"Anne of Green Gables" at Theatre in the Round

Anne Shirley, the spunky heroine of the Anne of Green Gables, the first of six books in the series by Lucy Maud Montgomery, is one of the most beloved characters in literature. What's not to love about the orphan girl in rural early 20th Century Canada with a flair for the melodramatic and a fierce determination to enjoy life and make the most of it? Theatre in the Round is currently presenting a stage version of the book, adapted by Sylvia Ashby, which brings our beloved Anne to life in a warm, funny, and poignant way.

The play covers four years in Anne's life, which at times feels a bit rushed, like it's trying to cram too much into two hours. Not having read the book(s) in many years and not being that attached to it (the Little House on the Prairie series was my childhood obsession, and OK maybe still is) I wondered how many of the books were adapted into the play. Turns out all of this happens in just the first book, presenting the full arc of Anne's original story (subsequent books take Anne through adulthood and into her 40s). We follow Anne's journey from when she is (reluctantly) taken in by a brother and sister on Prince Edward Island. Marilla and Matthew were hoping for a boy to help out on the farm, but got Anne instead. They soon fall in love with her indomitable spirit, although Marilla tries to impart her no-nonsense practical ways on the girl. Despite her red hair (the bane of her existence), Anne quickly makes friends at school and is an excellent student under the tutelage of her favorite teacher Miss Stacey, she of the fashionable puffed sleeves. Several years pass, filled with adventures, and Anne and her friends go away to school, after which Anne decides to return to her beloved Green Gables. She's all grown up now and ready to take on some new responsibilities, but her bright spirit remains.

Mabel Thomas as Anne

The large cast does a fine job bringing the world of Avonlea to life on the small arena stage. Most fun to watch are the enthusiastic young actors playing Anne and her friends, several of whom are in high school. Most notably, sophomore Mabel Thomas is everything you could want in Anne - melodramatic and earnest and fiery and sweet. She pretty much carries the show on her young shoulders and does so admirably. She also has a nice chemistry with Jane Hammill's stern Marilla and especially Rod Kleiss' Matthew, who's wrapped around her little finger. Also amusing is Holly Windle as busybody neighbor Rachel Lynde, who occasionally pops up on the side of the stage as characters recite "Mrs. Lynde always says..."

With such a large cast, set designer Shannon Morgan has wisely chosen a fairly sparse stage. The in-the-round space has no walls or partitions, just a kitchen table on one side and a bed on the other, with divisions merely hinted at. A few benches and school desks brought in when needed subtly and successfully set the scene. The floor and sides of the round are covered with flowers, bringing a bit of the Anne's cherished outdoors in. (When told to say her prayers, Anne asks, "can't you just walk in the field, look at the sky, and feel a prayer?")

If you're a fan of the book you will most likely enjoy seeing Anne brought to life before your eyes (there were quite a few youngsters in the audience). And even if you aren't familiar with the books, Anne of Green Gables is a heartwarming, funny, endearing story of the joys and traumas, both small and large, of growing up. Playing weekends at Theatre in the Round through April 12.

"Rapture" by Savage Umbrella at nimbus theatre

What is art? Who is an artist? Why do some works of art sell for millions of dollars while others end up at a garage sale? Such are the questions explored in the new play Rapture by Savage Umbrella, currently playing at nimbus theatre's NE Minneapolis space (which has been hosting several theater companies over the last few months). The premise of the show is that there has been an "artist rapture," in which ten percent of the world's population - the artists (actors, painters, crocheters) - has disappeared. But what about the people left behind, those that consider themselves artists but are now questioning that, and are seen by the world as frauds? It's a fascinating idea, one that's nicely explored by playwright and director Tanner Curl with a solid cast playing quirky characters. It reminds me a little of one of my favorite plays of 2012 - Red, about painter Mark Rothko (who's mentioned in the play) - in that it discusses the very nature of art, although in a more fantastical way.

Famous painter Evelyn (Mary Cutler) is one of those left behind, but her stoic and business-like nature doesn't allow any insecurities or doubts to show. Her granddaughter Lucy (winningly portrayed by Adelin Phelps) is her exact opposite, wearing her heart and her doubts on her sleeve for the world to see. An art student, Lucy's whole world has collapsed with the rapture, including the disappearance of her "best performance friend forever" Sloane (Mason Mahoney). She bonds with Evelyn's assistant Eddie (Russ Dugger), and together with the eccentric neighbor Ann (Karen Bix, a hoot), they try to break through Evelyn's icy veneer. They convince her to go on the cable TV show hosted by Terry (Laura Leffler-McCabe) to defend herself and her art. Meanwhile, Evelyn is being visited by the ghost of her old friend, a characterization of real-life artist Thomas Kinkade (Carl Schoenborn), who's also helping her to work through her issues. In the end, I'm not sure that any of the questions are answered, but it's the asking and the working through them that counts.

Adelin Phelps and Mary Cutler

You can see from the cover of the program above the great contrast between the two main characters Evelyn and her granddaughter Lucy, a contrast which is nicely portrayed by Mary and Adelin. Adelin's training in physical theater (she's a founding member of Transatlantic Love Affair) shows in the way that the character of performance artist Lucy invades her entire body, nervously tapping the desk, making over-the-top movements, even in the way she moves her bare feet. The show opens with one of Lucy and Sloane's "performances," quite clever and well-done and at the same time poking gentle fun at "performance art," and ends with an expressive freedom dance as Lucy embraces her art despite what the rapture says.

The costume design (by Christina Forga) helps to create the characters, from Lucy's colorful and crazy wardrobe, to Evelyn's muted gray work clothes, to eccentric Ann's hippy skirts and sweaters, to TV host Terry's smart suits. The clean and precise set (designed by Shannon Morgan) fits Evelyn's manner - organized shelves with paints and brushes neatly aligned, her "gray" series of paintings (an homage to Rotho's reds?) hung evenly across the top. For the beach scene there's even real sand for Lucy to dig her toes into.

This was my first time attending a Savage Umbrella production, and I liked what I saw. A thought-provoking new play, solid cast, and all around well-done production. They also display art by local artists in the lobby, which adds to the evening of contemplating art. In the end, I couldn't help but think of my favorite musician Glen Hansard's Oscar acceptance speech - "Make art, make art!" (Rapture plays now through March 22.)