and captivating, but also shows us the character's emotional side as he observes his story from the outside. I've seen Nathan Barlow in supporting roles in the past (and called him "one to watch"), but this could be his breakout performance. He gives such an emotionally and physically intense and at the same time playful performance, literally running from one end of the stage to the other, all while making this youth someone to follow and root for, despite his selfish and self-centered wanderings (not atypical for someone that age). As his (their) mother, Jamecia Bennett brings a soul to the story, not to mention her incredible voice that is a force of nature. Also fantastic and fun to watch are the trio of Brittany Bradford, Meghan Kreidler, and Lipica Shah, functioning as a sort of Greek chorus, in addition to playing various friends and girlfriends that the youth meets on his journey. Rounding out this fine cast is LeRoi James as the preacher's son choir director and various other characters.

I don't see a choreographer or movement coach listed so I don't know who to credit for this (perhaps director Thomas W. Jones II), but there is some crazy wonderful movement and dancing going on. And you can't have a great rock musical without a great rock band, and they've got that here, with direction by Jason Hansen (the go-to-guy for rock musicals in the Twin Cities, and with good reason). I enjoyed seeing Eric Mayson (from last year's really cool Fringe show Elysium Blues) playing guitar in the band, with a great turn as the preacher. And I must also mention the crazy fun 70s-ish costumes by Trevor Bowen.

And this too (from the director):

Artist. African American. Expatriate! ... the 20th Century Odyssey of not only the African American artist, but the African American race, has been an unyielding search for acceptance, a disquieted reach for the ephemeral home. Passing Strange continues that exploration.

What a beautiful thing to use music-theater in that exploration. If you, like me, love the art form that is music-theater and believe that it can be more than the latest Disney movie adaptation, you owe it to yourself to go see this show. It's a unique and personal creation beautifully and powerfully brought to life by this fantastic cast. It'll make you think, feel, laugh, cry, and clap your hands. It's not often that the audience of a musical is cajoled, no demanded, to get on their feet! I guarantee you've never seen another musical like Passing Strange, which is what I love most about it. Playing now through May 11, click here to reserve tickets or take a chance and show up at the theater before the show to get a free ticket (assuming it's not sold out) as part of Mixed Blood's "Radical Hospitality" program.