"Conscience" at Theatre in the Round

On a day when some 200,000 people gathered at our State Capitol to stand up for democracy, joined by millions more around the country, I saw a play about Senator Margaret Chase Smith, one of the few Republicans who stood up to Senator Joseph McCarthy in the 1950s. Conscience, written in 2020 by Tony-winning playwright Joe DiPietro (for book and lyrics of the musical Memphis), resonates deeply with today's world. It tells of a time when one personality has overtaken the Republican party, whipping up support amongst voters by preaching fear of outsiders, fellow politicians afraid to cross him because of the power he seemingly wields. Until one woman stands up on the Senate floor (the only woman on the Senate floor) to condemn his actions. It was a rough road, but eventually, this personality faded into disgrace and history as quickly as he rose. Yesterday's marches are incredibly inspiring, as is this story, providing hope that our collective conscience will win out against forces attempting to erode our democracy. And it's a beautifully told story, succinct and to the point in under two hours, with a fantastic four-person cast bringing these historical figures and their heroic (or not so heroic) actions to life. Conscience, a last-minute season replacement in Theatre in the Round's 74th season, runs through April 19 and couldn't have come at a better time.

"The Great Armistice Day Blizzard" by nimbus theatre at the Crane Theater

All signs point to this being a snowy winter here in Minnesota; since the first significant snowfall a few days before Thanksgiving it feels like it hasn't stopped snowing, and conditions are ripe for an above-average snowfall this season. This is good news for those of us who enjoy outdoor winter activities that rely on snow, but not so much for those who view snow as an inconvenience. But no one wants a recurrence of what happened on Armistice Day of 1940. This day that was founded to commemorate peace was anything but peaceful for people in the Midwest, where temperatures in the 60s lured them outside to enjoy the warm November weather, only to be blasted by dropping temperatures and several feet of snow. As is their wont, nimbus theatre has devised a new play about this historic event. But instead of focusing on the grand scale of a storm that resulted in 154 deaths, including 49 in Minnesota, playwright and director Liz Neerland has chosen to focus on four people caught up in the storm, resulting in an intimate and engrossing 80-minute story. It's worth going out into the snow and cold to see The Great Armistice Day Blizzard at the Crane Theater through December 21 (but if there's a blizzard - by all means, stay home!).

"For Peter Pan on Her 70th Birthday" by Prime Productions at Mixed Blood Theatre

Now in their 8th season of telling stories about women in their prime (at a time when we start to become invisible in society), Prime Productions is bringing us the regional premiere of Sarah Ruhl's For Peter Pan on Her 70th Birthday. Playwright Sarah Ruhl wrote this play for and about her mother, Chicago theater actor Kathleen Ruhl, who, like the character Ann in the play, played Peter Pan in an Iowa production and met Mary Martin (read more about that here). In this fictionalized version of her mother's life, Sarah explores ideas of family relationships, grief, loss, religion, faith, politics, and what it means to grow up (and do we have to?). It's an engaging and relatable 90 minutes. See it at Mixed Blood Theatre in Minneapolis' Cedar-Riverside neighborhood now through October 26.

"Legacy of Light" at Theatre in the Round

A historical fiction rom com featuring female scientists? Sign me up! Playwright Karen Zacarías' Legacy of Light, now on stage at Theatre in the Round, is just my kind of play. It has a little of everything - comedy, romance, history, philosophy, poetry, science, fantasy, love, grief. The true story of 18th Century French mathematician and physicist Émilie du Châtelet is told alongside of the story of a fictional modern female scientist, the two stories speaking to each other in expected ways. A smart and funny play about smart, funny, strong women, their ambitions and accomplishments, as well as the obstacles they face because of their sex, is just what we need right now. See this lovely production at Theatre in the Round weekends through March 16.

"God of Carnage" at Theatre in the Round

Next up in Theatre in the Round's 73rd season: the "people behaving badly" dark comedy God of Carnage. There have been several local productions of the 2009 Tony winner, most recently by Dark & Stormy in 2022. But this play that I've called "a tightly wound, intense, darkly hilarious four-person play about what happens when our baser natures come to the surface" is worth another visit. These people don't get any more likeable, if anything the reveal of their inner natures is even more vile with each passing year, but Theatre in the Round has assembled a great cast, and their in-the-round staging brings something unique. This play shows us what happens when people say the quiet part out loud, which maybe should have stayed quiet. See it now through April 28, and be prepared to laugh, cringe, and maybe even uncomfortably see yourself a little in these people.

"Silent Sky" at Theatre in the Round

One of America's most produced playwrights of recent years, Lauren Gunderson is known for writing plays about women in history and/or science that are modern, feminist, funny, and moving. Silent Sky is one of her most popular - it's now receiving it's third #TCTheater production (I love it, but I'd also love to see The Half-Life of Marie Curie, or Emilie: La Marquise du Châtelet Defends Her Life Tonight, or any and all of her other plays). Silent Sky features little known astronomer Henrietta Leavitt, who figured out a way to measure the universe, laying the foundation for more well-known (male) scientists like Edwin Hubble. In Gunderson's hands, Henrietta is a very real and relatable woman, who wants to do work that matters, and maybe also have a little fun along the way. With a strong five-person cast and elegantly simple design, Theatre in the Round's Silent Sky is entertaining and inspirational. Who knew science could be so dramatic and emotional?! (Lauren Gunderson, that's who.)

"Bernhardt/Hamlet" by Theatre Pro Rata at the Crane Theater

These days, it's pretty common to see women playing traditionally male roles, especially in Shakespeare, in which most of the good roles, and roles in general, are male. This is partly due to the fact that women weren't allowed on stage in Shakespeare's time, and they are now (hooray!). But even though it's common, but people still sometimes put up a stink about it. French actor Sarah Bernhardt was doing it over a hundred years ago, so one can imagine the controversy and drama surrounding that. In the new play Bernhardt/Hamlet, currently receiving it's regional premiere by Theatre Pro Rata, playwright Theresa Rebeck imagines just that, telling the story of Bernhardt rehearsing to play Hamlet, and how her friends and colleagues reacted to it. As I said in this week's episode of the Twin Cities Theater Chat podcast, Theatre Pro Rata always brings us interesting choices of plays that we probably wouldn't otherwise see, and this is a prime example. Also as always, it's well-cast and well done, for an entertaining and thought-provoking evening of theater. This funny, dramatic, historical, romantic, and relevant play continues at the Crane Theater through October 13 only.

"Sherwood" at Theatre in the Round

Closing out their fantastic six-show 71st season, Theatre in the Round is bringing us Ken Ludwig's swashbuckling comedy based on the familiar story of Robin Hood and his band of Merry Men. Sherwood is a refreshingly modern take on the legend, with female characters given more agency, and Robin Hood espousing kindness and justice. The design of the show extends to the walls, ceilings, and even into the lobby, as if we're stepping into Sherwood Forest itself, and the large and talented cast bring great energy and playfulness to the story, making the show feel like a fun summer popcorn movie. Theatre in the Round just announced their eight-show 72nd season, which also looks fantastic, including classics and newer works. But in the meantime, visit Sherwood Forest in the Cedar-Riverside neighborhood of Minneapolis, weekends through July 2.

"Smokey Joe's Cafe" at Lyric Arts

If you follow #TCTheater, you've probably heard about the reaction to Lyric Arts' initial casting announcement for Smokey Joe's Cafe, which historically has a mostly Black cast, and the disappointment in the community about their lack of diversity. They took that feedback and did another round of casting, bringing in more performers of color (read the full story it here). I've long been a fan of Lyric Arts, and have also called out their lack of diversity (see here and here). I know it's something they've been working on for years, and I know it's a challenge, being a theater in the suburbs that can't afford to pay much. This production stands as an example of doing the outreach to cast a wider diversity of artists, facing limitations in that, taking feedback, and making changes to improve. The addition of more BIPOC cast members can only have made this show better, to the point where it has become a big, boisterous, multi-cultural community celebration of this beloved music, really paying tribute to the legacy of Leiber and Stoller, two Jewish men who often wrote for Black artists and helped introduce them to White audiences. It was a difficult road to get to opening night, but Smokey Joe's Cafe is a success as a fun and entertaining show, as well as an example of a theater doing the work to make their show more inclusive and representative. See it at Lyric Arts in Anoka weekends through May 8.

"These Shining Lives" at Theatre in the Round

"Dip this paintbrush in radium and then put it in your mouth. Don't worry if it gets all over your skin, clothes, and hair, you'll be fine!" If any of our employers told us this today, we would all likely walk out the door. But in the 1920s, when workers had much fewer rights than we do now, if you needed the job to feed your family, and especially if you were a woman and your bosses were men, you likely would have accepted it. These Shining Lives tells the true story of women who did just that, until their hands started glowing and their bones started aching. It's because of a couple of lawsuits brought by the real life "Radium Girls" against their employers that companies are held responsible for injuries or illnesses their employees acquire on the job. Theatre in the Round tells these pioneering women's story, via a female playwright and director, with humanity and grace.

"Sometimes There's Wine" at Park Square Theatre

Coffee and wine. Both are social elixirs. Both provide a reason to get together and share conversation, laughter, and tears. The brilliant #TCTheater comedy duo Shanan Custer and Carolyn Pool have chosen these two beverages around which to create their Ivey Award* winning sketch comedy show 2 Sugars, Room for Cream and its follow-up, Sometimes There's Wine.** Both originated as Minnesota Fringe Festival shows (under an hour in length) before being developed into full-length shows. Sometimes There's Wine was a hit at the 2016 Fringe, and the full length version is premiering at Park Square Theatre to open their 2018-2019 season. Carolyn and Shanan are two of the funniest women people in #TCTheater, and have such a great and comfortable rapport with each other that it easily translates to the audience, bringing us into their circle. After the show my friend said to me, I want to have a glass of wine with them! But in a way we already did. Seeing this show feels like having a glass of wine with your best friends, who just happen to be super talented, smart, funny, real, relatable, charming, and disarming. Go have a glass of wine with Shanan and Carolyn through October 14 at Park Square's second stage in the basement of the Historic*** Hamm Building in downtown St. Paul!

"Wait Until Dark" at Theatre in the Round

I first saw Frederick Knott's 1966 classic thriller Wait Until Dark, adapted by local playwright Jeffrey Hatcher, at Lyric Arts two years ago. The second time around, at Theatre in the Round aka the Twin Cities' oldest theater, may have been a bit less suspenseful since I knew what was coming, but it's still a thrilling story of a blind woman who outsmarts the criminals trying to do her in and uses her sightlessness to her advantage.

"Arcadia" by The Chameleon Theatre Circle at the Ames Center

22 years, 5 months, and 5 days ago, I was a math major studying abroad in Salzburg, traveling around Europe during the winter break. While in London, my friend suggested we go see this play called Arcadia (she was a fan of the playwright Tom Stoppard because of his play Rosencrantz and Gildenstern Are Dead, which was made into a movie in 1990). We did, and I immediately and absolutely fell in love with it, so much so that the next day I bought the script from a bookstore (to date the only script that I own). I've only seen it twice since then - once at my alma mater a few years after I graduated, and once at Theatre in the Round 14 years ago. I re-read the play a few months ago in anticipation of Chameleon Theatre Circle's production this month, and was once again entranced by Stoppard's brilliantly clever mix of math, landscaping, poetry, romance, academics, and comedy. Last night, I was thrilled to watch it come alive before me in Chameleon's excellent production with a really wonderful cast, elegant design, and clear direction. It's quite a treat to revisit a play I fell in love with 22 years ago, and discover I love it even more now.

"The Illusion" by Theatre Pro Rata at Park Square Theatre

In Tony Kushner's The Illusion, an adaptation of a 17th Century French play, you're never quite sure if what you're watching is reality or illusion. But this is the theater, so it's all illusion anyway, isn't it? The Illusion plays with ideas of reality, theatricality, illusion, truth, perception, and imagination. Theatre Pro Rata's production, now playing at Park Square Theatre's Boss Stage as part of their "Theatres in Residence" series*, playfully dives into these themes and delivers a funny, entertaining, and engaging play.

In the opening scene of the play, we meet a man who has come to a secret cave to ask a magician about the son he kicked out years ago. For a fee, the magician obliges and shows him the life of his son acted out before him behind a line he cannot cross. Three different scenarios are presented, related but with slightly different circumstances and ever-changing names for the people involved. In the first scene we see the son in pure, young, innocent love; in the second scene he's involved in a love that makes him do desperate and perhaps unwise things; and finally, we see the son with a love that's become tired and jaded. Throughout it all, the man, the magician, and his assistant watch the stories play out. It's unclear, to them and to us, how these three are stories related and which of them is true, if any. After all, you can never really trust a magician to tell you the truth. And what would the man do with the truth anyway? Perhaps he wants to imagine his wayward son as something other than what he has actually become.

The fantastical nature of the magician's illusions are brought to life with colorful, almost cartoony, sets and costumes (which makes even more sense when the "truth" is revealed, which I won't spoil for you). Simple two-dimensional set pieces are carried on and off the bare stage by the characters in each scene, who are dressed in the flouncy skirts or knee pants we associate with 17th Century French society. Set against a backdrop of a curtain in a frame, the effect is very much that we're watching a scene play out for the viewers, who sit on one side at the back of the stage and watch the events unfold with varying reactions (set design by Sadie Ward and costume design by Mandi Johnson).

As the play went on, I became more and more convinced of the excellent casting of the actors who play father and son and who really look the part. Paul de Cordova and Michael Fell share the traits of thick dark hair, a thin face, and a lanky build. Or perhaps it's just their acting that makes me think they look alike, Paul as the father, a little older, wiser, and regretful of past mistakes, Michael as the son, full of energy and acting against his father's rejection. The two never meet (or do they?), but the two performances anchor the two sides of the story and provide a connection. As the magician, Charles Hubbell is appropriately mysterious and a bit creepy, and Tim Uren is amusing as his silent assistant who later takes part in the action. All of the actors in the revolving scenarios, including Michael, bring the stories to heightened life, and play slightly different versions of the same character in each. Abby DeSanto is the beautiful and desired lover with a will of her own, Kelsey Cramer is the mischievous maid whom you almost want to win out over her mistress, Ben Tallen is the pompous rival, and Bryan Grosso is the delightfully over-the-top comic foil.

I saw my first Theatre Pro Rata show just over a year ago, and I've been impressed by everything I've seen since then. It's all been pretty intense (the real-life hanging of a circus elephant, an adaptation of a frightening dystopian novel, and a convicted child molester trying to reintegrate into society), which I appreciate, but it's fun to see a lighter, more playful side to the company in The Illusion, while still being thought-provoking and captivating. The Illusion continues through June 28.


*Park Square Theatre's "Theatres in Residence" series also includes Sandbox Theatre, whose War with the Newts was recently seen on the Boss Stage, and Girl Friday Productions, debuting on the Boss Stage with The Matchmaker next month.

"2 Sugars, Room for Cream" at Park Square Theatre

Next Sunday, Tina Fey and Amy Poehler, two of the funniest women in America, will host the Golden Globes. Until then, we have Shanan Custer and Carolyn Pool, two of the funniest women in the Twin Cities, presiding over a delightful evening of comedy, friendship, and coffee. Their 2008 Fringe hit 2 Sugars, Room for Cream has gone through many incarnations, including stints at the New Century Theatre in 2012 and the Jerome Hill Theater in 2013, won an Ivey Award, and has now landed on Park Square Theatre's new Andy Boss thrust stage. Even though this is the third time I've seen it and many of the scenes and characters are familiar to me, it still makes me laugh until I cry, and marvel at the universality of life experiences, and the thing that binds us all together - coffee. From bad church basement coffee to the gourmet stuff at fancy coffee shops, it's a running theme in many of our lives and helps us get through the day, and the long cold winter. This show is a celebration of that, but more so a celebration of friendship and laughter.

2 Sugars, Room for Cream, written and performed by Shanan and Carolyn under the direction of Matt Sciple, is a sketch comedy made up of a dozen or so short vignettes all centered around coffee. Two women bonding over books at a coffee shop, sisters at a funeral, employees on a coffee break, two women who didn't like each other so much 20 years ago reconnecting at their high school reunion, a picky customer at a diner, a worried new mom being comforted by a stranger on a park bench, all of it happens over coffee. The funeral and reunion stories are revisited several times throughout the show, with the funeral story providing some of the more poignant moments as the sisters laugh, drink (something stronger than coffee), and cry through the big issues of life and death. While most scenes are two-character scenes, each woman also gets a solo scene, Shanan as a frazzled mom constructing an all too honest Christmas letter, and Carolyn as a woman recording a video for her unborn daughter encouraging her to be strong, confident, and smart.

After years of performing and fine-tuning the show, Carolyn and Shanan have developed a comfort level with each other and the material. They both come across as genuine in their characterizations and in their easy chemistry with each other. While the show is scripted, there does seem to be some room to play a little within the confines of the script. And there are a few musical moments as well, as the two duet on wistful, funny, original songs.

The set (designed by Sadie Ward) is just darling and much more elaborate than previous versions of the show. A coffee cart holds all the necessary refreshments in various forms, the chairs at the table are trimmed in pink, as is the bench in the back, and either side of the stage holds pink shelves littered with things our characters (and/or actors) like. Photos of inspirational women like Tina and Amy, Mindy, Lucy, Rosemary, and Barbra are mixed in with tchotchkes, Girl Scout cookies, and so many things I wanted to wander by and peruse the shelves for a good long while.

2 Sugars, Room for Cream is only playing for three short weeks, through January 18*. If you've never seen these two smart and hilarious women before, do yourself a favor and head on down to St. Paul, grab a cup of coffee, and lose yourself in laughter. And if you have seen them before, you don't need me to tell you how fabulous this show is and worthy of a second (third, fourth...) viewing!

*As seen in the bottom half of the above program, the Andy Boss stage will next be home to another completely delightful and unique show, Trick Boxing, in which husband and wife dance team Brian Sostek and Megan McClellan play multiple characters and tell a charming story using dance, puppets, and other innovative theatrical tricks. Last seen locally at the Guthrie in 2012.


This article also appears on Broadway World Minneapolis.

"Dead Man's Cell Phone" at Theatre in the Round

Cell phones have become such an important part of our lives. Many of us (myself included) feel out of place if we don't have our phone in our hands or on our person, and when you look around any public space (airport, waiting room, or theater) you see people engrossed in their phones. Dead Man's Cell Phone (written by Sarah Ruhl who also penned the delightful In the Next Room) is about what happens when a woman becomes obsessed, not with her own phone, but someone else's. Now playing at the oldest theater in Minneapolis (aka Theatre in the Round), it's an odd, quirky, funny, absurd little play.

Jean is sitting in a cafe minding her own business when she hears a cell phone that won't stop ringing. She asks the phone's owner to please answer it, but when he doesn't respond, she answers it for him. Only then does she realize that the reason he isn't answering his phone is because he's dead. So begin's Jean's journey as she feels obliged to continue to answer this man's phone and speak to his friends, family, and business associates. She meets his mistress, his wife, his mother, and his brother, and helps them grieve their loss (although none of them seems that upset) as she finds out more about this man Gordon. When she eventually discovers the shady details of his business, she's in too deep to escape unscathed.

Colleen Somerville Leeman is a great choice for the lead role of Jean. She's just so personable and relatable that you can't help but go along with her as she take us on this strange journey. Charles Numrich brings the dead man alive as we find out just what kind of person he was. Andrew Troth provides contrast to that character as the brother who's always been in his shadow, in a sweet romance with Jean. Adding humor are Jan Arford as Gordon's self-centered mother and Anna Olson as his wife, with a couple of delightfully silly turns as a drunk and a figure skater.

It's always fun to see theater in Theatre in the Round because it is quite literally in the round. The audience surrounds the stage on all sides, providing many different perspectives of the show, which can be a challenge in staging. But in this show, as others I've seen, I never felt like I was at the wrong angle. The stage is bare, with a few set pieces brought on and off during scene changes, including a round table that can be cleverly separated into four pieces and put together in different ways to represent various tables (set design by Sadie Ward). During those scene changes (which are a bit long at times), light bulbs in greenish cubes provide a soft otherwordly glow (lighting design by Courtney Schmitz).

Dead Man's Cell Phone is fantastical and a bit absurd, but speaks to real-world issues of love, loss, and human connection. Turn your phone off for a few hours and check it out at Theatre in the Round, playing weekends through April 13.