"Take Two for Christmas" by nimbus theatre at the Crane Theater

nimbus theatre is back with another Hallmark holiday movie spoof, their third in three years. The first one, A Count Up to Christmas, was a lot of fun and chock full of cliches of those types of movies. As often happens, the sequel, A Very Electric Christmas, was still fun but not as good as the first one; it was a bit rough with a convoluted plot. I'm happy to report that the third play in the trilogy, Take Two for Christmas, is back to the fun of the original, and might even be my favorite of the three. It's got all of the tropes needed for a holiday rom-com: a small town invaded by city folk, a frozen lake, a gazebo to save, and a sweet romance (or two). The design is cozy festive and the cast is all in on the spoofy fun premise. Whether you love or love to hate the Hallmark Christmas movie, Take Two for Christmas is a fun way to celebrate that live on stage. See it at the Crane Theater in Northeast Minneapolis through December 22.

"The Brontide" by nimbus theater at The Crane Theater

This weekend, I spent two nights in a row at The Crane Theater, seeing two completely different shows. Friday night I saw a spooky pair of short plays, Ghoulish Delights' Bonehouse / Outsider, in the small studio space, and on Saturday I went back to see a new work by nimbus theatre, who owns/operates the space, in the main theater. nimbus almost exclusively does new work, often developed by the ensemble. Their newest work, The Brontide, was born out of an idea by co-Artistic Director Mitchell Frazier and company member Ernest Briggs (who also co-direct). An idea about stories, who tells them, who needs to hear them, who owns them. The result, by playwright Josh Cragun (another co-Artistic Director) is a modern and fantastical story about a tech company mogul who tries to buy up all of the stories in the world, and the scientist and filmmaker who try to stop him. As if often the case with new work, it could use a bit of editing and tightening up, but there are some interesting and relevant ideas discussed, and some great performances. The Brontide continues through June 9, Bonehouse / Outsider closes on May 25, and Skylark Opera Theatre's production of the Sondheim revue Marry Me A Little opens at the Crane on June 20.

"A Very Electric Christmas" by nimbus theatre at The Crane Theater

nimbus theatre's first holiday* show last year, A Count Up to Christmas - a spoof of the Hallmark holiday movie, was such a success that they're doing another one this year. Last year, the show featured commercials for other "movies" in the network's line-up, and they took one of those and turned it into this year's show. While I didn't enjoy it as much as last year's show, it's still full of fun cliches, bad puns, and double entendres, with a festive design and entertaining performances. See A Very Electric Christmas at The Crane Theater in Northeast Minneapolis through December 17.

"The Burning of Greenwood" by nimbus theatre at the Crane Theater

On the day before Juneteenth, a long-marked celebration of the end of slavery that was finally made a US federal holiday in 2021, I attended a play about the 1921 Tulsa Race Massacre. Awareness of this atrocious event in our history that destroyed a thriving Black community has increased in recent years. In just 75 minutes, The Burning of Greenwood shows us a day in the life of the business owners and families in this community, and how it all changed that day in 1921. The unsettling thing is that over a hundred years later, the destruction of Black communities and lives is continuing to happen, if in less dramatic ways. Plays like this shine a light on our history and the way it reflects the present, allow the Black community to be seen, increase empathy and understanding, and hopefully pave the way for a better future. The Burning of Greenwood continues at the Crane Theater in Northeast Minneapolis through July 25 only.

"Nimbus Presents: A Count Up to Christmas" by nimbus theatre at the Crane Theater

nimbus theatre's contribution to the #TCTheater holiday* space (and I think their first holiday show in their 20 years) is a delightful spoof of the beloved Hallmark Christmas movie. You know the one, in which a big city person finds themselves in a quaint small town, where they find love and a purpose. Nimbus Presents: A Count Up to Christmas is so full of these movie clichés that they offer a bingo card with items like "peppermint spice," "sledding," "coffee shop." And check off nearly every one. Whether you love or hate these movies, A Count Up to Christmas is a cute and fun way to experience them. See it at the Crane Theater in Northeast through December 18.

"The Red and the Bright" by nimbus theatre at the Crane Theater

photo by Todd Craig

nimbus theatre is celebrating 20 years in #TCTheater with their 50th production, the original play The Red and the Bright. From my first nimbus show, the original and locally historical play Bohemian Flats in 2013, to the harsh look at race and racism in America in Nacirema, to the breathtaking design of Ghost Sonata, to a fascinating look into art forgery in From Darkness, to many historical dramas and even a comedy, what I've come to expect from nimbus is something interesting, thoughtful, and unique. Sometimes a little weird, sometimes a little rough, but always intriguing, forward-thinking, and worth checking out. They often do original plays, as is the case with The Red and the Bright, written by co-Artistic Director Liz Neerland and directed by co-Artistic Director Josh Cragun. They began working on it before the pandemic, and it's finally seeing the stage, presenting a fantasy world that feels real and complete unto itself, from the language spoken, to the relationships amongst the tight community, to the detailed design. Only two more performances remain; click here for info and tickets.

"A Life of Days" by nimbus theatre at the Crane Theater

nimbus theatre's new original plays always explore some fascinating topic, idea, or historical era in a way that gets me thinking and wanting to know more. Their latest such work, A Life of Days, officially opens tonight and was inspired by a true story about a family that lived completely isolated in Siberia for 40 years. You can read that super fascinating story here, as well as playwright Liz Neerland's other literary research and inspiration here. I want to read all of these books, preferably by myself in a remote cabin in the woods, but as that's not possible at the moment, I'll settle for seeing this thoughtful rumination on solitude, society, nature, civilization, and humanity.

"The Pathetic Life and Remarkable Afterlife of Elmer McCurdy, the Worst Robber in the West" by nimbus theatre at the Crane Theater

With their original work, nimbus theatre often brings us some fascinating but little known historical event or issue, typically in a thoughtful way that's somehow relevant to today. Their newest work, The Pathetic Life and Remarkable Afterlife of Elmer McCurdy, the Worst Robber in the West, does that too, but it's the first straight-up comedy I've seen them do, and it's great fun. Real life unsuccessful outlaw Elmer McCurdy would likely have been lost to history, if not for the strange tale of his corpse, which was preserved and made the rounds of carnivals, exhibits, side shows, and even movies, eventually stashed away in storage where it was discovered in 1976 and finally buried. He was the subject of an episode of Drunk History, and this play sort of feels like an extended episode of Drunk History. Silly and funny yet sorta kinda true.

"The River Becomes Sea" by nimbus theatre at the Crane Theater

In nimbus theatre's latest original work, The River Becomes Sea, they explore the world of post-Civil War New Orleans through the complicated lives of one family. New Orleans is always a fascinating place, with its diverse peoples, cultures, and art, and its complicated relationship with water (see also the excellent HBO series Treme). But as playwright Josh Cragun notes in the playbill, the post-Civil War era is particularly fascinating; a time when there is new freedom for African Americans, and a backlash of fear from those who backed the failed Confederacy. Add to this the arrival of a long-lost sister, banished after a scandal, and an impending flood, and you have more than enough drama to fill 85 minutes. nimbus does that, but in an unhurried, lyrical, Southern sort of pace.

"Ludlow" by nimbus theatre at the Crane Theater

What I love most about nimbus theatre (other than the fact that they perform at the Crane in Northeast, a 15 minute drive from my house) is that they usually perform new works, often historical, always interesting and thoughtful. Their latest creation is Ludlow, about the Colorado Coalfield War of 1913-1914, the deadliest labor dispute in US History, resulting in the deaths of dozens or even hundreds of people. Playwright Josh Cragun and director Liz Neerland, Co-Artistic Directors of nimbus, have created an ambitious new work with a large and talented ensemble that not only brings the lives of the victims and survivors to life, but also speaks to current issues of unions, immigration, and the haves vs. the have-nots.

"Redemption" by nimbus theater at the Crane Theater

nimbus theatre's latest original work, Redemption, deals with the tricky issue of reentry into civilian life after time spent in prison. Playwright Josh Cragun and director Mitchell Frazier researched the topic extensively and talked with people affected by the issue. The result is a thoughtful look at the lives of two recently released prisoners and how their release affects their family and their victims (sometime one in the same). We're facing so many problems in this country right now that our flawed prison system (nimbus quotes a few statistics in their program, including "the US holds only 4.4% of the world's population, but we have 22% of the world's prisoners" and "we incarcerate at a higher rate than any other country in the world") seems to have taken a back burner. Not at nimbus, where Redemption doesn't offer any answers, but rather calls for compassion and understanding on all sides.

"The Kalevala" by nimbus theatre at The Crane Theater

What's The Crane Theater, you ask? It's nimbus theatre's brand new theater space in Northeast Minneapolis. Less than a year after a rent hike forced them out of their previous space in Northeast, a space where they not only presented exciting new work of their own but also hosted many nomadic theater companies in presenting their work, nimbus has found a new home. There seems to be a dearth of small affordable theater spaces for small theater companies (of which there are very many in this town), so the opening of The Crane Theater is an important and exciting thing. This big, open, airy former factory space with 30-foot ceilings will provide a great home for not just nimbus, but many theater companies who need a space in which to share their work, and also for audiences who want to see such work. That's why I donated to their Kickstarter campaign to help with continued renovations, which include a second theater/studio space, and I look forward to watching the space progress and to seeing some great theater there. Last weekend nimbus opened the first show in The Crane Theater, a new work based on the Finnish epic poem The Kalevala. As a new work it's a bit rough, but also fascinating, introducing me to a piece of literature and history with which I was previously unfamiliar, using modern language and cool design elements.

"The Storms of November" at nimbus theatre

What I love about nimbus theatre is that they often present original work, usually based on history, that, while not always flawless, is always interesting and thought-provoking and sheds new light on their subject. Such is the case with their newest work The Storms of November (written and directed by Co-Artistic Directors Josh Cragun and Liz Neerland, respectively), about sailors, ships, and shipwrecks on Lake Superior. November is a notoriously dangerous month on Minnesota's great and mysterious inland sea, and this play explores the lives of fictional characters on and off the ships, inspired by real people and events.

"Pioneer Suite" by Freshwater Theatre at nimbus theatre

A new original musical, Minnesota history, a gorgeous score written in an early Americana style, a wonderful cast, beautifully rustic period costumes and set, and the real stories of three women who are given a voice. What's not to love about Freshwater Theatre's aptly titled Pioneer Suite? This piece, that is in effect three one-act musicals woven together with a similar theme, time period, and musical style, was written by Keith Hovis, who also music directs and plays keyboard in the three-piece band. I loved Keith's Minnesota Fringe musicals Teenage Misery and Shakespeare Apocalypse, which were both fringey delights, but Pioneer Suite is on a whole different level and proves that he can do more than write catchy songs and a silly and entertaining story. Pioneer Suite is a beautiful and fully formed musical, with moments of humor, darkness, depth, desperation, and heart.

The first act, or movement, is about "Mrs. Housel* of Suicidal Fame," and was presented as part of Freshwater's Archival Revival. Kelly Matthews performed this song at the Ivey's last year, and I'm so glad those of us who missed the original production have a chance to see it again, and more! Based on a newspaper clipping about a woman who attempted suicide nine times, Mrs. Housel is finally able to tell her own story, in her own words. It's obvious that Kelly has spent time with this character, as she makes the audience feel every note and emotion in Mrs. Housel's tragic story.

In the second act we meet Martha Angle Dorsett, the first woman lawyer in Minnesota. Actually we meet two Marthas, one at the ripe old age of 36 (Kendall Anne Thompson), and one a youthful 26 (Gracie Anderson). The younger Martha is facing a decision by the judge whether or not to admit her to the bar, which seems like the most important thing in life. The older Martha has decided to quite practicing law, and tries to convince her younger self that there's more to life than "success." They have some interesting song-conversations, and combining the powerhouse voices of Kendall and Gracie leads to some gorgeous sound. Philip Matthews as her husband Charlie completes the charming trio.

The final act is about Mary (Gail Ottmar), a farmer's wife, who has suffered great loss in her life and would most likely be diagnosed with clinical depression today. But in the late 19th century, all her husband (Jim Ahrens) and son (Zach Garcia) know is that mother spends a lot of time in bed. The visit of a beloved daughter (Libby Anderson) and her fiance (Lars Lee) serves to cheer her up for a time, until she learns that they're leaving the city to start their own farm, the same difficult life that has nearly destroyed Mary. This family drama provides some nice moments for everyone in the cast, from the sweet young couple in love, to the family eagerly preparing for the visit, to Mary singing about her "Melancholia."

Each one of these three mini-musicals could stand on its own (and I'd have a hard time picking a favorite), but putting them together creates an even more powerful and fulfilling experience. The music really evokes that pioneer feeling of the late 19th Century Midwestern frontier, and it's a beautiful thing to hear the stories of three everyday women, who didn't necessary do anything newsworthy in their lives, except that they lived. The closing song allows Mrs. Housel, the Marthas, and Mary to sing together about the power of telling one's story and being heard. I definitely won't forget these three remarkable women soon. Head to nimbus between now and October 18, and you won't either.




*Listen to Keith Hovis talk about the process of writing Mrs. Housel on the Twin Cities Song Story podcast, hosted by Mark Sweeney.

"A Lie of the Mind" by Theatre Pro Rata at nimubs theatre

An all too real depiction of the real-life hanging of a circus elephant. A disturbing adaptation of a well-known dystopian novel. A devastating and thought-provoking portrait of a child molester. And now a deep dive into an abusive relationship. Theatre Pro Rata doesn't shy away from the tough stuff. After a brief trip to the lighter side with The Illusion at Park Square this summer, Pro Rata returns to the dark side with a sobering look at abusive and dysfunctional families in Sam Shepard's A Lie of the Mind. This dark fable of a modern day Western offers little hope, but once again Pro Rata offers a beautiful, well-acted and -directed, and disturbing evening of theater.

The play begins shortly after Jake (a frighteningly good Nate Cheeseman) has beaten his wife Beth (a frail yet strong Amy Pirkl) so badly that she ends up in the hospital with brain damage, and has to relearn how to walk and talk. This is not the first time this has happened, and Beth's brother Mike (Bear Brummel) and parents (Don Maloney and Delta Rae Giordano) take her home to recover in Montana where she grew up. Similarly, Jake's sister (Joy Dolo) and bitter mother (Kit Bix) take him in while his brother Frankie (Gabriel Murphy) travels to Montana to check on Beth and make sure she's not dead, as Jake feared. What follows is an exploration of three dysfunctional families. Beth's father is the stereotypical head of the household, spending all his time in the hunting shack and ordering his wife to apply oil to his dry and cracking feet. Jake's mother has never recovered from her husband leaving and his tragic death. And we know how Jake and Beth ended up.

Nate Cheeseman and Amy Pirkl
as the not so happy couple
(photo by Charles Gorrill)

This is one of those plays that makes one happy to be single. What's the point of getting married if all you do is make each other miserable, and raise miserable children who go out to make other people miserable? None of these characters are particularly likeable, but all are beautifully brought to life by the strong cast under the direction of Carin Bratlie Wethern. Perhaps the least hateful of these miserable people is Beth, who, like many so-called simple-minded characters, speaks simple and eloquent truth in her blunt and mixed up speech. And Frankie seems like a good guy, trying to make up for his brother's sins. But maybe looking for good guys isn't the point of the play. Maybe it's to recognize the bad guys within all of us. And then hopefully not marry one.

The starkly beautiful West of Sam Shepard's imagination is well represented on nimbus' intimate stage by scenic designer Ursula Bowden. The stage elegantly and seamlessly combines three very different sets - a hotel, hospital room, and childhood basement bedroom - with a painted Western backdrop tying them together. The former two sets are replaced by the Montana living room, which shares some of the same space with the basement bedroom. In fact they almost seem to exist in the same space, even though they're presumably hundreds of miles apart, as Jake and Beth can almost seem to see each other across the distance.

The last Shepard play I saw was only an hour long, so I was expecting this one to be short as well. It's not, coming in at almost three hours with intermission. That's a long time to spend with these miserable people in their miserable lives, but it's a compelling and engaging play despite the misery. A Lie of the Mind continues through September 27.

Fringe Festival 2015: "A Woman in Berlin"

Day: 5

Show: 23

Title: A Woman in Berlin

Category: Drama

By: Dirt Road Daughter

Created by: Eva Barr

Location: Nimbus Theatre

Summary: A one-woman show based on the book A Woman in Berlin, written by an anonymous woman about her experience in 1945 Berlin when it was taken by the Russians.

Highlights: This story is absolutely devastating and difficult to hear, but unfortunately it's not a unique story. Throughout history women have always been the spoils of war, but women have also always been survivors. So too this anonymous woman in the beautiful and beleaguered city of Berlin, one of many who was repeatedly raped by Russian soldiers at the end of WWII. She figures out a way to survive in this new world in which the old rules and morals no longer apply, living with one officer as a protector to keep the other soldiers away. Eva Barr has adapted the book and portrays the woman with such raw honesty that by the end I believed she was this woman. Chain-smoking (or rather pretending to, people can't chain-smoke on stage in 2015), shuffling papers, and nervously pacing as she reads her memoir to be recorded, she brings the audience right there to the terrors of wartime that are particular to women. It's unthinkable. But Eva Barr helps us to face the truth by so beautifully and devastatingly telling this anonymous brave woman's story.

"From Darkness" at nimbus theatre

Everything I know about art I learned from playing the game Masterpiece as a kid (Private Auction! anyone?) and from the Baroque Art History class I took at the University of Salzburg (a pretty amazing experience because we took field trips to Vienna and Rome to see the art we were studying). So I don't know much, but I am fascinated by art and art history. But I've never thought much about art forgery, which adds a whole new level of fascination. This topic is the inspiration for nimbus theatre's new play From Darkness, written (along with the ensemble) and directed by co-Artistic Director Josh Cragun. Specifically, how does someone with the skill of an art master decide to practice art forgery instead of creating original work? From Darkness sets fictional art forger Stanley Mansfield among real artists in NYC's post-WWII abstract art scene and attempts to answer this question, as well as explore ideas of what makes art valuable. It's a fascinating, thought-provoking play, and as is often the case when I see a play at nimbus, it made me want to find out more about the topic.

Caravaggio's The Denial of St. Peter

We follow two groups of characters in two different time periods in NYC - a group of artists and art collectors in the '30s, '40s, and '50s, and art curators at the Met in the current day. Both stories center around the above piece of art - The Denial of St. Peter by Caravaggio (one of my favorite artists from the Baroque Art History class). A new curator at the Met discovers something off about the painting, leading her to research its history. At the same time, we're watching Stanley Mansfield's life and career as an artist unfold. He's a figurative painter at a time when abstract painting is all the rage. He watches his friends (including Jackson Pollack and Lee Krasner) succeed while he struggles to find his place. Through a series of circumstances, his career begins to take a different path. At the end of the play the two stories come together, and we're left wondering just who the bad guy is, if there is one.

Nicholas Nelson as the forger Stanley Mansfield

Everyone in the eight-person ensemble plays multiple characters, except for Nicholas Nelson who plays forger Stanley Mansfield, and makes his transition believable and sympathetic. Highlights in the ensemble include Art Peden as the older Stanley, Zach Morgan as his stern father and the tempestuous Pollack, and Heidi Berg as the strict art curator and gallery owner Betty Parsons. The clever set is constructed of rotating panels, opening up to form different locations, revealing reproductions (by Ursula K. Bowden) of different paintings, from Caravaggio to Pollack. The rotating panels make for some awkward scene transitions, which are nicely covered by period music and images of paintings, buildings, or old New York displayed on either side of the stage. And I recognized a few of my favorite Masterpiece paintings in the images projected before the show and during intermission. (Set design by Brian Hesser, video design by Caitlin Hammel.)

As a new play, From Darkness feels a bit long and could be tightened up a bit, but the multiple characters and timelines are nicely woven together and the ideas explored compelling, relevant, and definitely worth exploring. Who decides what art is worthwhile, and which artists are worthy of acclaim? If a viewer gets as much enjoyment from a reproduction of a painting as the original, isn't that worth something too? Fashion designers don't physically construct the garments they design (except on Project Runway); someone else makes them according to the designer's specifications. That's not so very different from Mansfield constructing a painting following Caravaggio's design. In the current age of the internet, reproductions and replications of all forms of art abound. As long as the original creator is given credit, and we all know what's going on, isn't that a good thing, to spread art to as many people as possible? I don't know, but these are some of the things this play made me think about.

As Caravaggio excelled in the technique of extreme light and dark known as chiaroscuro, "from darkness, light," nimbus theatre excels at creating original work around an interesting topic, bringing to life on their stage relevant ideas and questions about various facets of life and history. From Darkness continues through June 14 (discount tickets available on Goldstar).

"The Woodsman" by Theatre Pro Rata at nimbus theatre

I'm not sure there's a more detested group of people than child molesters. It's one of the few things that everyone can agree on, that taking advantage of an innocent child in that way is unforgivable. Or is it? Can child molesters change? Can they become valuable members of society again after serving their time and paying for their crime? Do they deserve a second chance? Steven Fetcher's play The Woodsman (which was made into a 2005 movie starring Kevin Bacon and Kyra Sedgwick) grapples with these difficult questions. It's not an easy play to watch, but Theatre Pro Rata's production is so well done, thought-provoking, and impactful, that it's worth the effort.

Walter (Adam Whisner) has recently been released from prison after serving 12 years for molesting little girls. How many little girls? "One too many" is his response. As he tries to integrate into society, his only friends are his therapist Rosen (Ben Tallen), who he begrudgingly talks to, and his brother-in-law Carlos (James Rodriguez). His sister is unwilling to see him, or more importantly, let him near her children. Walter swears he'll never do it again, but doesn't seem to quite believe it's possible. He's harassed by a cop (William Goblirsh) who doesn't believe it either, and is just waiting for Walter to fail. At work, Walter meets Nikki (Katherine Kupiecki) and begins to open up to her. He tells her his deep dark secret, assuming she'll run away. But she doesn't. She's shocked, but is able to see past Walter's crime to the man he is. The only apartment Walter can afford is across the street from an elementary school, just outside the 100 feet his child molester status allows. As he watches the school and the kids from his window, he notices another man watching the children, and recognizes his behavior. In the park, Walter meets a 12-year-old girl named Robin (Lillie Horton), causing dangerous old feelings to resurface. Will he be able to make a different choice this time?

Adam Whisner as the title character
(photo by Charles Gorrill)

This is a strong six-person cast, as directed by Erik Hoover. Adam Whisner's performance as Walter is particularly affecting as he creates a layered character that's alternately guarded and fully vulnerable, sympathetic and detestable. I found myself rooting for Walter and wanting him to be "cured," for his sake as well as for any potential victims. Another highlight in the cast is young Lillie Horton as the friendless bird-watching girl Robin. The scene between the two of them is so quietly scary and emotionally draining that you almost forget to breathe. The entire cast does a great job of bringing the many sides of this issue to life, without providing any pat answers to the problem.

The backdrop consists of black drawings of a tree and playground equipment on a white background, with shadow puppets representing the man and children across the street. Both set and puppets (designed by Derek Lee Miller) are at the same time lovely and slightly creepy, which sets the perfect tone for the play.

The Woodsman is an unsettling play, but one that deals with important and thought-provoking issues of rehabilitation and forgiveness. Playing now through March 22 at nimbus theatre.

"In the Age of Paint and Bone" at nimbus theatre

nimbus theatre's newest original theatrical creation, In the Age of Paint and Bone, deals with the very oldest of recorded history. Tens of thousands of years ago, the earliest humans painted on the walls of caves, many of which have been rediscovered in the last century or two. Co-Artistic Director Liz Neerland directs and wrote this piece, along with the ensemble in their unique workshop process. It's a fascinating subject, and one of those plays that makes me want to know more (fortunately the playbill includes a reading list, gotta love that!). I've long been fascinated by the pre-historical era, and used to be a bit obsessed with the Earth's Children series (aka The Clan of the Cave Bear books), which are part cheesy romance novel and part historically accurate description of a time long past. In the Age of Paint and Bone brings this era to life, but subtly and not in sharp focus, as we don't really know what these pre-historic people were like. The play also looks at the people who first rediscovered the paintings, and what they mean to us today.

In the Age of Paint and Bone takes place in three time periods, the present, the ancient past, and the recent past when the caves were rediscovered. The nimbus stage has been transformed into a cave, with paintings either drawn on the wall or projected. Before the show the audience is invited to explore the area, while actors, in the form of museum tour guides, answer questions. The play begins as a presentation in a museum, and we flash back to the discovery of the cave paintings in Altamira, Spain in 1879. An amateur explorer and his daughter find the paintings, but his belief that the paintings are ancient are disbelieved, until he's finally proven right after his death. We also witness the accidental discovery of the cave paintings in Lascaux, France in 1940 by a couple of teenage boys. But the most fascinating scenes of the play are the flash-way-backs to the people who created this art. The light is dim, music is playing, and we never hear them speak (perhaps they didn't speak in the way we currently do). But we see them painting (including a cool trick of projection that shows the lines of one of the drawings appearing as the artist moves his brush), performing rituals, and communicating with each other.

a painting of a bison in Altamira

The seven members of the ensemble (Timothy Daly, Erin Denman, Jeffery Goodson, Shira Levenson, Derek Meyer, Brian O'Neal, and Alyssa Perau) play multiple characters in all time periods, and change in and out of the varied costumes so quickly it feels like there are more than just seven actors. Brian Hesser's multi-level cave-like set, Mary C. Woll's ancient, period, and modern costumes, and Caitlin Hammel's inventive video design all combine to define these specific worlds.

This piece doesn't answer any questions about why the paintings were created (probably for the same reason anyone creates art, which are many and varied), but rather it plants a seed of interest in the audience, or at least it did in me. What a different life our long ago ancestors lived, but maybe they're not that different from us than we think. Minnesota has its own version of cave paintings in the Jeffers Petroglyphs, which are carvings rather than paintings, that I hope to visit someday. What fun this piece must have been to explore and create. I wish I could take a leave of absence from my day job to re-read the Clan of the Cave Bear books and some of those suggested in the playbill. But if you don't have time for that either, you can spend 70 minutes in nimbus theatre's exploration of the Age of Paint and Bone (playing now through March 1).

a progression of light in the three time periods
(photo by Mathieu Lindquist)

"Ghost Sonata" at nimbus theatre

nimbus theatre's production of Swedish playwright August Strindberg's Ghost Sonata is delightfully bizarre. It's a surreal world full of not just ghosts but also vampires, mummies, murders, mysteries, and one insane dinner party. The only other Strindberg play I've seen is Miss Julie which, although dark and twisted, is incredibly realistic, so I was not quite prepared for the strangeness of this play written after what is known as Strindberg's "inferno crisis." But I found it fascinating, with many ideas and layers and complex characters to contemplate. I was fortunate enough to attend on a day when there was a post-show discussion, which helped me to make sense of what I had just seen. But even without that added benefit, Ghost Sonata is a wonderfully new and innovative production of a classic piece of theater, with lovely original music, ingenious set design, and a cast that jumps into the strangeness with both feet.

Ghost Sonata is one of Strindberg's chamber plays, a play with three acts that flows like a piece of music (especially when accompanied by original music played by a three-piece onstage orchestra). In the first act we meet an idealistic young student (Andrew Sass) who has just saved a bunch of people from a collapsed building. A wily old man (Charles Numrich) uses him in his plan to get inside a grand house. The old man seems to know and be connected to many of the residents in mysterious ways, especially the Colonel (David Tufford) and his crazy wife (Karen Bix). The student is fascinated by these rich people in this fine house, so he agrees to the plan. In the second act, the old man and the student have managed to get inside the house, and the old man confronts the residents and the servants over dinner as we learn of his twisted plan. In the third and final act, the student talks with the young lady of the house (Megan Dowd) and learns about the strange happenings. Her parents are crazy, she's terrified of the servants, and despairing of life in general. The student soon realizes that what's inside this house is not as beautiful and fine as it appears on the outside.

the ghostly girl scout aids the student as the old man looks on
(Nissa Nordland, Andrew Sass, Charles Numrich,
photo by Mathieu Lindquist)

The whole thing reminded me of a warped and twisted version of Downton Abbey, where Mrs. Patmore is a vampire, Carson is angry and careless, Lady Grantham is a mummy, Lord Grantham is not who he says he is, Lady Mary is sick and frightened, and Matthew is the son of a lunatic who may be on his way there himself. If the ghost of a girl scout in the first act doesn't clue you in to what you're in for, the second act insane dinner party leaves no doubt that something is amiss. Bengtsson (Mark L. Mattison) is no Carson as he sloppily spoons soup into bowls and drops some strange pink goop on the plates in front of the guests, which some of them actually eat. And then, the transition between the second and third act, from the dining room to the flower room where the young lady spends her time, is unlike anything I've ever seen. It's quite thrilling and will blow your hair back, literally (set design by Zach Morgan, who also directs).

I apologize if I'm not making sense, but this is a difficult one to make sense of. I mean that in the best possible way, it's really quite fascinating and fun to watch. Themes of class tension, redemption, relationships, revenge, and being haunted by one's past all come into play in this strange Strindberg world. It was obvious listening to the creators talk about their work in the post-show discussion that a lot of time, thought, and effort went into creating this piece, including a new modern-day translation by Danielle Blackbird, original music by Charlie McCarron, and abstract video projections by Josh Cragun. All of these pieces come together quite beautifully in a bizarre and surreal sort of way. There's really no way to adequately describe it, you just have to see it for yourself. Ghost Sonata continues at nimbus theater through November 23.


This article also appears on Broadway World Minneapolis.