"Miss Julie" by Theatre Coup D'Etat at the American Swedish Institute

In a perfect marriage of play and location, Theatre Coup D'Etat is presenting Swedish playwright August Strindberg's play Miss Julie on the third floor of the gorgeous Turnblad mansion at the American Swedish Institute, in conjunction with their Strindberg exhibit. This intense three-person drama that examines issues of class, gender, love, and power in late 19th century Sweden plays out perfectly in the grand room. Photos of Strindberg's sets are on display, and there's even a quote from Miss Julie on the wall: "no matter how far we travel, the memories will follow in the baggage car." This may sound like a sweet and sentimental quote, but this is not a sweet and sentimental play. In context, the quote is more about these characters being unable to leave their past behind them, so trapped are they in the roles they were born into, no matter how hard they struggle to climb out of them.

The play takes place in the kitchen of a Swedish estate in the 1890's on a midsummer's eve. There is a party going on upstairs in which Miss Julie, daughter of the count, dances with the servants. She's particularly fond of Jean, the count's valet, and follows him to the kitchen, much to the annoyance of Christine, the cook and Jean's fiance. Here the power struggle between Jean and Julie begins, as Christine looks on helplessly. At first Julie has the upper hand and commands Jean to do her will, testing him to see how far he'll go. Later, after intermission during which Julie and Jean have gone to his room, and all that that implies, he has the upper hand and is unspeakably cruel to her. She bows to his will, but then remembers who she is and takes back control. It's a constant power struggle with each of them having the upper hand at different times, but in the tragic ending, there is no winner. Gender roles, sexual politics, and most of all the class structure that defines their lives all play a part in this intense and brutal drama.

"Kiss my shoe," Miss Julie commands, and Jean is forced
to oblige, while Christine sleeps unawares
(Kelly Nelson, Brie Roland, James Napoleon Stone)

The three-person cast lays their emotions bare in this intimate space, under the direction of Peter Beard. As the title character, Kelly Nelson portrays Julie's haughty confident demeanor hiding a lost and damaged young woman, desperate to find her way out. James Napoleon Stone's Jean is at times courteous and polite, sweet and loving, and cruelly opportunistic. Completing the trio is Brie Roland, who brings a grounded and sympathetic humanity to the role of Christine, who wants to return to her simple and straight-forward life before the events of this evening. The characters are quietly established in the first act, but things really heat up in the second act, as desperate emotions reach the boiling point.

Miss Julie continues in the Turnblad Mansion through October 26. It's a wonderful example of the site-specific theater that seems to be happening more and more often (see also Gremlin's production of After Miss Julie in the James J. Hill House a few years ago). The authentic setting aids greatly in suspension of disbelief, and the small cast in close quarters with the few dozen audience members makes you feel like you're eavesdropping on a real conversation. If you're able, take the stairs instead of the elevator to the third floor and peek into the dark and mysterious rooms of the mansion on your way up and down, and imagine the real dramas that occurred in this beautiful house and others like it a hundred and more years ago. (You can also, of course, tour the mansion during the daylight as part of the ASI museum.)

"Seedfolks" at Children's Theatre Company

"Never doubt that a small group of thoughtful, committed citizens can change the world." This Margaret Mead quote (which continues, "indeed, it's the only thing that ever has") greeted me upon exiting the theater after seeing Children's Theatre Company's Seedfolks. I don't know if this quote is always in their lobby, or if it's specific to this show, but it is the perfect summation of this beautiful play. Paul Fleischman's 1997 novel tells the story of a vacant lot in Cleveland being transformed into a community garden from the perspective of multiple different characters. In CTC's adaptation,* all of these characters and more are portrayed by one woman - Sonja Parks. She brilliantly transforms from a young Vietnamese girl, to an elderly Romanian woman, to a Guatemalan boy, and everything in between in the course of just over an hour. It's an epic journey of a neighborhood that transforms from one of fear and distrust to one that, while it might still have those things, is more deeply connected and supportive, all due to the growing of plants. A small group of thoughtful, committed citizens change the world, or at least their small corner of it.

The journey begins with a nine-year-old Vietnamese girl who, in memory of the farmer father she never knew, decides to plant a few dried lima beans in a vacant lot strewn with garbage. Others in the working-class, mostly immigrant neighborhood take notice of this little girl and her growing plants, and decide to join in. Some miss the feeling of growing something in the ground that they had in the old country, some want to earn money for college, some want to impress a girl, some need to heal from a past hurt, some just like bringing people together. One woman lobbies the city to remove the garbage from the lot, making more room for plants to grow. At the end of the summer, when the harvest comes in, the community joins together to celebrate, sharing food, music, and stories. Then winter comes, the plants die off, snow covers the garden, and everyone retreats into their individual homes (sound familiar?). But when spring returns, will the garden, and with it, the community?

Sonja Parks (photo by Dan Norman)

Sonja Parks gives a brilliant performance in this one-woman show, playing over a dozen characters of varying age, gender, and ethnicity. Under the direction of Peter C. Brosius and with help from dialect coach D'Arcy Smith, she makes each character a distinct and specific fully formed person, from a grieving little girl, to a wounded woman, to a swaggering young man, to a strong mother and teacher, to an excited boy. I only wish the play were longer so we'd have more time to spend with each of them. Lighting changes help distinguish scene and character, and video projections on three long narrow screens provide the backdrop on the simple set (set and projections designed by Jorge Cousineau). The almost video game-like animation is sure to appeal to pre-teens and teens, and really makes the neighborhood come alive (although if you're prone to motion sickness, like me, you might have to close your eyes during some of the moving sequences).

This is different than any other CTC show I've seen, which granted has not been many. It's not a big, splashy, colorful, fun musical. It's more quiet and intimate, but just as mesmerizing for older kids and adults (recommended for grades 3-8, you might want to leave the squirmy little ones at home, or take them to the other show playing at CTC right now, Busytown the Musical). Head to the Children's Theatre between now and November 16 to see this beautiful inspiring story brought to vivid life by Sonja Parks (Aimee Bryant will take over the role on November 7, and is sure to bring her own wonderful spin to the characters).


*Adaptation written in a collaboration between Peter Brosius, Sonja Parks, and director of new play development Elissa Adams.


This article also appears on Broadway World Minneapolis.

"Jeffrey Hatcher's Hamlet" at Illusion Theater

Jeffrey Hatcher's Hamlet is not a one-man show of Shakespeare's Hamlet, starring one of Minnesota's best and most prolific playwrights. Rather it is said playwright's story about when he adapted Hamlet (with the help of an issue of Classics Illustrated, a comic book series that adapted classic works of literature into comic books) into a one hour play for his 5th grade class in the late '60s. The result is a funny, entertaining, relatable story about elementary school and its strange politics, as well as a glimpse into a young future playwright's mind.

You may know Jeffrey Hatcher as the author of such locally produced plays as Compleat Female Stage Beauty or Turn of the Screw, or the films Stage Beauty or the upcoming Mr. Holmes (in which Ian McKellan plays an aging Sherlock). But in the late '60s he was a precocious and somewhat nerdy 5th grader in Steubenville, Ohio (which he later used as a setting for several of his plays). A series of coincidences prompted him to suggest to his teacher that their class do Hamlet for their annual play, to which she agreed on the condition that he adapt and direct it. And so a playwright was born. Over the course of about 80 minutes and with great detail and enthusiasm, Jeffrey recounts the entire month long episode of adapting, casting, rehearsing, and performing the play. We learn about his classmates, and why each was perfectly suited for their role. We learn about the young playwright/director's struggles with crises including his leading lady losing her voice, and just what exactly is an arras and how can it be represented in a classroom? We also learn a bit about his relationship with his parents and what it was a like to be a kid in America at that time.

Jeffrey Hatcher reenacting his role of Laertes in his 5th grade play
(photo by Aaron Fenster)

Walking into the Illusion Theater I was a bit taken aback. Set designer Dean Holzman and crew have built a stage over what is usually the front section of seats, on which a detailed vintage classroom is constructed. The desks open up to reveal neat tricks and props, including what look like vintage toys and books that must have been dug out of attics or bought on ebay. On the blackboard is projected a series of images of the places and people discussed in the play. It feels a little like sitting with Jeffrey in his living room, looking through old yearbooks and photo albums as he describes what is obviously an important moment in his past.

Jeffrey Hatcher's Hamlet is not some dry lecture on Shakespeare, it's a celebration of the love of drama, and a nostalgic look at growing up in the '60s, as well as at that time in your youth when school is your entire universe, and your only worries involve the class project and the classmate you have a crush on or a vendetta against. Playing through October 25, Jeffrey Hatcher's Hamlet is a great way to open Illusion Theater's 40th anniversary season. Illusion's Producing Directors Michael Robins and Bonnie Morris just won the Ivey Lifetime Achievement Award, a deserving tribute to the great work they do at Illusion, so this is a great time to pay a visit to their lovely theater on the 8th floor of the Hennepin Center for the Arts. (Check out the great ticket deals available on Goldstar.)

"Radio Man" at the History Theatre

Full disclosure: I'm a huge fan of Garrison Keillor and A Prairie Home Companion (I even worked as an unseen extra on the 2006 movie). He's the Mark Twain of our generation, and is Minnesota's best export. You know how the Dixie Chicks infamously said that they were embarrassed to be from the same state as George Bush? It's exactly the opposite for me where Garrison is concerned - if A Prairie Home Companion is one of the things that Minnesota is most known for, I am proud to be a Minnesotan. So of course, I absolutely love his new play Radio Man, the first he's written. I saw a reading of it early this year as part of the History Theatre's Raw Stages festival and loved it then, but this full production, now playing at the History Theatre, is so much more polished and complete, and really a thing unto itself and not just an episode of A Prairie Home Companion on stage. Yes there is the familiar music, the jingles for Powdermilk Biscuits, rhubarb pie, and ketchup, stories from Lake Wobegon, and beloved characters including Dusty and Lefty and Guy Noir. But there's also a story and a character (the host of a radio show called A Prairie Home Companion who bears a striking resemblance to Garrison) who we get to know as he reminisces about his past and contemplates his future. Radio Man is A Prairie Home Companion come to life before our eyes, but with the added depth of a theatrical story and arc.

the host, present and past
(Pearce Bunting and Jonah Harrison,
photo by Scott Pakudaitis)

Radio Man is comprised of four elements woven together. There is the present reality, in which the host and his guests are performing an episode of a radio program called A Prairie Home Companion. In this reality, he interacts with the stage manager, the head of the radio station, and an old flame. The second element is the coming to life of the stories told in the radio program, from Lake Wobegon to Guy Noir. Another important element is memory; the boy version of the host appears onstage as he reminisces about growing up listening to radio and longing to be part of that world. Finally, the host hallucinates conversations with his characters, such as the "Norwegian bachelor farmer." This may sound confusing, but it's woven together artfully, clearly directed by the History Theatre's Artistic Director Ron Peluso, with costume changes, sets, and music to make clear the transitions. New songs written by Garrison and his APHC bandleader Richard Dworsky are performed both within the radio program (a sister duo and a quartet, both with lovely harmonies) and by the ensemble, musical theater style, as exposition or commentary, with the ensemble doubling as members of the band.

the Hopeful Gospel Quartet (Laurie Flanigan Hegge,
Kendall Anne Thompson, Jon Andrew Hegge, and Jay Albright,
photo by Scott Pakudaitis)

The dream cast includes Pearce Bunting who, as the host, is not just doing a Garrison Keillor impression, but is providing his own interpretation of this character that's so familiar and beloved. A character that is introspective, befuddled, charming, amusing, and ever present as he watches his life and his fictional creations play out before him. Filling the role of Rich Dworsky is Jay Albright who, it turns out, is not just a brilliant comedic actor/singer but also a talented pianist and musical director. Angela Timberman brings her perfect dry humor and withering looks to the role of the beleaguered stage manager, and also steals scenes as a couple of very different characters in the Lake Woebegon story. Rounding out the excellent ensemble and playing multiple characters (and instruments) are Jon Andrew Hegge, Laurie Flanigan Hegge, Kendall Anne Thompson, and Peter Thomson, with a clear-voiced and enthusiastic young Jonah Harrison as the child version of the host and Sandra Struthers Clerc as a woman from his past.

Chris Johnson's set portrays the radio stage like an empty runway, with the two dimensional buildings that form the backdrop slightly askew to hint at the changing realities in the play. E. Amy Hill's costumes are a crisp black and white with touches of Garrison's trademark red, with costume changes taking us to Lake Wobegon or the new Old West.

If you like A Prairie Home Companion, you'll love Radio Man. And if you don't, well, you call yourself a Minnesotan?!  Radio Man is everything we love about APHC and so much more, and is a chance to experience Garrison's unique, folksy, poignant, nostalgia-tinged humor in yet another format (playing now through October 26 at the History Theatre in downtown St. Paul).


This article also appears on Broadway World Minneapolis.

"Alice in Wonderland" by Flying Foot Forum at the Lehr Theater

Like the rabbit in Lewis Carroll's beloved novel Alice in Wonderland, I ran to the theater last night thinking "I'm late! I'm late!" A combination of forgetting I needed to get gas, construction that caused me to miss my exit, a determination to get my last IceCrema of the summer, and the theater entrance not being where I thought it was caused me to finally arrive where I was supposed to be at just after 7:30. But fortunately, Flying Foot Forum's adaptation of Alice in Wonderland is not your typical theater performance, with everyone sitting quietly in their assigned seat well before the curtain goes up, so I was actually right on time. The show begins not in the Lehr Theater but in the lobby (tip: do not go to the entrance under the marquee on 5th street, but rather the entrance around the corner on St. Peter), where a group of crazily costumed actor/singer/dancers lead you down the rabbit hole into this delightfully mad world.

Like the original, this Alice in Wonderland doesn't make a whole lot of sense and doesn't really have a throughline plot, other than Alice leaving her home in search of something more. Rather it is comprised of a series of odd vignettes with the various characters she meets down that rabbit hole and through the tiny door. From the lobby, we do eventually make our way to the Lehr Theater (named for the incomparable Wendy Lehr), which has been transformed into a Wonderland with colorful cartoonish sets (by Peter Baker, Robin McIntyre, and Joe Chvala) on all sides of the theater. There are just a few chairs for those who need them, otherwise take a seat on the floor or stand in the back, and be prepared to move around. Warning: this show, billed as "a new immersive musical event" is participatory; you will be asked to stand up and dance. And if you're like me, you might not find this amusing, but rather awkward and uncomfortable as you count the seconds until the lights go back down. But I appreciate the spirit of it all, and others seemed to be enjoying it, so consider yourself forewarned and prepare to either jump in with both feet, or find a quiet corner from which to observe the action.

All of our favorite characters are here, the White Rabbit (Ed Williams, Jr., an appealing host and guide), the Cheshire Cat (an incredibly agile Brian Evans who throws himself around the space with irrepressible energy), the Queen of Hearts (a completely unrecognizable Jake Endres), the Dormouse (an adorably sweet and simple Charles Robison), the Duchess (a deliciously creepy baby-tossing Bryan Porter), and of course, Alice herself, represented by the golden voice and childlike wonder of Laurel Armstrong (who is sharing the role with Courtney Miner on alternate dates). The energetic ensemble, who gamely throw themselves into this bizarre world, includes students from the St. Paul Conservatory for the Arts (in which the theater is located) and a rotating cast from area high schools. All are dressed in colorful and wacky costumes (by Mary Anna Culligan, Cindy Forsgren, and Joe Chvala) and outrageous make-up.

Creator/director/choreographer Joe Chvala (who also appears as Tweedle Dum and others) brings his signature "flying foot" percussive style of dance to some rousing group numbers, from a dance-off at the door of Wonderland to the falling pack of cards. In addition to the aforementioned audience participation, volunteers take part in a dance competition for the queen. All of this is accompanied by fantastic music performed by the band and cast, including the unmistakable vocals of Natalie Nowytski, lending an Eastern European flair to the music.

Flying Foot Forum's Alice in Wonderland is a wonderfully inventive adaptation of  a beloved story. If you've got little ones, bring them along, they seem to love it. Part of the fun was watching the kids watch the show, including a toddler in a leopard print skirt and red polka dot rain boots who was about the cutest thing ever, laying on the step with her chin resting on the stage, complete enraptured. Head to downtown St. Paul to experience this delightfully mad world, playing now through October 12.

"The Heidi Chronicles" at the Guthrie Theater

Playwright Wendy Wasserstein (whose work was last seen on the Guthrie stage in 2008 with the excellent Third) won a Tony and a Pulitzer Prize for her most well-known work, The Heidi Chronicles. It's an epic play, covering nothing less than the changing role of women in American society in the '60s, '70s, and '80s through the life of one woman. We see about a dozen scenes of Heidi at 2-3 year intervals throughout her life as she struggles to figure out who she is and what she wants in life during a time in America that saw great social change. These snapshots of a life create a complete picture of who this woman is, although I couldn't help but wish we had more time to spend with each different Heidi throughout the years (someone should adapt the play into a TV series, with each scene expanded into a 10-episode season). This fantastic cast of Guthrie faves and newbies bring Heidi's story to life, along with some pretty fabulous period costumes and ingenious set design.

The play opens with Heidi in the present day, aka 1989, giving a lecture on women artists. We then flash back to a high school dance in 1965, and follow Heidi throughout her life as she goes to college, campaigns for McCarthy, becomes an art historian, and watches her friends get married and have children, until we end up back in the present day again. All of these events inform who Heidi has become, from a baby shower to lunch with an old friend to a TV show about baby boomers. We also follow three of Heidi's friends throughout the years: her friend Susan, who goes from a boy-crazy teen to living in a women's collective to a powerful TV executive; her on-again-off-again boyfriend Scoop, magazine editor for the baby boom generation; and her gay friend Peter, successful pediatrician. Their hair and clothing changes drastically over the years, but their friendship, although strained at times, never wavers.

As Heidi, Guthrie newcomer Kate Wetherhead is a likeable heroine, transforming from awkward teenager to confident professor. Fellow newcomers play the men in Heidi's life - Zach Shaffer as the charming and dependable Peter, and Ben Graney as the jerk Heidi can't seem to rid herself of. Local actors make up the rest of the cast, including Tracey Maloney as Heidi's constant friend who continually redefines herself, Stacia Rice as a range of characters from a conservative mother of four finding her liberation to a vapid TV anchor, Mo Perry (making her welcome Guthrie debut) as an early '70s radical and a soft Southern wife, Eleonore Dendy as a naive young woman in the '70s and a "have it all" woman of the '80s, and Sam Bardwell who is, as usual, fun to watch as multiple minor characters, even when he doesn't say anything.

Clint Ramos does a remarkable job with both costume and set design. From mod '60s dresses to '70s bell-bottoms to '80s shoulder pads, this show is like a fashion parade through the decades. Many quick-changes are involved, especially for Heidi who rarely leaves the stage, and marks the passage of years by adding a jacket or removing a headband. The set consists of a huge wall made up of drawers, file cabinets, empty frames, and shelves, with secret compartments that open to reveal signage that helps establish time and place in the rapidly moving years. Huge set pieces are efficiently moved in during scene changes, from massive museum stairs to a TV studio to a living room. Kudos to the stagehands and everyone behind the scenes for making everything run smoothly. The play also uses music well to set the time and tone, with scenes frequently ending with characters singing along to classics.

The Heidi Chronicles continues on the Guthrie Thrust stage through October 26.

Susan and Heidi in the '60s
(Tracey Maloney and Kate Wetherhead, photo by Joan Marcus)

Heidi and Peter in the '70s
(Kate Wetherhead and Zach Shaffer, photo by Joan Marcus)

can you tell it's the '80s?
(Stacia Rice, Mo Perry, Kate Wetherhead, and Tracey Maloney, photo by Joan Marcus)

The 2014 Ivey Awards at the State Theatre

Last night was the highlight of the theater year - the Ivey Awards. Celebrating its tenth anniversary, the Iveys honor a dozen or so individuals or productions from the last year. Unlike the Tonys, there are no set categories or nominees that people and shows compete in, but rather, exceptional work at any of the 68 participating theaters is honored, based on evaluations by volunteers. But in addition to the actual awards, and perhaps more importantly, the Iveys are a chance for theater artists and theater-goers to gather and celebrate all the brilliant work that has been done in the Twin Cities over the past year.

The hilarious Randy Reyes returned as co-host, along with new host, the fantastically talented Christina Baldwin (who sadly did not sing). They made for a funny, charming, and entertaining pair of hosts, with a running gag that had Randy attempting to share some of his writing, and Christina reigning him in, only to be interrupted by a crazy fight scene. Presenter pairs are typically made up of one winner from last year, along with someone from one of the Iveys' many sponsors. Speaking of which, this year's obligatory sponsor presentation was done with charm and aplomb by Ari Hoptman as a distinguished German man, speaking German with English words thrown in (my fellow study abroad students and I used to call that Germlish, a language in which I am fluent).

In addition to a special Ivey for the man who started this whole crazy wonderful thing ten years ago, Scott Mayer, and the usual Emerging Artist and Lifetime Achievement Awards, ten translucent green conical pyramids were given out honoring work in ten productions. I'm proud to say that I saw eight of these ten productions, which might be a record high percentage of Ivey winners attended for me. But it's not about me, so on to the awards (but it's still a little bit about me, so click on the titles to read my full thoughts on each show).

1. The first award of the night went to Minnesota Jewish Theatre Company's production of Rose, a one-woman show starring the divine Sally Wingert which was performed just last month in homes around the Twin Cities. I called it "inspirational, horrifying, funny, charming, disturbing, brutally honest, and utterly compelling." Ivey voters agreed.
2. Seraphina Nova was honored for her work as playwright of Candid Theater Company's Dogwood, which I called "a compelling and entertaining dark family drama."
3. Proving that the Iveys have a long memory, the next award went to a musical from last year that actually performed at last year's Ivey Awards. I absolutely loved Nautilus Music-Theater's Ordinary Days and its intimate staging and incredibly talented four-person cast, and called it "everything I want musical theater to be."
4. One of the two shows I sadly did not see is In the Heart of the Beast's Between the Worlds, for which Sandra Spieler and Julie Boada were honored for their properties design.
5. Perhaps the most surprising and exciting moment for me was this one, when my favorite theater in the 'burbs Yellow Tree Theatre received their much deserved first ever Ivey Award. Director Anne Byrd was recognized for The 39 Steps, a show I called "brilliantly choreographed and flawlessly executed."
6. A special award was given to Scott Mayer, not for his theatrical work but for his ten years of work putting on this annual fabulous event we call the Iveys (incidentally, the Ivey Awards gets its name from the Ivey Restaurant, the theater hangout of early 20th Century Minneapolis).
7. For their performances in Driving Miss Daisy at the Jungle last fall, the "perfect trio" of Wendy Lehr, James Craven, and Charles Fraser received an award, although only Wendy was there to accept it.
8. In the one sure thing of the night, an Ivey was awarded to Theater Latte Da and Hennepin Theatre Trust's "Broadway Re-imagined" production of Cabaret, aka "musical theater at its best."
9. Because one was just not enough, Yellow Tree's The 39 Steps received a second award, this one for the brilliant comic performances of Nathan Cousins and Tristan Tifft, who "stole the show."
10. Eduardo Cincago received an award for costume and set design of Cinderella at Children's Theatre Company.
11. The final award of the night went to the incomparable Sally Wingert, recognizing her four brilliant and distinct performances in four shows over the past year, two of which also received Iveys for the production, thanks in no small part to her performances. Sally played the mother of a dysfunctional family in Tribes at the Guthrie, the title character in Dark and Stormy's The Receptionist, Fraulein Schneider in the Ivey-winning Cabaret, and an 80-year-old Jewish woman who lived an incredible life in the Ivey-winning Rose. It's "a good time to be middle-aged," a good time to be Sally Wingert, and a good time to be a theater-goer who gets to witness her incredible and varied work.

Two years ago I called Tyler Michaels my favorite new artist of the 2012, and I'm thrilled that the Iveys finally caught up with me, handing him a much deserved Emerging Artist Award. Just this year he thrilled audiences and "rocked my world" as the Emcee in Cabaret, made his charming Guthrie debut as Freddie in My Fair Lady, and was featured in two shows at the Chanhassen (and can currently be seen there in Hello, Dolly!). Singing, acting, comedy, drama, aerial work, physical theater - there seems to be no end to this young man's talents.

All nine previous Lifetime Achievement Award winners were honored with creepy cool huge puppets by In the Heart of the Beast, and this year's award went to Michael Robins and Bonnie Morris for their 40 years as Illusion Theater's Executive Producing Director and Producing Director, respectively. I'm a big fan of Illusion and the work that they create there; you should definitely check them out if you haven't yet (next up: last year's Ivey Lifetime Achievement Award winner, playwright Jeffrey Hatcher, in his one-man version of Hamlet).

Because this is a theater awards show, there were of course wonderful performances, excerpts of past and upcoming shows. There's no better way to start any show than with Tyler Michaels descending from the ceiling, as he did in "Wilkommen" from the aforementioned Cabaret, accompanied by the entire fantastic cast. Other performances included a hilarious performance of Men-Struation by Brave New Workshop; a really cool song from Freshwater Theatre's Archival Revival; and Regina Marie Williams as Shug Avery singing "Push Da Button" from The Color Purple, coming to Park Square Theatre in January. To close the show, the cast of Bloomington Civic Theatre's just closed Guys and Dolls shared their energetic version of "Sit Down, You're Rockin' the Boat," sending us out into the beautiful fall night to the fun of the after party.

And with that, another Ivey Awards show and another season of spectacular theater comes to a close. But the good news is that great theater never stops in this town. So get out and see some local theater. Stay tuned to Cherry and Spoon for suggestions and info on what's available!

"If We Were Birds" by 20% Theatre Company at nimbus theatre

This is a tough one, friends. 20% Theatre Company's production of the new play If We Were Birds is not easy to watch, but it is so worth it if you can steel yourself to sit through what might be the most realistically brutal scenes I've ever seen on stage. There is a rape scene, actually more than one, that is so painful and difficult to watch that it almost seems gratuitous if it were not for the fact that too many women live this experience every day, on college campuses, in the military, at the hands of trusted friends, or in the spoils of war, which is the focus of this piece. Based on the Greek mythical characters, sisters and princesses of Athens Procne and Philomela, the play is, as director Lee Hannah Conrads notes in the program, "a classical interpretation of a contemporary tragedy."

Beloved daughters of King Pandion of Athens, Procne and Philomela live a happy and comfortable life. Younger daughter Philomela seems especially blissful and ignorant of the troubles that those who are not in her privileged position face. When celebrated soldier King Tereus of Thrace brings a gift of slaves to Pandion, Philomela is shocked at what they have to say and defensive of her father and way of life. To reward Tereus for his victories in battle, Pandion gives him his oldest daughter's hand in marriage. Procne must leave her sister and home to be a wife of the king. After a few years of a mostly happy life, Procne asks her husband to return to Athens and bring her sister for a visit. Tereus obliges, but on the return voyage he finds that he wants Philomela, so he sets her up in a cabin where he repeatedly rapes and tortures her. When Procne finds out, she vows revenge, and the sisters serve him up some black-eyed peas... or something. Something so dark and twisted only the Greeks could think it up.

Procne (Jill Iverson)

Philomela (Suzi Gard)

The talented cast includes six women playing the Greek Chorus, each of whom represents a victim of sexual violence in a 20th Century war (or so the program notes; I didn't get that from the play itself, perhaps due to my own ignorance of foreign affairs). Dann Peterson is the warm loving father who reluctantly gives his daughters over to this man he admires a bit too much, Ethan Bjelland is menacing and frightening in his portrayal of the utterly reprehensible Tereus, and Jill Iverson gives a fierce performance as the protective older sister. But the star of this show is Suzi Gard as Philomela. Hers is a fearless performance, full of vulnerability and strength, and incredibly brave. She is literally thrown and dragged across the stage, wearing next to nothing, exposing herself physically and emotionally. Suzi's Philomela makes a believable transition from a carefree happy young woman to something scarred and broken, yet resilient. Kudos to fight coordinator Jessica Smith for making it all look so painfully real.

Tereus is a soldier who is unable to turn off his violent side when away from the battle field. I couldn't help but think of the recent allegations of domestic abuse and violence against NFL players, men who are also trained to be violent and aggressive at their jobs, some of whom seem unable to turn it off when they get home. This is definitely not a play that resides only in the past.

If We Were Birds is beautifully written by playwright Erin Shields; it feels epic and mythical, but also fresh and modern. The subject is a difficult one but one that's important to witness and examine, something that this production and this cast do well. It's a short run and playing through this weekend only, so get their quickly to experience this challenging and rewarding piece (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.

"The Rainmaker" at Yellow Tree Theatre

Sometimes something or someone comes along in life that changes everything. Such is Starbuck, aka The Rainmaker, to the Curry family in Depression era middle America in N. Richard Nash's play 60-year-old play. Yellow Tree Theatre is mounting a lovely new production of this play with an all-star team of YTT regulars and newcomers. It's funny and sweet, hopeful and devastating, a prime example of the beautiful theater that Yellow Tree has been doing for going on seven years, made only richer by the influx of talent from the larger Twin Cities theater scene.

The Curry family consists of patriarch H.C., smart and capable daughter Lizzie, older son Noah who runs the ranch, and the youngest, the easygoing Jimmy. The boys are worried about Lizzie's future and try to marry her off, first by sending her to a nearby town to stay with a family with six sons, then by inviting the local deputy over for dinner. But Lizzie isn't like other the other girls in town, flighty and flirty and intent on "getting a man the way he needs to get got." She speaks her mind, and thinks that no man would want her because she's always been told that she's plain. One hot, dry night, a stranger shows up and offers them something they're all craving - rain. Gullible Jimmy believes him, practical Lizzie and Noah do not, but H.C. wants to give it a chance just in the hopes of something happening.

Something does happen, maybe not what they expected, but something that changes all of their lives. Whether or not Starbuck is a rainmaker as he claims remains to be seen, but what he is is a dreamweaver, a catalyst for change to get them out of this rut they've fallen into. He's Professor Harold Hill, come to sell River City, or in this case, the Curry family, something more than a big band or rain, something much more vital - hope for the future, faith in something, and a belief in oneself. He teaches Lizzie to say "I'm pretty" and mean it, but it's not really about being "pretty," it's about believing she's a beautiful woman deserving of love and happiness and all that life has to offer. Even though the plotline about "marry her off before she becomes an old maid" could seem sexist and offensive, it's a product of its time and really represents any longed for and almost given up dream.

Lizzie and Starbuck (Dawn Brodey and
Peter Christian Hansen, photo by Keri Pickett)

Ivey Award winning director Craig Johnson brings out the best in this excellent cast. When Peter Christian Hansen's Starbuck says that he can bring the rain, I believe him, so perfectly does he portray this con man's confidence and determination, but also his uncertainty and insecurity that he only reveals to Lizzie in quiet moments. I've been a Dawn Brodey fan for a few years, but this may be the best I've ever seen her - so real and raw and natural; you can read Lizzie's every thought and emotion in her facial expressions and body language. Pat O'Brien brings a warm compassion to the role of H.C., who only wants the best for his three very different children. Nathan Cousins is adorable as the simple young Jimmy, and provides much of the humor, while James Rodriguez as the pragmatic Noah is the strong center of the family who may act like a jerk sometimes but has the best of intentions. Rounding out the cast are Tim Tengblad as the friendly town Sheriff who talks Jason Peterson's reluctantly charming Deputy File into letting go of past pain and his life of solitude for something more.

the Curry family at breakfast (photo by Keri Pickett)

Yellow Tree's intimate stage is crowded with furniture in the cozy Curry home, with an elevated part in the back as the Sheriff's office and, later, the tack room, allowing for easy and subtle transitions between scenes (scenic design by Eli Schlatter). It's so wonderful to be in that small intimate space, where you can see the expressions on the actors' faces up close and personal. There's nowhere to hide and no need to; each of them is so present in every moment, you could spend the entire show just focused on one of their faces and get a full experience of the story, although a slightly different one depending on who you chose.

This play marks the opening of Yellow Tree Theatre's 7th season in the little strip mall in Osseo. I've been with them since the 3rd season, and it's been a pleasure to watch them grow and succeed. They have a wonderful pool of talent that they regularly pull from, but to see them bring in the likes of Ivey Award winners Craig Johnson and Peter Hansen says a lot about how far they've come. I love to see the mixing and mingling of talent at theaters around town; I think it makes everyone better, as can be seen in this piece. The Rainmaker is a beautiful play and a beautiful experience at the theater. Head up to Osseo and spend some time with these warm, funny, stubborn, flawed, relatable people as someone comes into their lives and shakes things up so they'll never be the same.

"Marcus; or the Secret of Sweet" by Pillsbury House Theatre and The Mount Curve Company at the Guthrie Theater

With programming on three beautiful and very different stages, the Guthrie Theater provides a great opportunity to see multiple shows, even on the same day. And with free wifi, multiple dining options including a lovely little coffee/snack bar, and plenty of cozy places to sit, the Guthrie is an inviting place to spend the day. I took advantage of this opportunity this week and saw a matinee of The White Snake in the Proscenium Theater followed by an evening performance of Pillsbury House Theatre and The Mount Curve Company's Marcus; or the Secret of Sweet in the Dowling Studio (next week: The Heidi Chronicles on the Thrust Stage). Neither of these two shows are Guthrie original productions, but both are such beautiful and unique expressions of what this thing we call theater can be, from a Chinese legend of a snake that takes human form, to a new and very modern play that draws from Nigerian mythology. You can read my thoughts on The White Snake here, but now - Marcus.

I've been eagerly awaiting the conclusion of Tarell Alvin McCraney's Brother/Sister trilogy, having seen the first two installments presented by Pillsbury House in the Guthrie's Studio theater in the last few years. All three tell universal stories of love, loss, family, and relationships through a specific set of characters in Louisiana, who are named for gods in the Yoruba mythology of Nigeria. We first meet this interrelated cast of characters in the first play, In the Red and Brown Water, which focuses on a young track star named Oya and the choices she is forced to make. The Brothers Size is a smaller cast, focusing on Oya's ex-lover Ogun, his brother Oshoosi, and their friend Elegba. Marcus returns to the large cast format, with the title character being the son of Elegba, long deceased (a handy family tree in the program helps explain the characters and relationships). Many of the characters from the first play, or their offspring, return in this one. The three plays are each stand alone pieces, but seeing all three of them provides a richer understanding of this world that is so specifically created in McCraney's unique voice.

Marcus and the boys
(Nathan Barlow, Mikell Sapp, and Aimee K, Bryant)

This play is a coming of age story about 16-year-old Marcus, who is dealing with the death of a family friend, questions about the father he never knew, growing independence from his mother, an impending storm, and coming to terms with his homosexuality. Marcus' father Elegba, who may also have been "sweet," could dream the future, and Marcus might have inherited that skill. He dreams about a man in a rain storm and doesn't know what it means. This short 90 minute play feels epic and mythical, with Marcus' universal story told in specific detail. This play has a much more hopeful ending than the previous two plays, as if finally Marcus can realize the dreams of those that came before him. Dreams of happiness and love and a life fully realized.

This excellent ten-person cast shines under the direction of Marion McClinton (who has directed all three Brother/Sister plays for Pillsbury House). Rising young talent Nathan Barlow is excellent as Marcus, conveying all the uncertainty of a young man struggling with his identity and his family, as well as the determination to come out on top of that struggle (someone referred to this as his "breakout performance," they obviously didn't see Passing Strange). Lauren Davis and Joy Dolo give a couple of spirited and charming performances as Marcus' best friends, one of whom is more accepting of his truth than the other, and Thomasina Petrus is strong and powerful as Aunt Elegua, who knows more about Marcus than she shares. James A. Williams is the only cast member to appear in all three plays, and his presence is warm, welcome, and familiar as he provides a connecting link between the stories in Ogun Size.

Talented young playwright Tarell Alvin McCraney has such a unique vision and voice, and these three plays create such a specific world with people that are familiar and beloved. A unique feature of McCraney's writing is that the characters speak stage directions (Marcus smiles, Ogun exits), which may take a minute to get used to but really give more insight into the characters. When characters are not in a scene, the actors sit on the sidelines in lawn chairs observing, continuing to witness the story.

Marcus; or the Secret of Sweet continues through October 5. You needn't have seen either of the previous Brother/Sister plays to enjoy this beautifully written and acted play. But definitely if you did see either of the two previous plays, you'll want to see Marcus to see how the story ends and continues. The final moments are a beautiful payoff.

"The White Snake" at the Guthrie Theater

With programming on three beautiful and very different stages, the Guthrie Theater provides a great opportunity to see multiple shows, even on the same day. And with free wifi, multiple dining options including a lovely little coffee/snack bar, and plenty of cozy places to sit, the Guthrie is an inviting place to spend the day. I took advantage of this opportunity this week and saw a matinee of The White Snake in the Proscenium Theater followed by an evening performance of Pillsbury House Theatre and The Mount Curve Company's Marcus; or the Secret of Sweet in the Dowling Studio (next week: The Heidi Chronicles on the Thrust Stage). Neither of these two shows are Guthrie original productions, but both are such beautiful and unique expressions of what this thing we call theater can be, from a Chinese legend of a snake that takes human form, to a new and very modern play that draws from Nigerian mythology. First, The White Snake (read my thoughts about Marcus here).

The Chinese legend of The White Snake has taken many forms in literature and the arts. This new adaptation, written and directed by Mary Zimmerman, premiered at the Oregon Shakespeare Festival two years ago and has made several stops around the country before landing in Minneapolis for a month or so. This wonderful legend is told with such creativity and innovation; it's truly unlike anything I've seen before. The result is fun, charming, moving, poignant, whimsical, and magical.

The titular snake lives high on a mountaintop and has studied for thousands of years to become immortal. But her friend the Green Snake, younger and not as advanced in her studies, longs to be among the human world and convinces the White Snake to join her down in the city, just for a day. They transform themselves into human form and pose as a lady and her servant. The White Snake falls in love with a pharmacist, marries him, and runs a successful business with her skills in the healing arts. But a monk from the monastery on the mountain knows of her true nature, and is jealous of her success. He goes to great lengths to end her human experiment, but doesn't know the force he is up against. In the end, the love between the snakes and the humans wins out.

the White and Green Snakes
(Amy Kim Waschke and Tanya Thai McBride, photo by Liz Lauren)

Much of this cast has been with the production since the beginning, and it shows. Amy Kim Waschke is commanding as the powerful and elegant White Snake, and Tanya Thai McBride is so energeticly charming as Greenie, and with deft manipulation of the green snake puppet, gives it life and a personality as charming as her own. As the White Snake's husband, Jake Manabat easily portrays the love he feels and the doubt he struggles with. The rest of the ensemble play all of the other roles, from animals to townspeople to gods. Adding greatly to the charm and poignancy of the piece is the three piece orchestra, creating timely sound effects and lovely music.

In addition to the snake puppets, effects are also created with an elegantly floating billowy white cloth (clouds), soft pale blue ribbons of fabric falling from the sky (rain), a pharmacist cabinet rising from the floor that doubles as a bed chamber, beautiful lighting and video projection, and wonderful colorful costumes from gods to animals (particularly a spectacular crane) to traditional Chinese dress (set by Daniel Ostling, costumes by Mara Blumenfeld).

The White Snake is such a beautiful story, so delightfully told, with an ending that brought tears to my eyes (don't be afraid, it's impossible to die alone). The central love story has a beautiful message: the White Snake's husband learns that he loves her as she is, she doesn't need to hide parts of herself, even those parts she thinks might be repulsive to him. I'm grateful to the Guthrie for bringing this truly delightful and unique production to Minneapolis for us to experience and enjoy (playing now through October 19).