"The Wizard of Oz" at Children's Theatre Company

Children's Theatre Company is returning to The Wizard of Oz, one of the classic adaptations in their repertoire, but one they haven't done in over ten years. This production features brand new design and direction, and a mostly new cast (with the exception of returning company members, because why mess with perfection?). For those of us who grew up with the 1939 Judy Garland movie version of Frank L. Baum's novel (the first in a series of 14 books), it feels nostalgic and familiar, like the beloved movie live and in 3D. From the display of the credits at the beginning of the show, to the tornado sequences, it feels very cinematic. This adaptation (by John Kane for the Royal Shakespeare Company) hews very close to the original movie, and all of the songs are from the movie, with no attempts to make it anything different from the story we know and love, just brighter and more full of life. The Wizard of Oz continues at CTC through June 14, recommended for the young, the young at heart, and those who want to feel young again. Keep reading for highlights of this production.

"Macbeth" at the Guthrie Theater

Someone is getting murdered in a castle in Scotland, and I'm not talking about the new season of The Traitors. In the Guthrie Theater's new production of Shakespeare's tragedy Macbeth, it's the king who gets murdered, and we all know who the traitor is - the title character, who then becomes the king. The Guthrie's previous Artistic Director Joe Dowling returns to direct this play, which he also directed in 2010 (just before I started this blog, and the play made it onto my first annual favorites list), and he has once again crafted a compelling and action-packed continuous two hours of storytelling with no break to catch our collective breath. But the world is much different in 2026 than it was in 2010, and this story of a country and its citizens who are hurt, desperate, and disillusioned by their corrupt leadership hits a lot closer to home. Shakespeare's evergreen tale of unchecked power and greed has resonance in any era, but perhaps never more so in my lifetime than right now. Macbeth is a dark tale, but eventually the true citizens of the beleaguered country band together to create a better future. See this powerful, visually stunning, and excellently cast production of a classic on the Guthrie's thrust stage through March 22.

"Nobody, No Time" by Illusion Theater at Center for the Performing Arts

In History Theatre's new original musical Whoa, Nellie! this spring, I was introduced to the Black Vaudevillian Bert Williams, one of the most popular and successful performers of his time. And now he deservedly gets a show of his own, the new play with music Nobody, No Time (named after his most well-known song) written and directed by Illusion Theater's playwright-in-residence Carlyle Brown. It's a multi-layered story of a Black man from the Bahamas achieving huge success in early 20th Century America, while dealing with racism off-stage and leaning into racial stereotypes on-stage performing to White audiences. Set at the end of his life with flashback performances, the play gives us a full picture of the man and the artist. The talented cast brings Bert and his contemporaries to life, and perform over a dozen songs of the era. Head to Center for Performing Arts now through October 25 to experience this important part of entertainment history, of American history.

"The Nacirema Society" at the Guthrie Theater

The Guthrie is returning to playwright Pearl Cleage's repertoire* after producing the beautifully tragic Blues for An Alabama Sky two years ago. Unlike that play, which was set in 1930s Harlem, The Nacirema Society is actually set in Alabama, and there's no tragedy, only comedy, romance, and a whole lot of fun. Set against the backdrop of the Civil Rights Movement in 1964 Montgomery (there's a nice article in the program about the events of that "memorable year"), The Nacirema Society is a multigenerational story of a wealthy and powerful Black family preparing for a debutante ball. The playwright summarizes it best (quoted in a program note from Artistic Director Joseph Haj): "Even in the midst of massive social upheaval and revolutionary change, people still found time to fall in and out of love, to keep the family secrets or spill the beans, and to embrace the great human chaos of their very specific lives." That feels very familiar and very human; with all the madness happening in the world right now, we still have to live our day to day lives and find joy wherever we can. And The Nacirema Society, with a fantastic cast of Black women (plus one token guy) and stunning design, is one such source of joy. See it on the Guthrie's thrust stage now through May 24.

"A Midsummer Night's Dream" at the Guthrie Theater

A Midsummer Night's Dream is probably my favorite Shakespeare play. Partly because it's also probably the one I've seen the most on stage (this is my 10th time seeing it, and my 7th time writing about it in my almost 15 years as a Twin Cities Theater Blogger), but also because it's really the perfect rom com, with a little bit of everything. In his final season as the Guthrie's Artistic Director, Joe Dowling staged a memorable in-the-round production in 2015, and now current Artistic Director Joseph Haj is bringing us his version of this classic. I was lucky enough to attend the first meet-and-greet with the cast and creative team back in early January, when Joe talked about what the show means to him. He staged it at Oregon Shakespeare Festival in March 2020, and we know how that story goes - the show only had a few performances before being cancelled due to the pandemic. So this is a re-do of sorts, even bringing a few cast and creatives back. But this is a fresh, new Midsummer, bringing a bright warm glow to the Guthrie stage now when we need in most in this bleak, dark Midwinter. It's a delightful production full of heart, humor, and hope, and more music than any previous Midsummer I've seen. Whether you've never seen Midsummer before (where have you been?) or you've seen it a dozen times, here are ten reasons to see the Guthrie's new production of A Midsummer Night's Dream:

"A Christmas Carol" at the Guthrie Theater

The Guthrie Theater is celebrating 50 years of A Christmas Carol* this year, and as a 21-year season subscriber, I have seen 19 of those productions (including the virtual one in 2020). There simply is nothing like it. Charles Dickens' story is one of such hope, such joy, such belief in the idea that it's never too late to change and grow and become a better person, that gratitude, kindness, and generosity are the highest of virtues. After 50 years, the Guthrie's production is a well-oiled machine, guaranteed to deliver the finest entertainment and the best quality production. But in addition to feeling familiar and comfortable, it also feels fresh and new every year, with the addition of new faces or adaptations, and it's filled with so much sincerity and heart that it will melt the Scroogiest of hearts. This is their fourth year using this succinct and faithful adaptation by Lavina Jadhwani, and the absolutely stunning design, with director Addie Gorlin-Han returning from last year's production. So if you haven't seen the Guthrie's Christmas Carol since before the pandemic, you should definitely check out this new version before it closes on December 29. And even seeing it for the fourth time, it's still chock full of delights for the eyes, ears, heart, and soul.

"FLEX" at Penumbra Theatre Company

The new play FLEX, about a high school girls basketball team in the mid-90s, is receiving its area premiere at Penumbra Theatre Company. Like The Wolves (about a high school girls soccer team, which the Jungle produced twice a few years ago), it's about so much more than sports. It's about friendship, teamwork, betrayal and what it's like to be a teenage girl. It's a little lighter than what I remember The Wolves to be. While there is tragedy and difficult issues that the girls are dealing with, in the end it's a feel-good story about camaraderie and the triumph of a group when everyone works together. See it at Penumbra in St. Paul's historic Rondo neighborhood through May 19.

"Into the Woods" at the Guthrie Theater

Six years after their stunning production of Sunday in the Park with George, the Guthrie Theater is returning to Sondheim with Into the Woods. It's probably his most frequently produced work; I've seen it eight times now, all local productions in the last 12 years. Based on familiar fairy tales, it's also perhaps the most accessible. But once you're drawn in by the familiar stories, you find that it's surprisingly complex, with themes of good and evil, right and wrong, the consequences of choices, self-interest vs. the common good, and what happens when the fairy tale subsides to reality. It also contains some of Sondheim's most playfully clever lyrics ("while her withers wither with her") and singable melodies (the most famous songs being "Children Will Listen" and "No One is Alone"). For this production, the Guthrie has enlisted Sarna Lapine as director, niece of book writer and original director James Lapine, who obviously has a deep connection to the piece. Her direction is smart, clear, and playful, and the mostly local cast is a joy to watch. Whether you've gone Into the Woods a dozen times, or this is your first time, this production makes it well worth another journey.

"Diamond Jubilee: 60th Anniversary Gala" at The Guthrie Theater

Sixty years ago this month, the Guthrie Theater opened on Vineland Place next to the Walker Art Center. The first production of this experimental repertory theater was Hamlet, directed by founder Sir Tyrone Guthrie himself (read the full history here). The Guthrie is celebrating this momentous anniversary with a new production of Hamlet (closing on May 21), an open house last weekend, and a fundraiser gala earlier this week. While it wasn't the cornucopia of performances and stars that the 2013 50th Anniversary Gala and the 2015 Joe Dowling Tribute Gala were, it was still a wonderful and celebratory night capped with a fantastic concert by Guthrie alum and Tony-winner Santino Fontana. I became a Guthrie subscriber 20 years ago, and I'm certain that without it, I would not be a theater blogger today. Being a Guthrie subscriber introduced me to plays and playwrights I wouldn't have otherwise seen (since as a subscriber you see everything, whether it sounds like something you'd be interested in or not), as well as to other local theater companies they hosted in one of their theaters. I also became familiar with local artists that I followed to other theater companies, beginning the snowball effect that eventually resulted in this wild and wonderful hobby of being a theater blogger and seeing 3-5 shows every week. I'm so grateful that Sir Tyrone Guthrie chose Minneapolis (or rather, as was said at the gala, that Minnesota chose Guthrie) to open his regional theater in the state where I was lucky enough to be born ten years later.

"Hamlet" at the Guthrie Theater

To celebrate their 60th anniversary, the Guthrie Theater is presenting Hamlet, a special show in the history of theater and in the history of the Guthrie. When Sir Tyrone Guthrie began his experiment in regional theater in 1963, fortunately for us right here in Minneapolis, chosen out of a bunch of cities that applied as if for the Olympics, the first show was Hamlet. It was also the final show in the original building by the Walker Art Center, in 2006, before the Guthrie moved to the big beautiful blue building on the river. Current Artistic Director and director of this production Joseph Haj calls Hamlet "arguably the greatest play ever written in the English language." It's only fitting that this show is on the Guthrie stage 60 years later, along with a line-up of new works and reinvented classics, celebrating and continuing the Guthrie's long legacy. If you've been following along, you know that I am currently in New York City, seeing as many Broadway shows as I can. But what we have in #TCTheater is every bit as good, from the Guthrie's three stages to the newest theater company on a tiny stage somewhere across town. A big part of the Guthrie's legacy is that they have fostered and attracted talented artists who have gone on to start their own companies, helping to create the rich theater tapestry that I've been lucky enough to write about for the past almost 13 years. This excellent production of Hamlet is a culmination of the last 60 years as well as a move towards the next 60.

"Hello Dolly!" at the Ritz Theater by Theater Latte Da

Put on your Sunday clothes and head to the Ritz Theater for Theater Latte Da's absolutely joyous production of Hello Dolly! They've set the classic musical in a racially diverse world, which is not untrue to the world of late 19th Century New York, it's just one we don't often see. They've also stripped the typically huge cast and orchestra down to about a third of the size. Though the costumes are scrumptious and the design is charming, there are no trains or trolleys driving across the stage, as seen in the recent Broadway revival and tour. But what this show lacks in size it makes up for in heart and gumption. It's a wonderful new take on a classic that lets the original story and beloved score shine. Hello Dolly! plays Wednesdays through Sundays until March 19, but don't wait too long to get tickets - this one will sell out.

"A Christmas Carol" at the Guthrie Theater

It's the Guthrie Theater's 60th season, and for about 80% of those years they've been producing Charles Dickens' classic story of redemption, A Christmas Carol. This year marks their 48th production, and my 16th time seeing it. It's obviously a beloved holiday* tradition in the #TCTheater community, one that I also love and have rarely missed in my 19 seasons as a subscriber. But why? Why do they keep doing it? Why do people keep seeing it? Why do I go back year after year? Read on for ten reasons** to see the Guthrie's A Christmas Carol this year before it closes on December 31.

"Iphigenia at Aulis" by Ten Thousand Things at Luminary Arts Center

This fall, Ten Thousand Things, my favorite interpreter of Shakespeare and other classic works, brings us the Greek tragedy Iphigenia at Aulis. Because they are not yet able to tour the show to their usual locations of community centers, homeless shelters, and prisons, they are presenting this show in a sort of hybrid style between the usual stripped-down bare-bones production in a small space surrounded by a few rows of chairs, and a more traditional proscenium style production. They also performed the show outdoors, which may have had a more TTT feel, but in the former Lab Theater, now known as Luminary Arts Center*, it still maintains the TTT hallmark of making classics feel fresh, relatable, and relevant, if in a more formal theater style (but still with "all the lights on"). They're set to return to touring this winter, which will likely bring back their usual style, but in the meantime, Iphigenia at Aulis is a gorgeous production with a large and hugely talented cast, that uses an original score to tell this ancient story.

"The Tempest" at the Guthrie Theater

The Guthrie's production of Shakespeare's The Tempest, which opened last month and continues through April 16, is "such stuff as dreams are made on." Former Artistic Director Joe Dowling returns to the Guthrie to direct this piece, the first time since he left in 2015. I became a subscriber and fell in love with the Guthrie (and through it, the local theater community) during the Joe Dowling era, so this production feels very familiar and comforting to me, like going home. That big blue beautiful building on the Mississippi (which Joe Dowling shepherded into existence) truly is one of my happy places. And this Tempest is a joyful celebration of the magic we call theater, one that's especially heart-warming after the very long intermission of the last two years. This is the first fully new production of the Guthrie's 2021-2022 pandemic-shortened season (they hosted the touring production of What the Constitution Means to Me last fall, and put a new spin on their 40+ year annual tradition The Christmas Carol), and they've just announced an exciting new 60th anniversary season (my 19th as a subscriber). It feels so good to come home to the Guthrie again.

"Animate" by Mixed Blood Theatre at the Como Zoo

photo by Rich Ryan

Earlier this year, Jack Reuler announced his retirement as Artistic Director of Mixed Blood Theatre, a company he founded in 1976. Mixed Blood has truly become a model of inclusivity, diversity, and accessibility in theater, amplifying often unheard voices on stage and off, and making sure everyone is able to be in the audience with its Radical Hospitality program. But before he retires, Jack is directing another incredible site-specific piece. The new play Animate, written by Ken LaZebnik, is an immersive ambulatory play at the Como Zoo that is, of course, about a zoo. Specifically about the ethics of zoos, accepting donations from wealthy people of questionable character, and "does the good of the many supersede the good of the individual," human or animal. It's an impressive logistical feat, features a ton of #TCTheater talent, and asks some big questions without providing easy answers. In fact, the audience is asked to provide their own answers to the big questions of the show. Unfortunately, the entire (free) run is sold out, but stay tuned in case more dates are added (click here for details).

Ghostlight Series: "Twelve Blocks From Where I Live" streaming from Theater Latte Da

Theater Latte Da has launched a five-part virtual cabaret series called "The Ghostlight Series," with new installments to be released approximately every six weeks through the summer. The first one is out now and is available when you purchase a series pass, and can be viewed an unlimited amount of times through the end of the summer, along with the others when released. The series looks to be more than just a collection of great performances of our favorite musical theater songs, but rather an exploration of different ideas and themes using music. Which, of course, is something Theater Latte Da does very well.

"Bernarda Alba" by Theater Latte Da at the Ritz Theater

Theater Latte Da's area premiere of Bernarda Alba is unlike anything I've seen. The musical adaptation of the play The House of Bernarda Alba by Spanish playwright and poet Federico Garcia Lorca premiered in 2006, but the play was written in 1936 and first performed in 1945. It tells the story of a widow and her five adult daughters, who are suffering under their mother's strict control of their lives and bodies. The score is complex, haunting, and gorgeous, and the depiction of the lack of freedom and limited roles of women in society is sobering and not unfamiliar. Bernarda Alba feels different than a typical musical; when I attended opening night there was no applause during the show, partly because it doesn't follow the usual structure of clearly differentiated songs and dialogue with scripted applause breaks, and partly because it felt like we were under a spell we didn't want to break. It's a complicated piece,* and cast and creative team pull it off beautifully.

"Chicago" by Theater Latte Da at the Ritz Theater

Women in prison, treated unfairly, not given adequate legal representation, having to pay prison staff for favors, immigrant women not provided with a translator, society's glamorizing of crime but disregard for and mistreatment of criminals. No, I'm not talking about the Netflix hit series Orange is the New Black, which just concluded its brilliant seven-season run. I'm talking about the Kander/Ebb/Fosse/Verdon*/Reinking creation, the 1975 musical Chicago whose 1996 revival was even more successful and is still playing on Broadway. This ahead-of-its time musical, about crime, celebrity, and the justice system, only gets more relevant as the years pass, which is perhaps the reason for its long lasting success. Typically a show that is still running on Broadway and touring (it most recently came to Minneapolis last year) is not available for regional productions. But somehow Theater Latte Da snagged the rights and has created their own unique take on this classic. The cast is absolute perfection, the Ritz Theater (which opened in the same era in which the show is set) has never looked more gorgeous and detailed, and this Peter Rothstein directed production brings out all of the glitz, humor, and biting social commentary of the piece, while putting the audience right in the middle of the action. It's absolutely thrilling.

"The Brothers Paranormal" by Theater Mu and Penumbra Theatre

For the first time in their long and celebrated histories, #TCTheater's African American and Asian American theaters (Penumbra and Mu) are joining forces in the regional premiere of the new play The Brothers Paranormal. In it, an African American couple hires two Thai brothers to investigate some mysterious happenings around their house. The result is a totally captivating thriller that also deals with some pretty serious issues surrounding culture and mental health. It's a play that's both wildly entertaining, and speaks to our world today in a meaningful and thought-provoking way. And as usual with these two theaters, the production is top notch, with an excellent cast and spot on design. Don't miss this historic and fantastic #TCTheater collaboration!

"Guess Who's Coming to Dinner" at the Guthrie Theater

The 1967 movie Guess Who's Coming to Dinner is a classic, but I don't think I've ever seen it. Or if I have, I don't remember it. But because this movie has become such an integral part of our culture, even people who haven't seen the movie know the premise: a young woman introduces her black fiance to her white family, who, despite being liberals who believe in racial equality, have trouble accepting the relationship. A stage adaptation of the movie was written just a few years ago (by Todd Kriedler) and is currently showing on the Guthrie mainstage. Why tell this story 50 years later? In a world in which black men are arrested for sitting at Starbucks, it's still an important and unfortunately relevant story. But it does feel a little too easy for the mostly older white audience to laugh at these people's reaction in a past we may think we've overcome, but which we obviously haven't.