"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!

"Two Mile Hollow" by Theater Mu and Mixed Blood Theatre

My 280-character (or less) review of Theater Mu and Mixed Blood Theatre's first ever collaboration:

Friends, run don't walk to see #twomilehollow (co-production from @theatermu and @mixed_blood). I can't decide whom I love most in this cast of comic geniuses! But behind all the wackiness and humor is some seriously smart commentary on race and class in America.

"Vietgone" at Mixed Blood Theatre

Another smart and funny new play fresh from a successful Off-Broadway run has landed in Minneapolis. In addition to Josh Tobiessen's hilarious and heart-breaking Lone Star Spirits at the Jungle Theater, we also have Qui Nguyen's ambitious and genre-blending Vietgone at Mixed Blood Theatre. The playwright tells the story of his parents meeting a Vietnamese refugee camp in 1975 Arkansas in an inventive and totally unique style. Vietgone is part rap musical, part romantic comedy, part bawdy sex comedy, part war story, and all engrossing. It's in-your-face (literally, the cast often walks through the audience and might throw a finger in your face) and squirm-inducing, but is utterly effective in communicating the refugee experience and making at least this audience member rethink their views on the Vietnam War and American involvement.

"The Paper Dreams of Harry Chin" at History Theatre

I just got back from my annual trip to NYC, "center of the universe," where I saw six Broadway shows in five days (read my mini-reviews here). While I was there, I also took a walking tour of the Lower East Side through the Tenement Museum, which I highly recommended if you're in the city. The tour was fascinating and served to reinforce the idea that the history of the Lower East Side, the history of New York City, the history of America is an ever-changing story of immigrants. Immigrants who have come to this country in search of better opportunities and better lives for their families. Unfortunately, our history also includes an ever-changing story of prejudice and discrimination against immigrants. Today, it's Muslim and Mexican immigrants that face the brunt of it. But the idea of keeping immigrants out due to fear is not a new one; in 1882 the first legislation against the immigration of a specific race was passed - the Chinese Exclusion Act. Local playwright Jessica Huang's new play The Paper Dreams of Harry Chin tells the true story of one Minnesota family affected by this legislation. In keeping with the History Theatre's commitment to tell the untold stories of all Minnesotans, it's a beautiful and affecting look at the very timely and relevant issue of immigration through the very specific story of one family.

"Flower Drum Song" by Mu Performing Arts and Park Square Theatre

The crown jewel of Mu Performing Arts' 25th Anniversary season is their gorgeous production of Rodgers and Hammerstein's Flower Drum Song, with an updated book by Tony award winning playwright David Henry Hwang (who was in attendance opening night). A co-production with Park Square Theatre, it features a fantastic cast of 17 local Asian American actors (many of whom have grown up with and been trained by Mu), a timely story of immigrants in America, beautiful design, and a classic Rodgers and Hammerstein score played by a sparse and lovely five-piece onstage band. It's a production that is made possible because of Mu founder Rick Shiomi's decision to start an Asian American theater company in Minnesota 25 years ago, and the Asian American art and artists that Mu has supported and fostered over the past 25 years.

"The Two Kids that Blow Shit Up" by Mu Performing Arts at the Rarig Center Arena

The Two Kids that Blow Shit Up. It's a catchy title, although I'm not sure how descriptive it is. But I am sure that Two Kids is a fantastic new play and one that we sorely need. It's the story of a life-long friendship between an Asian American man and woman who meet as children when their mother and father begin a troubled relationship. While it's tempting to say these two characters are fascinating, complex, realistic people who just happen to be Asian American, that's discounting the impact that ethnicity, culture, and race have on their lives, on all our lives. Their ethnicity adds a level of specificity to these characters, and more importantly, it allows an often marginalized community to see themselves at the center of this very human, messy, funny, beautiful story. As a middle class white woman from the suburbs of Minnesota, I can never fully understand what it's like to rarely see yourself or your community represented on TV, in movies, and on the stage, or perhaps even worse, misrepresented. But I can recognize what a rare and beautiful thing this is. And it's also a smartly written and directed play, beautifully acted by two of the Twin Cities' best.

"Musical Mondays" at Hell's Kitchen, October 2015

Last night was "Gentleman's Night" at Musical Mondays at Hell's Kitchen. Which means that this installment of the almost 3-year old monthly cabaret series featured five fabulous men. Hosted by real-life and onstage BFFs Sheena Janson and Max Wojtanowicz (see their original autobiographical musical Fruit Fly for more on their relationship), Musical Mondays is a great way to support local talent, mingle with the theater crowd, and enjoy some amazing performances of musical theater songs beloved and new.

In addition to the music, Hell's Kitchen (located on 9th Street in downtown Minneapolis) offers a nice beer selection and some tasty appetizers and meals to enjoy while you watch. The event is free, with a $5 suggested donation that goes to the performers. In exchange you're entered into a raffle to win tickets to current shows, which this month included:

• THE SPITFIRE GRILL at Lyric Arts
• PHANTOM at Artistry
• THE ROCKY HORROR SHOW at Chameleon Theatre Circle
• GLENSHEEN at History Theatre
• MURDER BALLAD at Minneapolis Musical Theatre

As a special treat this month, the Twin Cities Public Television series MN Original was there filming for an upcoming feature. If you've never seen MN Original, I highly recommend you check it out to see the amazing work of Minnesota artists, not just theater artists but all art forms, some you didn't even know existed (all episodes available online).

The cast was accompanied by the master Jerry Rubino on keyboard, Bill Crean on bass, and Bob Beahen on drums. The full set list from last night's show is available on the Musical Mondays Facebook page, but here are a few of my favorites:

• Tre Searles beautifully sang "Can't Help Lovin' That Man" from Show Boat, and an inspiring anthem called "Belief" with which I was unfamiliar.
• Sherwin Resurreccion was a charming "Mr. Cellophane" (from Chicago), and led the cast in the always fun "Sit Down You're Rockin' the Boat" from Guys and Dolls, which I still remember him singing at a Mu Gala years ago.
• Kevin Leines sang a lovely rendition of "Try to Remember" from The Fantasticks (and he looks a little like Jerry Orbach too!).
• Andrew was adorable singing the title song from She Loves Me, and also sang a song from Jonathan Larson's Tick Tick Boom.
• Matt Goinz was the one member of the cast unfamiliar to me, but if his favorite musical theater song is "Being Alive" from Company, and he can sing it this dreamily, he's OK in my book.
• The guys combined for a couple of duets, including Kevin and Matt's beautiful "Lily's Eyes" from The Secret Garden, and Andrew and Tre on "Just True" from Yank.
• In addition to giving us chills with "Finishing the Hat" from Sunday in the Park with George, Max also made us laugh while serenading his newly married co-host Sheena with a song he'd written to the tune of "Somewhere That's Green" (possible new chapter of Fruit Fly?).
• The cast of MMT's Murder Ballad sang a number from the show, which made me wish I could see it! Unfortunately with just three Friday night performances, my schedule would not allow it. But you should go see the last performance this Friday at Bryant Lake Bowl!

Before closing the show, the guys told us where we could see them next. Tre will be in Sister Act at the Chanhassen, opening next month; Andrew will be singing in Second Fiddle's one night only staged reading of The Most Happy Fella next Monday; Matt performs with the excellent vocal ensemble Cantus; Sherwin will be serving delicious food on his food truck; and someone needs to hire Kevin so we can see more of him!

That's it for this month. The next Musical Mondays will be an anniversary celebration on November 2, and it sounds like a fantastic line-up! (Unfortunately I won't be able to make it because I'll be in NYC, recovering from having run 26.2 miles, and seeing as many shows as I can!) Stay tuned to the Musical Mondays Facebook page for information on upcoming shows, as well as when you can see the MN Original feature.

"The Debutante's Ball" at the History Theatre in Partnership with Mu Performing Arts

The History Theatre excels at taking stories from Minnesota's past and putting them on stage in a way that's full of life and relevant. The latest example of this is The Debutante's Ball by local playwright Eric "Pogi" Sumangil. The play was part of last year's new works festival "Raw Stages" and is now receiving a full production on the History Theatre stage. This story of a milestone in the life of local Filipino-American youths was charming and poignant as a reading, and it's even more so now with the benefit of sets, costumes, and choreography. It feels very real - the playwright based many of the characters and situations on his own experience, and memorabilia from recent Balls are displayed in the lobby. The specific and detailed look at one culture's tradition speaks to the larger theme of how we find and hold on to our culture, family, traditions, and identity in the ever changing modern world.

At the heart of this story is the teenager Ana (an appealing Stephanie Bertumen), who moves out of her parents' home because they want her to be an assimilated American and can't understand why she longs to learn more about her Filipino heritage. She finds the Valentine's Day Ball and the weekly classes to prepare for it, taught by the strict and traditional Tita Belinda (Sherwin Resurreccion, showing us the heart behind the tough exterior). There she meets other Filipino youth who are participating for different reasons, and are the typical range of high school characters - the awkward nerd, the cocky jock, the spoiled popular girl (played with youthful charm by Kylee Brinkman, Joelle Fernandez, Alex Galick, Maxwell Thao, and actual high schooler Jeric Basilio). The language is natural; these kids talk like real teenagers talk, with a few Tagalog words thrown in. Ana struggles to balance work, friendship, money, and her relationship with her parents, but with the help of her new friends is able to accomplish her goal of participating in the Debutante's Ball. Through this experience she learns something she hasn't been able to learn from her endless research - what it's like to really be part of a community and be proud and confident in who you are.

Part of Ana's research into her heritage is to watch videos, which we see played out by the cast onstage as Ana watches from the aisles. A cheesy soap opera that mirrors her parents' experience, a comedy routine, a children's story, a rap that explains the origins of the Ball. It's a clever device that allows the audience to learn about Filipino culture along with Ana. Another tradition we see onstage is a boy serenading a girl he likes outside of her house, a sweet and tender moment of young and innocent love.

the debutantes at the ball (photo by Scott Pakudaitis)

The play is called The Debutante's Ball - so there better be dancing and pretty dresses! Rest assured, there is. After spending two hours getting to know these characters I almost felt like their parents must, a sense of pride at what they've accomplished and how grown-up and mature they are. The girls look lovely in their matching white flowy dresses (costumes by Kathy Kohl), the boys handsome in their tuxes. The story culminates in a dance (choreographed by Pogi) that's quite beautiful on the surface, but goes much deeper knowing the tradition, stories, and people behind it.

The Debutante's Ball is a universal story of a young person coming of age and trying to figure out who they are, where they came from, and where they fit in the world. Continuing at the History Theatre through April 12 (discount tickets available on Goldstar).

"Middle Brother" by Mu Performing Arts at the Southern Theater

I love Mu Performing Arts' unique take on classical musicals with Asian-American casts, most recently a gorgeous production of Sondheim's A Little Night Music. But what they do best is foster and produce new work about the Asian-American experience, which is of course part of the American experience. Middle Brother, written by frequent Mu actor and their Marketing Coordinator Eric Sharp, is one such piece. Eric draws on his own experience as a Korean adoptee who returns to Korea as an adult and tells a similar story about a character named Billy in a funny, poignant, fantastical, imaginative way.

Middle Brother is not so much a linear story as a series of vignettes, dreams, scenes, and fantasies. We meet Billy as he's about to leave his home state of Iowa to visit Korea for a few months, hoping to learn more about his heritage and blend into society. Of course it's not that easy, as he finds himself not quite fitting in, a feeling with which he's familiar. In addition to Billy (played by the playwright), five actors (Audrey Park, Michael Sung-Ho, Sara Ochs, Sherwin Resurreccion, and Su-Yoon Ko) portray a sort of Greek Chorus, or in this case Korean Chorus, as well as other characters in the story. The play starts out almost interactive, with the Chorus speaking directly to the audience and defining the two worlds in a clever way. We see scenes of Billy interacting with his younger brother, also adopted from Korea but with little interest it. In Korea, he learns that he also has a biological older brother (hence the title), who he meets and begins to learn about his family. Or does he? Interspersed with these scenes are fantasy sequences about Billy being born to the royal family and he and his prince brother playing (like when Annie sings "Maybe," imagining what her biological parents were like). My linear logical brain had a bit of a hard time understanding which parts were "real" and which were "fantasy." I wanted to know what really happened to Billy, his brother, and his parents, but maybe the point is that answers in transnational adoptions aren't so easy to come by.

the cast of Middle Brother (photo by Michal Daniel)

This piece features an inventive use of space, props, and storytelling. One large set piece dominates the space at the Southern theater, a raised platform with arches that the actors climb on and crawl under. A matching smaller piece on wheels functions as a literal bridge between the two worlds, a plane, and a hospital bed (set and props by John Francis Bueche). The recurring original song "Holy Crap, Here I Am*" sung in Korean Karaoke style expresses Billy's feelings more than mere words can.

I was surprised to read in the program that over 100,000 children have been adopted out of Korea since 1953. This play doesn't offer answers to the issues that adoptees face so much as share one person's experience. It's amusing, entertaining, and effective, if a bit difficult to understand at times for the literal minded. Playing now through September 18, with discount tickets available on Goldstar.


*Listen to Eric talk about writing the song "Holy Crap, Here I Am" on the new music-theater podcast Twin Cities Song Story.

"Maple and Vine" by Frank Theatre at Old Arizona

We long for "the good old days," when things were simple and everyone was content, before the busyness and technological craze of the modern era. We admire the idyllic lives of the Cleavers or Ozzie and Harriet. But what would happen if we really could return to those days? Would we find them as wonderful as they seem? The new play Maple and Vine, which opens Frank Theatre's 25th anniversary season, explores that very idea. People from the modern world leave it to live outside of society in a world that's patterned on 1955, trying to achieve "authenticity" in everything from the food they eat to the racism specific to the time. As you can imagine, it turns out that the good old days are not exactly as simple and happy as we like to imagine. What the exquisite TV show Mad Men does for the 1960s, Maple and Vine does for the 1950s - dig beneath the shiny happy veneer to reveal the repression and unhappiness that lie underneath.

Katha and Ryu are a typical American couple, busy with their careers and hectic modern life. They've recently suffered a loss and are struggling with regaining their footing in their lives. When Katha meets a man in a sharp suit and hat who tells her about a place where life is simpler, she's intrigued. She convinces her reluctant husband to move to the Society of Dynamic Obsolescence (SDO), where he trades his job as a plastic surgeon for a position making boxes at a factory, and she trades her business suits for an apron. Katha, now called Kathy, seems to flourish in this environment as she revels in going to society meetings and making crab puffs. But Ryu, who is of Japanese heritage, struggles with the "period appropriate" racism and conflicting feelings about the "recent" internment of Japanese Americans, as well as his own conflicting feelings about his new role as "head of the household." As chief recruiters for the SDO, Dean and Ellen provide a perfect example of life in 1955, until secrets come to light that reveal they're not what they seem. Are Katha and Ryu ready to take over for them and make a life in this new old world, despite their reservations?

As usual, Frank Theater has assembled a sparkling cast. Tessa Flynn and Sherwin Resurreccion are believable and relatable as Katha and Ryu, the couple through whom we're introduced to this bizarre world. Because of their dissatisfaction with the world and their life, it's easy to empathize with them and understand why they might fall victim to this too-good-to-be-true scheme. As Dean and Ellen, Wade Vaughn and Katie Guentzel project the perfect glassy-eyed veneer of the happy couple as they provide tips to their new recruits, and also give us glimpses of what's going on underneath. Rounding out the cast is David Beukema, in a sympathetic turn as a man with a past (and current) connection to Dean.

doesn't this look like a party you'd like to join?

The three separate set areas in the wide and shallow space at Old Arizona set the scene for both periods - a bedroom and kitchen set that transform between acts from the modern era to 1955, and a third space used as an office, factory, or dining room (set design by Ursula K. Bowden). In addition, a fabulous '50s living room is also set up in the second act (see photo at left). The complicated set does lead to lengthy scene changes, but at least they're filled with smooth '50s tunes. And the '50s fashions (by Kathy Kohl) are to die for - gorgeous full-skirted dresses for the women and sharp suits for the men. (Unlike the racist and sexist attitudes, the fashion of the '50s is worth holding on to!)

Only two more weekends to catch this intriguing new play. Frank is again also offering free readings of plays by playwright Jordan Harrison during the run of the show; see their website for info about both.

"Heaven" by the Flying Foot Forum at the Guthrie Theater

It was a last minute decision to see Heaven yesterday.  I had heard about this dance/music/theater piece about an American photographer in the Bosnian war and was intrigued.  So when I found myself with a free Sunday afternoon, I decided to do what I most love to do on a Sunday afternoon - see a matinee.  It turned out to be one of the best decisions I've made recently; I'm so grateful I had the opportunity to see this amazing, intense, beautiful show!

Heaven is a production by the dance company Flying Foot Forum, directed by Artistic Director Joe Chvala (pronounced koala, as the lovely woman sitting next to me who knew Joe as a child told me).  They specialize in a style of dance called "percussive dance," and while the dancing is definitely an integral part of the storytelling, I wasn't expecting Heaven to be as much of a classic musical theater piece as it is.  The music (written by Chan Poling) is of various styles, ranging from traditional music of Eastern Europe, to a classic musical theater love song.  I found the score to be inventive, original, moving, and memorable; if there were a soundtrack available, I would buy it!

But let me start at the beginning.  The Guthrie website warned audience members to be in their seats 15 minutes before the show started for the "pre-show entertainment."  The stage is set up as a cafe, and while the wonderful band (directed by Jake Endres and featuring the amazing vocals of Natalie Nowytski) plays traditional music, people start filtering into the cafe, greeting each other, talking, laughing, dancing.  It feels like a welcoming neighborhood sort of place; I wish this place were real and I were a part of it.  Then the dancing starts to get more aggressive, and like in the school dance scene in West Side Story, dancing turns into fighting turns into dancing again.  The proprietor of the establishment (played by Joe Chvala) breaks up the fight, and welcomes the audience to "Cafe Heaven," where "all are welcome."  But be careful, because the sentiment "all are welcome" also applies to "Cafe Hell" across the street.  And as the story unfolds, it becomes clear just how short a journey it is from one place to the other.

The protagonist of the story is Peter Adamson, an American photographer (played by the wonderful Doug Scholz-Carlson, who is so good I'm surprise I haven't seen him in anything before).  Peter is in Bosnia to serve as a witness to the atrocities of war, hoping he can somehow change the world.  After three years he's become jaded and convinced that no one can do anything to help.  A few days before shipping out, he meets a man named Faruk and agrees to go on one last mission to help him find his wife.  The experiences he has on the journey and the people he meets prove to be life-changing, in more ways than one.  He gets the one shot that lands him the front page of the New York Times, that might possibly bring awareness and an end to the senseless killing.  But he's conflicted about his success because he knows that there's much more behind the photograph.  In the end, he finds he can't leave this place and its people behind.

This is mostly an ensemble piece, and what a talented ensemble!  Most of the actors play multiple roles from soldiers to citizens and everything in between.  Joe Chvala and Sherwin Resurreccion serve as narrators and guides through much of the action, and display the percussive dance style to great effect.  The lovely-voiced Laurel Armstrong (whom I recently saw in Into the Woods at the Bloomington Civic Theatre, which Joe Chvala also directed) plays Lejla, a woman that Peter meets along the way (the afore-mentioned love song).  Eric Webster is the hardened and bitter soldier Faruk who wants nothing more than to live a life in peace, reunited with his wife.  All of the dancers are amazing, expressing the frustration and pain and hopefulness of the people through their dance.  It's quite impressive what that many dancers can do in such a small space as the Dowling Studio!

Another interesting feature of this piece is the use of images.  Often when Peter takes a photograph, that photograph is projected onto the backdrop of the set, giving the audience a chance to see the world through Peter's lens.

This is the kind of musical I wish were prevalent on Broadway today, instead of umpteen movie and TV show adaptations and jukebox musicals.  Original musical theater that uses music and movement to tell an interesting, relevant, meaningful, entertaining story, and to help us make sense of the world we live in.  That's what musical theater can, and should, do.  And when that happens, there's nothing better.