DOs and DON'Ts for Theater Audiences

I see a ton of theater (obviously), and in doing so I witness a lot of rude audience behavior. I wouldn't think that I'd need to explicitly call out what is and isn't appropriate in a theater audience, but judging from the atrocious behavior I witnessed last week, I do. In speaking with some theater friends we decided that audience behavior is only getting worse. "Whatever happened to class?"

Here are a few friendly tips for my fellow audience members (all inspired by true events). Feel free to add your own in the comments below. (Updated with comments from readers.)

What not to do when in an audience at the theater:

• eat a cheeseburger
• eat anything, except for cough drops to suppress a cough or hard candies for blood sugar issues (but please unwrap said candies before the show)
• the only exception to the no eating rule is if you're at a dinner theater or bar/restaurant type place (but please try to chew quietly); general rule of thumb is that if there's not a table in front of you, you should not be eating
• shuffle a deck of cards
• hog the arm rests
• tap the floor, kick the seat in front of you, or perform any other repeated motion that is annoying to your neighbors
• explain the show to your companion while the show is going on (that's what the ride home is for)
• bring a toddler to show that's not designed for children and sit in the front row, allowing the child to run back and forth across the aisle, distracting the audience and possibly the cast with her cuteness (note to theaters: please have and enforce age limits when called for)
• leave your cell phone on (even if it's on vibrate, we can still hear it)
• talk on the phone, scroll through Facebook or Twitter on your phone, check your email on your phone, check the score of the game on your phone, do anything on your phone (superseded by the above)
• the only exception to the no phone rule is if you're in designated "Tweet Seats," and if so, please be mindful of the location and rules of the promotion
• complain loudly about the temperature or the play or anything else
• speak in a voice above a whisper
• speak in a whisper
• touch the actors or sets or props
• talk to the actors, unless it's an interactive sort of thing and they talk to you first
• get up in the middle of a scene and exclaim "this is dumb" while clumsily and loudly exiting the theater (no one is asking you to sit through a play if you're in any way uncomfortable, but please wait for a scene transition if possible and make your way to the nearest exit as quietly as possible)
• sing along to musicals, unless it's a designated singalong a la Pippin
• file your nails, clip your toenails, or perform any other type of personal grooming
• arrive late
• take photos or video
• fall asleep and snore (get a good night's sleep and drink coffee if need be)
• get drunk before or during the show (save it for the after party)

What to do when in an audience at the theater:

• be attentive
• be engaged
• be open
• be on time
• laugh if so moved
• cry if so moved
• applaud if so moved
• exclaim appropriately if so moved
• be considerate of your fellow audience members who, like you, gave up their time and money to be there, and deserve to have their own experience undisturbed by your opinions or behavior
• be respectful of the many artists on stage and off who put in much time, effort, talent, and heart to create this piece of art you're viewing; you don't have to like it, but you do have to respect it (this one is not optional, and if you follow this simple rule, all of the above follows)

Thanks for your cooperation, and in the immortal words of Ellen, be kind to one another.

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

Last night was another fun night at Hell's Kitchen in downtown Minneapolis. On the first (or in this case second) Monday of every month, that's where you can find super-talented local theater artists and real life BFFs Max Wojtanowitz and Sheena Janson. They've hosted this monthly cabaret series "Musical Mondays" for almost three years. Each month features songs around a different theme performed by a different cast of amazingly talented singer/actors. Since it's June, this month's theme was Pride, i.e., gender-bending and/or inspirational songs.

This month's cast included George Keller (frequently seen at Ten Thousand Things), Grant Sorenson (Yellow Tree's Henry in Next to Normal), John Jamison (whom I have not seen in anything before), Liz Hawkinson (Julie in BCT's Carousel), and Stephanie Cousins (part of Yellow Tree's Ivey-winning production of The 39 Steps), with musical direction by Nic Delcambre. As usual the evening's program (which you can view in full on Musical Monday's Facebook page) included some familiar musical favorites, as well as many great songs I'd never heard before. Highlights of the evening include:

• The opening group  number set the stage for the evening - "Keep it Gay" from The Producers.
• The boys beautifully sang "At the Ballet" from A Chorus Line, which made me even more excited to see the Ordway's production next year!
• The girls hilariously sang "You're A Man" from The Full Monty.
• Liz Hawkinson made West Side Story's "Maria" sound like it was written for a woman to sing. Just lovely!
• John brought the house down with "When You're Good to Mama" from Chicago.
• Host Max took the mic and proved he is "The Hostess with the Mostess" (from Call Me Madam).
• George won the prize for best costume, changing accessories slightly for each character (something she no doubt learned from Ten Thousand Things). I never realized what a creepy song "Standing on the Corner" was, and her "I Am Adolpho" was ridiculous in the best possible way.
• Stephanie sounded gorgeous on "There But For You Go I" from Brigadoon.
• Grant sang a couple of Kerrigan/Lowdermilk songs - the charming "Stupid Boys" and the fun road trip song "Freedom," a duet with his middle school buddy Liz.
• In addition to leading the band (which also included guitar and percussion) on keyboards, Nic sang a couple of songs, including a lovely arrangement of "You Have To Be Carefully Taught" from South Pacific (which I cannot wait to see at the Guthrie next summer).
• The evening concluded with "Raise You Up/Just Be" from Kinky Boots (tour coming to the Orpheum this summer).

Here's were you can see the cast on stages around the Cities in the coming months:

• George Keller - an all-female production of Henry IV by Ten Thousand Things this fall
• Grant Sorenson - Yellow Tree's beautifully heart-breaking production of Next to Normal is heading to Alexandria's Theatre L'Homme Dieu in July
• John Jamison - The Wizard of Oz at Children's Theater Company this fall/winter
• Liz Hawkinson - Girl Friday Production's biennial production, The Matchmaker at Park Square Theatre in July
• Stephanie Cousins - Old Log Theatre's Best Little Whorehouse in Texas, opening this weekend

Be sure to like the Musical Mondays Facebook page for lots of good info about their schedule, performers, and songs. Next month, an all new and no doubt fabulous cast TBA will sing songs of summer on July 6. Show starts at 7pm, and for just a mere $5 you can be entered into a drawing to win theater tickets. Go see it with all of your musical theater-loving friends. I had a great time sharing the experience with my fellow bloggers at One Girl Two Cities and Minnesota Theater Love - check them out for more local theater coverage.

"All the World's A Stage" - a Gala Tribute Honoring Joe Dowling at the Guthrie Theatre

The Guthrie Theater knows how to throw a gala. The 50th Anniversary Gala two years ago is one of my favorite theater memories, with amazing performances by many local and national favorites in celebration of 50 years of this national treasure of a theater we Minnesotans are lucky enough to call ours. Last Saturday night the Guthrie held another gala, and instead of just a general feeling of appreciation for the community, all of the respect, honor, and love was directed towards one person, Joe Dowling. Joe is resigning from his position of Artistic Director after 20 years (12 of which I have been a season subscriber), during which he oversaw the move from the original theater to the big blue beautiful building on the river and co-founded the Guthrie/U of M BFA program along with many other accomplishments. He is the longest tenured Artistic Director in Guthrie history (surpassing the previous holder of that record, his predecessor Garland Wright, by 11 years) and the most consistent leadership in the Guthrie's 52 year history. In that time he has worked with hundreds of theater artists, many of whom were on hand to partake in the celebration. The 90-minute performance included over 70 actors and showcased a dozen of the over 50 plays and musicals that Joe has directed in his tenure at the Guthrie, plus original musical and dance performances. But even more than the many wonderful mini-performances we were treated to was the overwhelming feeling of love, gratitude, and respect for this theater, this community, and the man who has helmed this theater for so many years. It was a truly magical night.

If you weren't there, here's a summary of the wonderful things you missed:

• The show opened (about 30 minutes past the scheduled 8:30 start time) with a rousing musical number in which a cast of too many favorites to mention sang what I'm assuming is an original song "There You Are," complete with some audience interaction. 
• We were welcomed by the hilarious lisping weeble-wobble brothers Bobchinsky and Dobchinsky, played by real-life brothers Kris L. and Lee Mark Nelson, reprising their roles from the 2008 production of The Government Inspector.
• Colman Domingo from the original cast of The Scottsboro Boys returned to serenade us with a beautiful and heart-breaking song from the show, "Go Back Home." The Scottsboro Boys is the brilliant last musical from Kander and Ebb, and played at the Guthrie in the summer of 2010 between stints off and on Broadway. I'm so grateful to Joe and the Guthrie for bringing it to Minnesota.
• Bill McCallum opened a series of scenes with the opening lines from my favorite play The Glass Menagerie, reprising his role of Tom from the 2007 production. The poetic musings by Tennessee Williams on time, memory, and illusion were the perfect way to start the show.
• Michelle O'Neill and Stephen Pelinksi performed the scene about choosing caskets from The Merchant of Venice, in which both actors appeared in 2007.
• This was followed by a selection from Chekhov's Three Sisters, directed by Joe in 2003, with Chloe Armao, Emily Gunyou Halaas, and Michelle O'Neill as the sisters.
• Joe directed The Importance of Being Earnest twice at the Guthrie, in 1998 and 2009. Hugh Kennedy and Valeri Mudek treated us to a scene from the play.
• A "dance interlude" by Megan McClellan and Brian Sostek (who also choreographed the show) did not last nearly long enough. When he leapt into her arms and she caught him and spun around, the audience gasped in delight. They are such effortless, charismatic, playful dancers.
• Master storyteller Kevin Kling delivered a hilarious, touching, and very Minnesotan tale about his work with Joe and the Guthrie.
• Sally Wingert belting out "Gotta Get a Gimmick" from Gypsy - is there anything better than that? Yes there is, because she sang original lyrics by Mark Benninghofen specific to the occasion and was joined by J.C. Cutler, Robert Dorfman, Jim Lichtsheidl, Tracey Maloney, and Isabell Monk O'Connor, each at their most gimmicky to make us love them. It worked.
• Another scene montage began with Bob Davis dryly delivering Minnesota fishing regulations from 2013's Nice Fish, a play I called "absurd, hilarious, strangely profound, and yes, somewhat inexplicable."
• A dramatic and star-studded scene from 2007's The Home Place made me wish I had a better memory, or could see it again.
• Michael Booth recited a monologue from Stoppard's The Invention of Love, directed by Joe in 2003.
• I will never tire of listening to Tyler Michaels sing "On the Street Where You Live," so I was thrilled that he briefly reprised his role from last summer's hit My Fair Lady.
• Four fantastically talented women (Helen Anker, Cat Brindisi, Melisa Hart, Greta Oglesby, and Regina Marie Williams) sang a montage of songs titled "Love's What We'll Remember" that included such Broadway classics as "Send in the Clowns," "Broadway Baby," and of course, the entirely appropriate "What I Did For Love."
• Once again, Jennifer Baldwin Peden made opera seem funny, accessible, natural, and completely effortless. She's sure to win any part she wants with "Adele's Audition Song" from Die Fledermaus.
• The last scene montage began with a scene from the ghostly comedy Blithe Spirit, last seen at the Guthrie in 1997, with Bradley Greenwald, Laura Esping, and Rosaleen Linehan playing man, ghost, and medium.
• Helen Carey and Peter Michael Goetz recreated an intense scene from 2002's All My Sons, another one I wish I could see.
• The scene montages concluded, fittingly, with the heartbreaking closing monologue from The Glass Menagerie, providing a nice bookend to the scene portion of the evening.
• This was immediately followed by a stirring a capella version of "The Hills of Tomorrow" from Merrily We Roll Along, performed by the ensemble. By the way, I should mention that Music Director Andrew Cooke led a fantastic six-person orchestra throughout the show and provided the arrangements. And Peter Flynn did a beautiful job directing the show and the many disparate scenes as they flowed together to form a whole.
• More than two dozen alumni from the U of M/Guthrie BFA program and A Guthrie Experience (or as I like to call it, the Guthrie's strong farm system) performed the As You Like It monologue that begins "All the world's a stage, and all the men and women merely players." They told of the seven ages of man, speaking alone or in small or large groups, from "the infant, mewling and puking in the nurse's arms" through "second childhood and oblivion, sans teeth, sans eyes, sans taste, sans everything." Such great young talent that the Guthrie has sent out into the world.
• Another U of M/Guthrie BFA graduate, Santino Fontana, who played Hamlet in the final production at the old Guthrie, impassionately sang "I Was Here" from The Glorious Ones.
• The closing number was the highly appropriate "You're the Top" from Anything Goes, beginning with Bradley Greenwald and Greta Oglesby, and continuing through all of the wonderful and beloved performers on that stage.

Have you ever watched the Kennedy Center Honors, in which great artists are honored by the president and performances from admiring proteges? That's what this felt like. From where I was sitting, I could see Joe sitting on the center aisle about halfway up, just beaming. He came onstage after the final number to give a few brief words, in which he credited Tyrone Guthrie and the other previous Artistic Directors, as well as all the actors who've worked at the Guthrie beginning with Hume Cronyn and Jessica Tandy in the inaugural season, through Barbara Bryne (who, at 86, was there but in the audience rather than onstage), through the 70+ actors surrounding him onstage. It was such a love fest, and such a thrill to see so many artists whom I love, respect, and admire in one place, Joe Dowling chief among them.

But wait, that's not all! The evening continued with champagne (in real glasses!), dessert, music (the Minnesota Jazz Orchestra set up just in front of the endless bridge), and mingling. I had the chance to talk to so many of my favorite artists, some of whom I'd met before, some of whom I met for the first time. But there were many I didn't dare approach because they're just too intimidatingly amazing. I could have stood there gawking at the crowd all night and basking in the glow of this amazing theater community.

Here are a few photos from the after-party; I'll add more photos as they become available. Also check out my live twitter feed from the event @cherryandspoon.

champagne toast and tuxes

the dessert table - macarons and truffles

dancing to the smooth sounds of the Minnesota Jazz Orchestra

a memento from a magical night - this chocolate is too pretty to eat!

"H2O" by Gremlin Theatre at the Minneapolis Theatre Garage

The 2015 Torch Theater/Gremlin Theatre season at the Minneapolis Theatre Garage* continues with the first all-Gremlin production, after the joint production, the dark and disturbing Death and the Maiden, and Torch's perfect screwball comedy Boeing Boeing earlier this year. For their production Gremlin is tackling H2O, a new play by Jane Martin (most likely a pseudonym for Jon Jory, Artistic Director of the Actors Theatre of Louisville). In the capable hands of director Ellen Fenster (who has made me cry on more than one occasion) and a couple of compelling three-named actors, Peter Christian Hansen (Gremlin's Artistic Director) and Ashley Rose Montondo (most recently seen as a girl who cried witch in The Crucible at the Guthrie), this intense 90-minute two-hander is a funny, painful, and engaging story of fame, faith, and art.

This is the story of Jake and Deborah, about as opposite as two people can be, and both actors bring out the best (and worst) in their characters with a believable, if ever-changing, chemistry. Jake is the benefactor (or victim) of the quick and absolute kind of fame that happens often in the media age. He was cast as a superhero in a series of movies, but doesn't feel worthy, so plans to prove his worth (mostly to himself) by playing Hamlet on the Broadway stage. Deborah is a young NYC actor who believes that acting is her calling, because Jesus told her so. Raised and schooled by her father in the church he founded after receiving a similar calling, Deborah is a woman of principles, determined to live by them, with a series of strict rules about what is and isn't OK in her career. Jake is disgruntled with the idea of acting, while for Deborah it is her life's noble purpose. When these two people are thrown together due to a tragic event, their worlds collide. Jake convinces Deborah to be the Ophelia to his Hamlet, and the two embark on a friendship that is at first good for both, expanding their worldviews, but then takes a dark turn when Deborah won't give Jake what he wants. Deborah does as much as she can to save Jake, but he is unable to take that extra step and save himself. Spoiler alert: this one doesn't have a happy ending.

If I may compare this play to a TV show, Jake and Deborah's destructive relationship reminds me of the relationship between Chris and Sister Pete on HBO's brilliant ahead-of-its-time prison drama Oz. In a memorable scene, Sister Pete tells Chris "we don't choose God, God chooses us," and Chris raises his hand to the sky with a desperate look and says "pick me!" Like Jake, Chris is full of self-loathing and desperate to be rid of it, desperate to be saved by someone, not realizing that he needs to save himself, and unable to do so.

Deborah and Jake (Ashley Rose Montondo and
Peter Christian Hansen, photo by Aaron Fenster)

The title of the play, H2O, has several meanings. Firstly, Hamlet to Ophelia. Not a good relationship after which to model one's own, but Jake and Deborah's relationship does follow the slow descent into madness of these characters. H2O is also the chemical formula for water, a theme that appears often in the play, as does actual water (this is a messy one, figuratively and literally). Water is a symbol of life, used in religious ceremonies. Which brings me to another theme of the play, faith. The character of Deborah is at times infuriating, at other times exhausting, with her strict and unforgiving relgious belief and her insistence that Jesus speaks to her. But I also found her to be smart, funny, modern, and likeable, struggling to marry her beliefs with the messy real world. Lastly the play explores the idea of fame, especially fame that comes too easily and too quickly. The insane pressure that we put on our celebrities to be a certain way or act a certain way is often too much to bear, and the story of a famous actor or musician who succumbs to self-destructive behavior is all too familiar.

The many scene changes and set changes are handled smoothly by the cast and crew, including four "essentials" who are sort of a mix of both. Dressed in black, they move furniture on and off stage quickly and efficiently, and also serve as extras in some scenes, wordlessly interacting with Jack and Deborah, providing a blank wall for them to react to and bounce off of as they deliver their monologues. The stage is completely bare, with just a few key set pieces brought out when needed (set design by Carl Schoenborn). Katharine Horowitz's sound design helps set the scene in the various NYC locations.

H2O is a challenging play, both to stage and to watch, with its depictions of violence and an unhealthy relationship. It's not for the faint of heart, but is, as per usual with Gremlin Theatre, very well directed, acted, and produced. H2O continues through June 27 (find half-price tickets on Goldstar).



*The final production in the Torch/Gremlin/Garage season will be another joint production TBA.


This article also appears on Broadway World Minneapolis.

"Boeing Boeing" at Lyric Arts

I recently discovered the 1960s French farce Boeing Boeing (along with the rest of the world - it flopped originally on Broadway in the '60s but the recent revival was a hit, sparking many productions across the country). In fact I so much enjoyed Torch Theater's production a few months ago that I was eager to see the play again at Lyric Arts Main Street Stage in Anoka and see their take on it. Even though I knew how things would end up this time, it was still a delight to watch this perfect screwball comedy as brought to life by Lyric's fantastic '60s set and costume design and deliciously campy performances by the six-person comedy. It's light and funny and ridiculous, the perfect summer treat.

Bernard lives in a swanky apartment in Paris with his three international fiances, none of whom know about the other two. He tells his friend Robert, visiting from Wisconsin, that he's able to pull this off due to careful planning and paying attention to the time tables of the women's three airline employers, and of course with the begrudging help of his organized maid Berthe. Everything runs swimmingly and all parties are happy with the arrangement until a perfect storm of weather over the Atlantic and faster planes causes all three women to be in the apartment at the same time. It was bound to happen sooner or later. Bernard, Robert, and Berthe go to great lengths to keep the women apart for as long as they can, which results in lots of physical comedy and door slamming. It's like a shell game trying to keep track of who's in which room. But of course it can't go on forever, and the truth, or some version of it, eventually comes out.*

your TWA, Alitalia, and Lufhansa hostesses
(Nykeigh Larson, Katharine Strom, and Jessica Scott)

Director Scott Ford takes his cast right to the edge of campy comedy and they gamely leap off. Ryan Nielson's Bernard is the suave and confident playboy (not unlike his character in Blithe Spirit), until his perfect plan starts to fall apart and he becomes ever more frantic. Kyler Chase plays Robert as a bumbling, nervous schlub who's constantly tripping over the furniture and himself, and Jennifer Inderlee is a hoot as the constantly frustrated and disapproving French maid Berthe. Each of the three air hostesses (Nykeigh Larson as the confident American, Katharine Strom as the passionate Italian, and Jessica Scott as the stern and excitable German) are more over-the-top than the last and are all clearly having fun with the roles. The range of extreme accents are great fun to listen to, although I occasionally had trouble understanding what was being said. This is an intricate comedy, with much coming and going through various doors, physical comedy, and importance in the placement of props to make the jokes work. It's all very well choreographed and the cast pulls it off marvelously.

Jessica Scott, Katharine Strom, and Ryan Nielson

The fabulous set looks like something from a '60s sitcom - candy colored walls and doors (lots of them); worn wood paneling on the floors, walls, and furniture; modern black leather couches; brightly colored carpet squares; mod lighting; and a super cool inset stereo. The recessed living room (a la Don Draper) allows for much physical comedy as the actors scamper up and down, and they make hilarious use of the bean bag chair. The air hostess uniforms are primary colored perfection, with matching hats and bags. Robert's schlumpy look (even his shoes are scuffed) contrasts nicely with Bernard's polished attire (set by Mark Koski, costumes by Samantha Kuhn Staneart).

With Boeing Boeing, a good time is had by all - characters, cast, and audience alike. Catch this fun summer comedy now through June 21 (discount tickets available on Goldstar), and then make plans for the quintessential summer musical  Grease coming in July and sure to sell out. Because who doesn't love Grease?


*This paragraph borrowed from my post on Torch Theater's production.

"CABARAVE: #sexuality" by Rathaus Productions at the Lab Theatre

There's something new and cool going on down at the Lab Theatre, the gorgeous and open warehouse-turned-performance space in the North Loop neighborhood of Minneapolis. CABARAVE is cabaret experience that combines a nightclub feel with performances of dance, music, aerial dance, and visual art. I was lucky enough to attend the last tech rehearsal with my blogger buddy Laura of "One Girl, Two Cities," where it felt like they were performing just for us! The performances were spectacular, and even though we didn't get the full nightclub experience at a rehearsal, it's easy to imagine what it will be like when the Lab is filled with revelers (and may require a future visit to get the full flavor of it). Created by Jessie Storovich and Kameron Nelson of Rathaus Productions (read more about them here) with help from Sasha Andreev and director Joshua Campbell, the intent of the show is to create a fun, relaxed environment where people who might not usually go to "arty" things can experience art while having a good time, perhaps without even realizing it!

dancer Emily Madigan

CABARAVE: #sexuality runs Thursdays through Saturdays throughout the month of June (along with a few Monday night dates for the 18+ crowd, otherwise you must be 21 to enter), and will return in July with a new theme. Doors open at 9 pm and close around 1 am, with the intent being you can wander in whenever and stay as long as you please (with the lowest ticket price at $10, you don't have to stay long to get your money's worth). The evening is constructed as five 20-minute sets, separated by about 30 minutes of house music provided by the DJ, during which time you can dance, mingle, and drink (beer, wine, and wine cocktails served at the bar). The music is a modern twist on jazz and ragtime classics, known as "electro swing." It's pretty cool, familiar yet new sounding.

Each 20-minute set includes several short performances, a sort of mix and match from the following:

aerialist Timothy Herian

• Dance - including some fierce tapping by Rush Benson, sexy duo numbers by fantastic dancers Emily Madigan and Jeff Robinson, and able assistance (as well as waitressing) by Michelle Lemon and Georgia Sylvester in various combinations.
• Aerial dance - Timothy Herian is so graceful, confident, and athletic on the aerial silks that I couldn't take my eyes off him whenever he performed. It's a very cool (and somewhat dangerous) form of dance.
• Music - powerful and gorgeous singing by Kecia Rehkamp and Michael Hanna, and electric fiddle by Alison Keller.
• Visual art - artist Aimee Strzok paints a new creation every night. It's not often you get to watch a piece of art be created, so it's a fascinating peek into the process.

dancer Rush Benson

The Lab is one of my favorite places to see theater because it's so open and adaptable, with great bones. For this show the space is decked out in chandeliers and hanging crystals, with the lobby turned into a shabby chic green room of an old theater. Cabaret tables on the floor and risers provide a perch from which to watch the action, with plenty of floor space between the three stages for dancing (if that's your thing).

As someone who (willingly) sees a ton of theater, it's always a treat to see something that pushes the boundaries of what theater can do and be, as this show does. CABARAVE is a unique experience and one that regular theater-goes like myself can enjoy as much as people who would never step foot inside a theater. It's a fun place to go and hang out with friends and strangers, and oh by the way, there's "art" happening all around you! Watch the trailer below, and if you like what you see, make plans to head to the Lab Theater this summer (more info and tickets here).

"Juno and the Paycock" at the Guthrie Theater

Ah, Ireland. Such a beautiful country, a land of endless music, rolling green hills, and waves crashing upon the shore, but with such a complicated and tragic history. Yet the unique spirit of the Irish people perseveres. How fitting, then, that Joe Dowling, proud Irishman and leader of the Guthrie Theater for the past 20 years, chose an Irish play as the last one he will direct in his tenure at the Guthrie. And what a play; Seán O'Casey's Juno and the Paycock, set during the Irish Civil War of the early 1920s, is as beautiful and tragic as Ireland itself.

Juno and the Paycock premiered at Dublin's Abbey Theatre (of which Joe Dowling was Artistic Director in the '70s and '80s) in 1924, just a few years after the Irish Civil War, when wounds and divisive opinions were still very fresh and raw. That's pretty revolutionary. It tells of the effects of the war and extreme poverty on one family in Dublin. Beleaguered and overworked Juno, her proud buffoon of a husband Jack (say "peacock" with an Irish accent and you have the title), and her two adult children live in a run-down room in the cramped, cold, and crowded tenements of Dublin. Juno works to keep bread and tea on the sorry table, and Jack avoids work by claiming pain in his legs so that he can drink, eat, and talk with his buddy Joxer. Son Johnny was injured in the recent wars and rarely leaves the house, while daughter Mary hopes for a better future for herself. She brings home her beau Charles, who has some surprising and life-changing news for the family. But the Boyles are not a family to whom good things happen, and their momentary hope and happiness doesn't last. Johnny gets caught up in the after-effects of his time in the service, Mary faces a crisis of her own, and Juno must make a choice. It's devastating to watch this family struggle, and one can only hope that some of them make it out.

the Boyle family (Stephen Brennan, David Darrow,
Anita Reeves, and Katie Kleiger, photo by Joan Marcus)

Joe Dowling brought in three acclaimed Irish actors to play some of the leads, and as much as I love our local acting community, I can hardly blame him for that. They're all wonderful and lend an air of authenticity to this very Irish story. As the title characters, Anita Reeves and Stephen Brennan are so natural, believable, and likeable, even when they aren't. Anita's Juno is the strong, no-nonsense, loving matriarch of her family, the only thing keeping them going. Stephen makes the "paycock" Jack a loveable lout of a man, charming and funny and infuriating. Tony nominee Dearbhla Molloy has a brief but powerfully memorable scene as a grieving mother. But despite these new faces, this still feels very much like a Guthrie show thanks to the inclusion of Guthrie long-time favorites like Sally Wingert (stealing scenes as the busybody neighbor) and Mark Benninghofen (hilarious as drunken buddy Joxer), as well as newer favorites like Katie Kleiger (appealing and fresh-faced as the hopeful young Mary), David Darrow (in a devastating performance as the one-armed war-damaged son Johnny, so physically contorted that I hope he has a good chiropractor), and Casey Hoekstra (Mary's charming suitor).

The set and costumes are essential to setting the scene in the slums of Dublin. The set (originally designed by Frank Hallinan Flood, executed for the Guthrie by Michael Hoover) consists of a huge high-ceiled room that was once great, but has fallen into disrepair, with cracks and stains covering the walls. Appropriately shabby furniture and props fill the lived-in space. Christine A. Richardson's costumes are also shabby and worn, but neat and polished for some characters if called for. Projections on the lowered curtain before the show and between acts give a brief history and perspective for the story.

happy times in the Boyle household (photo by Joan Marcus)

In this play as in all things Irish, there is humor and music to temper the tragedy. One of the most entertaining scenes is when the family takes turns singing; one feels that music is the thing that gets the Irish people through, which is beautifully illustrated in this scene. I found myself drawing parallels between this play and the one I had seen the previous night, The Gospel of Lovingkindess at Pillsbury House Theatre. Are the slums of 1920s Dublin that different from the projects on the South Side of Chicago? Different circumstances perhaps, but inequality, prejudice, poverty, and tragic loss of young life exist everywhere in the world.

Joe Dowling has been the Artistic Director of the Guthrie Theater for 20 years, and I have been a subscriber for 12 of those years. I can't even really say what he's changed and brought to the theater (other than the obvious, the big beautiful blue building on the river) because I don't know a Guthrie without Joe. His final two shows, the American epic The Crucible, and this very Irish story Juno and the Paycock, are a beautiful way to conclude his time with us. The Guthrie will honor and celebrate Joe's accomplishments in the last 20 years with a gala performance called All the World's a Stage this Saturday. I wouldn't miss it for the world! (Juno and the Paycock continues through June 28.)

"The Gospel of Lovingkindness" at Pillsbury House Theatre

Watching the news can make one feel discouraged and hopeless about the state of the world, with increasing violence around the world and in our own neighborhoods. At Pillsbury House Theatre, they're trying to make some sense of it and provide a bit of hope by preaching The Gospel of Lovingkindness, a new play by Marcus Gardley. It's beautifully and poetically written, full of life and humor that balances out the devastation and death of the situation. It's heavy, and not easy to watch at times, but so worthwhile and necessary. The Gospel of Lovingkindness is one of those plays that is about so much more than theater.

Through a series of monologues and two-person dialogues, we get to know a smart and talented young man named Emmanuel, who sang at President Obama's inauguration shortly before he was shot and killed in his neighborhood on the South Side of Chicago. Although fictional*, it's a story that's all too familiar. Emmanuel's mother is, of course, devastated by the loss of her only son, but after an encounter with the ghost of civil rights activist Ida B. Wells, still wandering the streets of Chicago, she turns her grief into action. She organizes others in her community and goes on local talk shows to promote a world free from violence. It feels like an endless and fruitless struggle, but Mary never gives up, and I believe she'll succeed.

Thomasina Petra and Aimee K. Bryant
(photo by Rich Ryan)

Three of the four members of this terrific four-person cast play multiple characters, but Thomasina Petrus has only one role, Mary, and she's the center and soul of the play. Her performance of a grieving mother is a thing of breathtaking, gut-wrenching, and almost unbearably painful beauty. She portrays a grief that's tragically universal but also utterly specific. I couldn't help but think of my grandmother, who lost her 17-year-old son not to a stray bullet but to a speeding train in the cold dark January night. She once said that she lived through the worst thing that could happen, so everything else is bearable. The strength of mothers is astounding, and this mother turns her personal tragedy into tireless work to ensure a world where no mother has to go through the pain that she did.

Thomasina Petra and Aimee K. Bryant
(photo by Rich Ryan)

Supporting Thomasina and playing all of the other characters in Mary's life are Namir Smallwood (charming as the bright young Emmanuel with an afro like "a young Michael Jackson," and heartbreaking as another young man whose future is not as bright), Aimee K. Bryant (excellent in multiple roles including the funny best friend, a sympathetic cop, Ida B. Wells, and another struggling mother), and James A. Williams (also excellent as Emmanuel's father, coach, boss, and a closed-minded politician).

Thomasina Petra and Namir Smallwood
(photo by Rich Ryan)

This play, although by no means a "musical," incorporates music in a beautifully simple way. The play opens with Emmanual singing the simply stirring "Ave Maria," later Mary sings her son to sleep in perhaps the most moving scene in the play, and Ida B. Wells sings about a love of the city these characters call home in "Sweet Home Chicago" (when you have voices like Thomasina's and Aimee's at your disposal, use them!).

Marcus Gardley's work was last seen on the Pillsbury House stage in the road weeps, the well runs dry. This play is less epic in scope, but perhaps more epic in meaning, relevance, and urgency. It doesn't offer easy answers, because there are none, but it does offer a beacon of hope, if we all look at the problem of violence, talk about it, and work together for solutions. The moving, heart-breaking, inspiring, and beautifully executed play The Gospel of Lovingkiness continues through June 28.



*The play is inspired by the life and death of 15-year-old Hadiya Pendelton, shot in the back on the South Side of Chicago in 2013. Her parents have started a foundation in her name, and this Tuesday June 2, what would have been Hadiya's 18th birthday, you can show your support of a world without gun violence by wearing orange. Here in Minnesota, check out Protect MN and their upcoming music/theater benefit to end gun violence.


This article also appears on Broadway World Minneapolis.

"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)

"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).

Summer 2015 Twin Cities Theater Preview

For some people, summer means baseball, barbecues, boating, and other outdoor activities. For me, summer means more theater (and iced mochas)! Here are a few shows I'm looking forward to this summer. If I missed any, please add in the comments below.


One of the highlights of the summer theater season is always Skylark Opera's Summer Festival, which I've attended for the past four years. They do two shows in repertoire that fall on various locations on the music-theater spectrum. For their 8th festival, they're doing a Sondheim revue (is there anything better?!) called Putting It Together and Puccini's La Rondine. Both shows can be seen at the EM Pearson Theatre on St. Paul's Concordia University campus, just four performances of each between June 12 and 21 (more info here).

This summer the Ordway is producing not one but two local musicals - Damn Yankees (did someone mention baseball?) in June and Pirates of Penzance in August. Their last local musical, A Christmas Story, was delightful, and I expect more of the same with these two shows (more info about Damn Yankees here and Pirates here).

Park Square Theatre has had much success with their summer Sherlock Holmes plays, and this year they are presenting the world premiere of a new one - Sherlock Holmes and the Ice Palace Murders. No, Sir Arthur Conan Doyle did not send his famous detective to Minnesota, but author Larry Millett did, and my favorite local playwright Jeffrey Hatcher has adapted this recent novel into a play. A summer mystery featuring the world's most beloved crime-solver and plenty of local flavor, what more could you ask for (playing June 19 through July 19, more info here)?

Over in Uptown, the Jungle's summer selection is the classic comedy You Can't Take It With You, featuring a huge and star-studded cast, including three real-life married couples - Charity Jones and John Middleton, Angela Timberman and Jay Albright (possibly the funniest couple in existence), and Cathleen and Nathaniel Fuller. The family that plays together... (playing June 19 through August 9, more info here).

More often than not, the Guthrie celebrates the summer with a big beautiful musical. They're following up last year's hit, "the hummable and quotable" My Fair Lady, with another American classic - The Music Man, "the toe-tapping musical for the whole family." It's sure to be a luscious extravaganza with lots of familiar faces in the supporting roles and ensemble (playing June 20 through August 23, more info here).

"Summer lovin', had me a blast!" The quintessential summer musical Grease is coming to Lyric Arts in Anoka, July 10 through August 2. It's sure to be a fun time, but Lyric Arts musicals have a tendency to sell out, so get your tickets soon (more info here).

If you're someone who hates to be inside on a lovely summer day, you can still enjoy theater and the outdoors. Check out one of the many options for outdoor theater, including Mill City Summer Opera (presenting Daughter of the Regiment in the picturesque and historic courtyard of the Mill City Museum in July) and Mixed Precipitation (touring Escape from Alcina's Island in area parks in August and September).

If you're heading Up North to the cabin this summer, don't worry, you can still catch some theater. A great thing to do on a rainy day is drive into Bemidji to the Paul Bunyan Playhouse. I have not yet had the pleasure, but I know that many of my favorite Twin Cities artists go up there in the summer to put on some great theater. They've got five shows on the schedule this summer, including one of the best new plays I saw last year, the local true crime caper Prints, and the hilarious musical Spamalot (more info here).

And of course, you can't talk about summer theater in Minnesota without mentioning the Minnesota Fringe Festival. The full schedule of the hundreds of one-hour shows at a dozen venues will be announced in the next month or so. Until then, check out their website for a tentative list of participants, and cancel all other plans between July 30 and August 9.


I hope you enjoy all of the wonderful things that summer in Minnesota has to offer, including the above theater, because winter will be back again before we know it!


This article also appears on Broadway World Minneapolis.

"The Language Archive" at Park Square Theatre

The language of Esperanto is a universal language that was invented in the late 19th Century as a way to heal the divides that speaking different languages can cause. A beautiful idea, isn't it? In a nutshell, this is what Julia Cho's lovely play The Language Archive is all about. It's about the different languages that we all speak, not just the actual language, but also the more intimate informal languages that we develop in relationships with the different people in our lives. Even though the characters in the play all speak English, they struggle to communicate with each other on a deeper level, sometimes succeeding, sometimes failing, as we all do. This play had me laughing through my tears as I contemplated life and relationships. Friends, it doesn't get much better than that.

George is a linguist who is obsessed with studying and recording endangered languages. Ironically, he is unable to communicate with his wife, Mary, who is unhappy and decides to leave him. So George goes to his work, at a place called The Language Archive, where he records rare languages before they disappear. Along with his assistant Emma (who is, of course, in love with him), his current task is to record the (fictional) language of Ellowa as spoken by a couple that he has flown in from a remote village somewhere in the world. But on this particular day, the couple is fighting and doesn't want to speak their precious language in anger. George struggles with how to accomplish this task while his world is falling apart, Emma struggles with how to tell George how she feels, and Mary struggles with finding a happier life. Watching them do so is a bittersweet joy.

Mary and George (Sara Ochs and Kurt Kwan,
photo by Petronella J. Ytsma)

Rick Shiomi, recently retired founder and Artistic Director of Mu Performing Arts, directs this wonderful seven-person cast. As the wounded linguist, Kurt Kwan gives a sensitive, heart-breaking, funny, and very real performance. Sara Ochs is sympathetic as the wife who doesn't quite understand him and wants something of her own. Emily A. Grodzik plays the eager young assistant (like a Season 1 Peggy Olson) with a simple open spirit hiding deeper feelings. Claudia Wilkens and Richard Ooms are perfection as the Ellowa speakers, extremely believable as the bickering yet loving couple (perhaps because they are married in real life). Rounding out the cast are Melanie Wehrmacher and Robert Gardner, bringing depth and interest to several smaller roles.

Joseph Stanley's remarkable set fills the stage with huge shelves upon which books, typewriters, files, tapes, and other objects associated with words are stacked. Words in many different languages adorn the walls, and the center section rotates to reveal the recording room. Shrouded stage hands quietly move set pieces on and off stage during scene transitions, which are many but fluidly handled.

The Language Archive is one of those rare plays that satisfies on so many levels. It's smartly written, funny, a bit fantastical but very grounded in reality, superbly acted, features a huge and fascinating set, and most importantly, touches the heart as well as the mind and the funny bone. I'm catching this one near the end of its run, but if you can make it to one of the four remaining performances on Park Square Theatre's main stage, it will be well worth your time and effort.