"The Uncertainty Principle" at Open Eye Theatre

Live performances at Open Eye Theatre's charming and intimate stage in South Minneapolis returned this week. Whether it's one of their work, or one of the guest artists they support, a show at Open Eye is always going to be unique and interesting. Teresa Mock's solo piece The Uncertainty Principle fits the bill. It's a memory play, not just about her memory, but also her father Paul's, a Vietnam vet. In this funny, poignant, moving, and very personal play, she explores the idea of memory, legacy, and multi-generational trauma. And since this is Open Eye (formerly Figure) Theatre, there is also puppetry to help tell the story. Only three performances of this moving piece remain (click here for details).

"Complicated Fun" at the History Theatre

Just over a year ago, the History Theatre presented a new play with music called Complicated Fun as part of their annual Raw Stages festival. The full production opened last night, and while it maintains the humor, complexity, and fun that was present in the reading, adding all the elements of a full production has taken it to a whole new level. This very Minnesotan story about the Minneapolis music scene of the early '80s is like a long-ago unknown history play to me, something that the History Theatre does very well. Although I'm of the right generation, I was perhaps a bit too young, a bit too suburban, and much too nerdy to be aware of what was going on in downtown Minneapolis clubs, most notably, First Avenue (a venue I've only visited a few times in recent years to see my folky faves Glen Hansard and Punch Brothers). So while people who lived through and loved this musical era will probably enjoy this piece in a much different and perhaps more meaningful way than I, for the uninitiated it succeeds as great theater that invites us into an unfamiliar experience and world.

"New Jerusalem" by Minnesota Jewish Theatre Company at Hillcrest Center Theater

Minnesota Jewish Theatre Company has introduced me to a fascinating man in New Jerusalem. I'd never heard of 17th century Portuguese-Dutch-Jewish philosopher Baruch De Spinoza before, but his thoughts on God, Nature, religion, science, and society, as expressed through one historical incident in his life, feel so familiar it's as if I did already know him. This play by David Ives focuses on Spinoza's expulsion from the Jewish community, called cherem, in 1656. The interrogation plays out before the audience, who plays the part of the congregation. Spinoza tries to explain his beliefs to his friends, family, and rabbi, but is unsuccessful in convincing them he is not a heretic. It's a dense play, with much to digest and contemplate, brought to vivid life by the cast.

The mid-17th century was a time of persecution of Jews (not unlike most times in European history). Amsterdam was relevantly tolerant, but as is stated in the play, there are limits to this tolerance. Meaning no public worship and no talking about religious matters with Christians, sort of a "don't ask, don't tell" policy. Which is a problem for Spinoza, because there's nothing he likes better than discussing religion, God, nature, science, and philosophy with anyone who will listen, including his friend Simon and the (Christian) woman he loves, Clara. This lands him in hot water with the city as well as Rabbi Mortera, his beloved teacher and father figure. He is called to the synagogue to answer for his crimes, where he is interrogated by Jewish and Christian officials, and his opinionated sister. The house lights come up, as we the audience are meant to play the role of the congregation, listening to Spinoza's arguments and eventually passing judgement on him. As history tells us, he is expelled, and that's where the play leaves us. But I wasn't quite able to let him go, so I went to Wikipedia to find out the rest of the story. He continued to philosophize for another 20 years but never joined another religion, becoming "the first secular Jew of modern Europe."

Spinoza was an early advocate of the separation of church and state, the idea upon which this country was founded (although some people like to forget that if it suits their particular religion or belief). In the play, he is quoted as saying, "a state without religion is the only state in which religion can flourish." He also speaks of the unity of God, nature, and all things, "nothing is not God," which sounds like a Unitarian to me (no wonder I found myself agreeing with much of what he says). He often talks of the French philosopher and mathematician Descartes and the interrelatedness of science and religion, which seems to coincide with my personal belief that science and religion are flip sides of the same coin, and the laws of science and math can help inform and explain our understanding of the spiritual world. Or as Galileo said, much more elegantly that me, "mathematics is the language with which God has written the universe." Sorry for the digression, but this is the kind of thinking and discussion and philosophizing that this play engenders.

James Ramlet, George Muellner, Michael Torsch, and Rachel Weber
(photo by Sarah Whiting)

Under able the direction of Kurt Schweickhardt, the cast does a great job with this heavy material, injecting life and humor into it. Michael Torsch plays Spinoza as a wide-eyed idealist and a dreamer, and makes Spinoza's words and ideas make sense in an appealing way. As his friends, Briana Patnode and Alex Brightwell showcase the human side of Spinoza. Rachel Weber is a spitfire as his sister Rebekah, barging into the proceedings and letting her opinion be known. James Ramlet and Skyler Nowinski play Spinoza's interrogators, at times frustrated, angered, bewildered, and silenced by his answers to their questions. Last but not least, George Muellner gives a sympathetic performance as the rabbi torn between this young man he thinks of as a son and his lifelong beliefs.

New Jerusalem continues through November 9 at St. Paul's Hillcrest Center Theater (construction appears to be nearly complete and the parking lot on Ford is open again). I highly recommend it if you enjoy thought-provoking discussions about God, Nature, science, religion, philosophy, and everything in between. I will warn you that it's long, nearly three hours, so take a nap or have some coffee before the show, especially if you go to an 8 pm performance. As fascinating as it is, it's a challenge to stay engaged in a philosophical discussion for that long, but it's well worth the effort.

"School for Lies" at Park Square Theatre

The School for Lies is a new adaptation of the classic French comedy The Misanthrope by Moliere; the title comes from the line "society is nothing but a school for lies," which summarizes the play quite well. This version, written by Venus in Fur playwright David Ives, maintains the setting (17th century France), characters (the French aristocracy), and plot (man disapproving of said aristocracy nevertheless finds himself falling in love with one of them), but recasts the story in modern language and delightful rhyme. Like all rhythmic language (see also Shakespeare), it requires some concentration on the audience's part (no sitting back passively here). But once you get into the flow of it, it's really quite clever, and this cast (directed by Walking Shadow Theatre's Amy Rummenie) does a marvelous job of bringing life to the language and the story.

The play centers around the widow Celimene and her court, including her cousin Eliante and three suitors. Into this mix Philinte brings his friend Frank, who has no patience for the pretenses of society and proceeds to offend everyone. Except for the women, who fall in love with him (sometimes with the help of lies). Celimene is facing a trial for slander, and asks Frank to defend her against her rival Arsinoé. Much comedy, mix-ups, and romance ensues, along with many spilled canapés.

The fantastic cast is led by Kate Guenzel, truly delightful as Celimene, and John Middleton, just terrific as Frank, the one grounded and real character amidst the silly fools. As Celimene's suitors, David Beukema, Brandon Bruce, and John Catron are each appropriately and uniquely buffoonish (one continually picking his nose, one a horrible poet, and one happily stupid). Also great are Anna Hickey as the sweet and charming Eliante, Jason Rojas (whose beautiful hair puts the wigs to shame) as the sincere Philante, and Andrea Wollenberg as Celimene's ugly stepsister-like rival. Last but not least is the scene stealer Skyler Nowinski as two beleaguered servants, relatively minor characters but the ones that get the biggest laughs.

Walking into the theater, the stage reminded me of something from Behind the Candelabra - glitz and gold everywhere. The costumes are outrageous in the best possible way, not to mention the wigs! Completing the looks are an epidemic of moles and warts. (Set by Robin McIntyre, costumes by Susan E. Mickey, wigs by David Hermann.)

The School for Lies continues at Park Square Theatre in cold and lovely downtown St. Paul through February 2 (discount tickets available on Goldstar.com). It's a crazy fun romp through 17th century France, in a fresh and modern way. Check out the video below for a taste of the madness:



The School for Lies from Park Square Theatre on Vimeo.

"Basic North" by Live Action Set at the Southern Theater

The bare, cavernous, gorgeous stage at the Southern Theater. That's about as exciting as it gets in the world of theater - you never know what magic is going to happen in that big open space in front of you. Currently, it's Live Action Set's new creation Basic North: a performance in three directions. But I didn't see three directions, I saw one cohesive piece, where one "chapter" flows into another and back again. I don't want to say too much about the show, firstly because it's difficult to describe, but mostly because it's the surprise factor that makes it so delightful. I really had no idea what to expect, and I was entertained, moved, amused, and yes, delighted by what I saw.

The three chapters consist of:

• Without Wax: a six-person ensemble (Crane Adams, Artistic Director Noah Bremer, Joanna Harmon, Skyler Nowinski, Tyler Olsen, and Katelyn Skelley) dressed in party clothes and sharing seemingly mundane details about their daily life. Using a technique developed by director Dario Tangelson based on the "neutral mask," each actor looks directly at the audience and speaks with no expression, while the rest of the ensemble shuffles around to stare at them blankly. It's strange and fascinating.
• Start Select: a dance piece featuring Emily King, Dustin Maxwell, and Stephanie Shirik. I'm not a dance expert so I'm not sure how to describe this, other than it's inventive, expressive, and seamlessly woven into the other parts of the piece (and the bright costumes and wigs are adorable!).
• Quiet Heart: a solo piece by Noah Bremer, using clown techniques. He opens the show with just a spotlight and a microphone (that he never actually speaks into), which sets the stage for the rest of the show to come. He's so expressive without saying a word, conveying emotions with just the expression on his face or the movement of his body.

I'll end this with a quote from one of the performers, Joanna Harmon, who's also the Executive Director of Live Action Set: "It takes guts to say, 'Surprise me! Show me what ya got! Throw me a curve ball,' and with joy, choose to experience a show in which you have never before been immersed." If that sounds at all intriguing to you, then you should definitely catch one of the remaining five performances. And if you missed last year's brilliant and Ivey Award-winning 7-Shot Symphony, you might also want to check out the one-night-only performance of the show, along with a CD-release party (from the bluegrass band Tree Party) on Monday July 2, also at the Southern.

no, these are not the costumes seen in the show,
but I'm sure they symbolize something...