"Little Women" at the Guthrie Theater

Lousia May Alcott's 1868 novel Little Women has been adapted into countless movies, plays, TV series, even a Broadway musical, and our own Collide Theatrical Dance Company recently turned it into an original dance musical. Now Lauren Gunderson, one of America's most produced playwrights of recent years, with a penchant for writing female-focused historical or literary-inspired plays that are fresh, funny, and feminist, has thrown her hat into the ring. And friends, this may be my favorite Little Women adaptation yet. Gunderson (who was in the house opening night) frames her play as a story within a story, placing Alcott and her real family on stage as they transform into the March family, which allows for context and commentary on this beloved tale. Now and in the past, women and girls are hungry for stories that center us in all our complexities and messiness, because for so long we've been marginalized in stories, in history, and in our own lives. In that respect, Lousia May Alcott and Lauren Gunderson are a match made in literary theatrical heaven. The Guthrie's production features a fantastic local cast and gorgeous design, and had me in tears multiple times throughout the story. Whether you're a fan of this story or not, don't miss this fresh new take on a classic that's still respectful of the source (continuing through June 21 - I'll be going back to see it again).

"Secret Warriors" at History Theatre

Did you know that Japanese Americans served in the U.S. Army as translators, interpreters, and interrogators during WWII, at the same time that their families were imprisoned in internment camps back home? I didn't either, but I do now thanks to History Theatre's world premiere new play Secret Warriors. As always with History Theatre's original, often commissioned, plays and musicals, Secret Warriors shines a light on a little known aspect of history, usually with a Minnesota connection, and draws a straight line from the past to the present. Today, the very law that was used to intern Japanese Americans (the Alien Enemies Act of 1798) is being used to justify mass deportations, and we're seeing a rise of division and hate crimes. Director Lily Tung Crystal sums up this parallel in the program and the questions that this excellent new play raises: "What lessons from the past must we carry forward to ensure history does not repeat itself? How do we reconcile patriotism with the injustices committed by our own government? And what does it truly mean to be American?" Remembering our history is so important, and what better way to do that than through an engaging and entertaining play? You can learn about and pay homage to these Secret Warriors at the History Theatre in downtown St. Paul through April 19 (click here for info and tickets).

"Sanctuary City" by Frank Theatre at Open Eye Theatre

Just about a year ago, Frank Theatre introduced the work of Polish-American Pulitzer Prize-winning playwright Martyna Majok to #TCTheater with the play Ironbound, about which I wrote, "It's only mid-January, but I'm confident this will be one of the best plays of 2024." That statement proved to be true; Ironbound did indeed make my list of 2024 favorites, and was nominated for five Twin Cities Theater Blogger Awards (winning one). Frank was smart to go back to that well and bring us another Majok play this year. Sanctuary City is another powerful and timely drama with fantastic performances by the small cast, spot on design, and impeccable direction. See it Thursdays through Sundays at Open Eye Theatre until February 23 (note: Open Eye is a small space and some performances are already selling out, so don't wait too long to get your tickets to see what could be one of the best plays of 2025!).

"The 25th Annual Putnam County Spelling Bee" at Artistry

Artistry produced the 2005 two-time Tony winning musical The 25th Annual Putnam County Spelling Bee back in 2014, when they were still known as Bloomington Civic Theatre. But this hilarious, irreverent, and surprisingly sweet musical is worth revisiting. Directed by #TCTheater favorite Tyler Michaels King and featuring a fantastic cast, it's so playful and fun, and also gives you the warm fuzzies about this group of loveably oddball kids just trying their best to spell and be happy. There's only one weekend left to attend the Bee - don't miss it!

"The Courtroom: A Reenactment of One Woman's Deportation Proceedings" by Jungle Theater at Hamline University

The Courtroom: A Reenactment of One Woman's Deportation Proceedings is unlike any theater I've seen before. As the title indicates, it's more a reenactment than a play. All of the text is taken from court transcripts, arranged by Tony nominated theater artist Arian Moayed. If that sounds dry and boring, it isn't. It's surprisingly riveting. Yes, you have to pay attention, because the words weren't constructed to entertain and hold our attention, so it requires a little more work from an audience. There's a lot of legalize, but if you love Law and Order type shows, you'll love this. But the beautiful thing about Jungle Theater's production is that behind all the legal talk and formalities is a true human story. The cast, direction, and staging really make us feel that humanity, and at the end, the play has a truly beautiful message about the best that America, this nation of immigrants, can be. 

"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.

"The Winter's Tale" by Ten Thousand Things at Open Book

Last night I posted on Instagram: "I know nothing about this play, but there's no one with whom I'd rather experience Shakespeare for the first time than @ttttheater." As it turns out, I have seen The Winter's Tale before, but it was eight and a half years ago and I had no recollection of it. Certain plot points did seem a little familiar, but I thought that was because Shakespeare tends to mix and match a finite selection of elements in his plays. No matter, the sentiment still holds: Ten Thousand Things does Shakespeare like no one else, making it accessible and understandable and relatable, whether you're familiar with the play or it's your first time (or you just have a really bad memory). Their production of The Winter's Tale opens their 2019-2020 season and goes from devastating to delightful in the space of two hours. Artistic Director Marcela Lorca (who took over the reigns from founder Michelle Hensley last year) directs this wonderful nine-person ensemble that combines TTT faves and TTT newbies to form an expert storytelling troupe. This is a story of hope, forgiveness, repentance, and the healing nature of time.

"Charles Francis Chan Jr.'s Exotic Oriental Murder Mystery" by Mu Performing Arts at the Guthrie Theater

With their new production of Lloyd Suh's recent Off-Broadway play Charles Francis Chan Jr.'s Exotic Oriental Murder Mystery, Mu tackles the issue of yellow face and the stereotypical portrayal of Asian Americans in media head on. Like Branden Jacobs-Jenkens' Octoroon (recently produced by Mixed Blood Theatre), the play includes yellow face and white face, a play-within-a-play format, and a weird human-sized animal. While Jacobs-Jenkins satirized the "antebellum melodrama," Suh satirizes the many stereotypes that have dominated the depiction of Asian Americans in popular culture, and specifically the dozens of movies from the '20s through '40s featuring detective Charlie Chan (played by a white man, natch). The result is a weird and trippy mash-up of stories, often told in exaggerated style, that effectively and poignantly exposes and skewers the stereotypes surrounding us while paying homage to the pioneers of Asian American theater.

"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 Last Firefly" at Children's Theatre Company

The new play The Last Firefly by Naomi Iizuka, commissioned by the Children's Theatre Company, feels like a new fairy tale for the modern age. The playwright has combined elements from several Japanese folktales and put at the center a child of a single mother who has never met his father and is living with an abusive stepfather. A lot of today's kids can relate to this situation in some way. Boom goes on a hero's journey in search of his father to help his mother, and along the way discovers his own strength. It's a familiar story, but one told in a new and modern way with some fantastic design elements to create an engaging 80-minute play.

"Tot: The Untold, Yet Spectacular Story of (A Filipino) Hulk Hogan" by Mu Performing Arts at Park Square Theatre

I attended the Saturday matinee of Mu Performing Arts' world premiere play Tot: The Untold, Yet Spectacular Story of (A Filipino) Hulk Hogan with all three of the Minnesota Theater Lovers (my friends and fellow theater bloggers). As we chatted over our post-show meal at the Afro Deli, it soon became apparent that we had very different experiences at the show. I find this fascinating and actually kind of cool, how two people can watch the same thing and see something entirely different. That's the beauty of theater, a beauty that, like for any art, is in the eye of the beholder; the theater-goer is just as important as the theater-makers in creating the experience. You'll have to head over to Minnesota Theater Love to read their perspective, and read on here for mine. Which is that Tot is, while a bit wacky and unclear in parts, a compelling and moving story of a boy whose world is turned upside down and who deals with it through a rich fantasy world.

"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.

"Right, Wrong, or Bomb! A Dating Musical" by Backyard to Broadway Productions at Illusion Theater

"The protagonist, Jill, professionally successful but socially awkward, finds herself in a state of perpetual singleness." Upon reading this description of the new original musical Right, Wrong, or Bomb! A Dating Musical, I was afraid someone had written a musical about me. But after seeing it last night, I was reassured that it's not really about me, because this Jill, unlike the musical Jill, is focused on more than just finding a man. Still, the musical has moments that ring true about the pressure that society, friends, and family put on us to find a mate, and the strange way that many people go about it in the internet age. There's nothing too deep or revelatory here, but Right, Wrong, or Bomb! is a fun, funny, and entertaining musical with a pleasing score and wonderful heartfelt performances.

"Purple Cloud" by Mu Performing Arts at Mixed Blood Theatre

In celebration of 50 years of Asian American theater, Mu Performing Arts is presenting their 49th (if memory serves) world premiere play about the Asian American experience. That's an incredible commitment to new work, and to giving voice to stories that might not otherwise be heard. And while Purple Cloud is a specifically Asian American story, it's true what they say that the more specific a story is, the more universal it is. This "hapa" (meaning mixed) girl's search for identity, family, and a place in the world is something everyone can relate to in some way, and told in an innovative, imaginative, fantastical yet grounded way by playwright Jessica Huang.

"Twelfth Night" by Mu Performing Arts at Mixed Blood Theatre

"If music be the food of love play on!" So goes one of Shakespeare's most famous lines, this from the romantic comedy Twelfth Night. Music, love, and play are three words that strongly come across in Mu Performing Arts' new production of this classic. Continuing their summer tradition of giving an Asian-American twist to traditional (i.e., typically Caucasian) works of theater, Mu has reimagined Illyria as "a self-governing indigenous Asian island, colonized by a Western power." They've also trimmed it to 99 minutes (of which I heartily approve, having recently declared Shakespeare should always be 90 minutes) and infused it with much playful humor and charming musicality. The result is an absolutely delightful romp through one of Shakespeare's most popular comedies.

If you, like me, have a tendency to get all your Shakespearean romantic comedies confused, here's a brief reminder. Twelfth Night is the one with the shipwrecked male and female twins who are separated, each thinking the other is drowned. Viola decides to disguise herself as a man, as one does in such situations, calling herself Cesario and going into service for the Duke Orsino. On his behalf she woos the mourning Olivia, who wants nothing to do with the Duke but falls for young Cesario, who in turn is in love with the Duke. Viola's twin Sebastian shows up later causing much amusing Shakespearean confusion. Meanwhile, Olivia's kinsman, Sir Toby the buffoon, and her handmaid Maria play a cruel trick on another member of her household, Malvolio, using his love for Olivia to humiliate him. It's all tied together with music, "the food of love," and in the end everyone lives happily ever after as true identities are revealed.

Randy Reyes (director and Feste) and the cast of Twelfth Night
(photo by Keri Pickett)

Director Randy Reyes has encouraged playfulness in his cast, setting a great example through his role as Feste the clown (a great role for a director, as he spends much of his off stage time sitting among the audience observing). Randy's Feste is charming, hilarious, and smarter than everyone else, as fools often are. He also plays the ukulele and sings some lovely original music composed and music directed by Jason Hansen, joined by the four-person chorus, who sing and play some percussion instruments (a small taste of Mu's fantastic taiko). The large ensemble cast is great, some playing multiple parts. Highlights include Eric Sharp as Malvolio, playing all the layers of his pride, foolishness, and humiliation; Eric "Pogi" Sumangil and Alex Galick, providing much of the comedy as the real fools in the show, Sir Toby and Sir Andrew; Francesca McKenzie, with Shakespeare's words flowing naturally out of her mouth as the mourning and crazy in love Olivia; the appealing Stephanie Bertumen as Viola/Cesario; and Emma Valentine, stealing scenes as the lisping hook-handed pirate.

the chorus with Olivia (Francesca McKenzie) and
Maria (Su-Yoon Ko, photo by Keri Pickett)

The look of the show, set on an Asian island, is spot-on. Great use is made of the space at Mixed Blood, with audience on both sides of the stage, which is constructed of natural looking wood in several levels giving plenty of space to play (although it is a bit like watching a tennis match at times). Stacey Palmer's Asian-inspired costumes are gorgeous, from Olivia's cool and pretty white and gold ensemble, to Malvolio's sharp military jacket, to the chorus member's colorful gowns.

Mu's take on Twelfth Night is musical, playful, and fun. It doesn't delve too deeply into the issues in the play (gender, identity, love, e.g., both the Duke and Sebastian are played by women, but I'm not really sure what that's supposed to signify, if anything), but it's a summer comedy and is as light and refreshing as one should be. And providing a place for Asian-American actors to play all sorts of roles is not insignificant in a world where the practice of "yellow face" still exists. Twelfth Night continues at Mixed Blood Theatre through June 14 (discount tickets available on Goldstar)

"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).

"Disenchanted" by Casting Spells Productions at Illusion Theater

The princesses of Disenchanted will cast their spell on you in a whole different way than their Disney predecessors. While Disney portrays such fairy tale princesses and historical figures as Snow White, the Little Mermaid, and Pocahontas as sweet, mild-mannered, passive ladies waiting for a prince to come along and save them, the salty, sassy princess of Disenchanted are smart, strong, and unwilling to put up with crap from anyone! This new musical comedy by Dennis C. Giancino has had several productions around the country in the last few years and is currently playing Off-Broadway, but more importantly, it's currently in its second production here in the Twin Cities. Casting Spells Productions has brought back three of the princesses from last year's fantastic production at the Ritz Theater, added a few new and equally fabulous princesses, spiffed up the costumes, and included a few tweaks by the creator. It opened at the Illusion Theater on Halloween and continues through November 23; I finally saw it this week, and it's still a super fun show for anyone who loves and/or hates Disney princesses. It also makes for a perfect girls night out; I went with a bunch of friends and spotted several tiaras in the crowd (princess attire encouraged). These are the kind of princesses little (and not so little) girls should emulate!

Our host for the evening is Snow White (Jen Burleigh-Bentz is perfection, reprising the role from last year's show). She's smart, strong, and determined to convey her message about "the Princess Complex" to the audience (she's also not afraid of singing unnecessary runs, to hilarious effect). Her back-up singers are Cinderella (the delightfully daft Bonni Allen, also returning from last year) and a very sleepy Sleeping Beauty (Katherine Tieben-Holt, a welcome newcomer to the cast). They each introduce their story, which of course ends with getting married. But these princesses are here to tell us what happens next - and it's not as pretty and idyllic as Disney would have us believe. We also hear the stories of an insane Belle, a drunken Ariel, a very German Rapunzel (Kim Kivens as all three, a true musical comedy genius as she sings in three distinct styles, each hilarious with spot-on vocals), a possibly lesbian Mulan, a misrepresented Pocahontas, a second-place Jasmine (another excellent triple performance, by Stephanie Bertumen), and last but not least, the frog princess (an underused Joy Dolo, also returning from last year's show). The princesses sing about body image, dieting, and the crazy marketing of the princess image that little girls are rarely able to escape.

All of the princesses have fantastic voices, singing solo or in harmony. The night I attended they were accompanied by the "Understudy" Musical Director, Steven Hobert (filling in for Lori Dokken), who did a great job with the music, and occasionally interacting with the princesses. The structure of the show is casual and tongue-in-cheek, with direct address to the audience, sing-a-longs, and a bit of ad-libbing ("Garth Brooks took all the parking spots!"). Since the show was written, one new Disney princess has risen above all others, and you all know who I'm talking about. While she doesn't appear in the show, the creator has added a "Let It Go!" moment that makes fun of the craze. And of course, you can't talk about princesses without mentioning what they're wearing! Which is a modern spin on each princess' traditional attire (costume design by Barb Portinga).

I'm so glad I had the opportunity to see this show again, and I stand by what I wrote last year: "Featuring catchy and melodic tunes, clever and funny lyrics, and a stellar cast, it's a really fun and fantastic 90 minutes!" Disenchanted continues this weekend and next - don't miss this hilarious and well-sung princess satire! (Buy your tickets here, or get the few remaining discount tickets on Goldstar before they're gone.)

Mulan, Snow White, Cinderella, the Frog Princess, and the Little Mermaid
(Stephanie Bertumen, Jen Burleigh-Bentz, Bonni Allen, Joy Dolo, and Kim Kivens)

This article also appears on Broadway World Minneapolis.