Come From Away Will Stop the World at Guthrie Theater and Transport You to Where The World Has Come Together

The cast of Come From Away Photo by Dan Norman

This was my fourth time seeing Come From Away (fifth if you count the Apple TV version), and somehow it keeps hitting harder. There is something very, very special about this show. My first two experiences were the original tour at the Orpheum, where the cast was dropping like flies from COVID and reinforcements were being flown in from all over the country, touring casts, Broadway understudies, maybe even a few folks who had just recently left the show and still knew the tracks. Which, honestly, feels completely in the spirit of Come From Away. Then came the Ordway’s chance to host the tour. Now the Guthrie gives us the first local production, and it’s my favorite of the bunch. If you’ve never seen it, now is the time.

If you somehow don’t know it, the show tells the true story of nearly 7,000 airline passengers diverted to Gander, Newfoundland, on 9/11, and the small town that took them in. Yes, it deals with that day, but this isn’t a downer. It acknowledges the trauma, but also shows us the resilience and compassion that saw us through that dark time. You’ll feel the weight of it, but I assure you this is a musical that uplifts the audience. The painful moments come, but the emotions we feel are cathartic.

The Cast From Come From Away Photo by Dan Norman

Why does this production outshine the Broadway touring productions? I think there are a couple of things at play here. First is that, as powerful as the show has been since its first performance, the kindness and selflessness at its heart feel all the more profound given the current trajectory of the world. I grew up hearing my parents and people of their generation talk about where they were when JFK was assassinated. For my generation, that cultural touchstone is 9/11. At a time when the world often feels divided, seeing this moment, when people came together to support one another, lands with even greater impact. There are also scenes that touch on our darker tendencies, including the seeds of xenophobia that 9/11 planted. But it never loses sight of what people can be at their best.

This is a show about community, a community that comes together to take in these stranded souls. The community of Islanders and those “from away” that forms over the five days in which they are thrown together. You see it in the way actors flew in from all over the country during that first tour visit at the Orpheum. And maybe community is another reason this production is so great. I look around the stage and see all of these people I’ve been watching, writing about, and sometimes even interviewing over the last seven years. I see the community I’ve become a part of. It’s our community telling this story now, and that adds something extra. I see actors I’ve followed and sung the praises of, bringing this show to life. I’m moved, as always, by their talent. There is the added thrill of seeing some of them at the Guthrie for the first time.

Local favorites making their Guthrie debuts include Matthew Hall, who must be on leave from Guys and Dolls out at Chanhassen, where he brought the house down with his performance of “Sit Down, You’re Rockin’ the Boat.” He’s terrific here as well. We also have Kate Beahen and Jennifer Grimm, both stellar in their Guthrie debuts.

Then there are familiar local favorites like Eric Morris, who is terrific as the Mayor; Katie Bradley, Jon Hegge, Jim Lichtscheidl, Ann Michels, and a seriously unrecognizable Angela Timberman. The cast is just amazing, including some out-of-towners, especially Soara-Joye Ross as Beverley, one of the airplane pilots.

I have to hand it to the Guthrie’s Resident Casting Director, Jennifer Liestman, not just for finding the perfect cast, but for giving so many of our local favorites their Guthrie debuts. We only have three non-locals in the cast, and they are perfect in their roles: Soara-Joye Ross, Evan Balasubramaniam, and Justin Keyes.

Director Kent Gash keeps the whole thing moving at breakneck speed. It runs without intermission, and from the moment it starts, it doesn’t stop to breathe, except for a brief technical hiccup right after “In the Bar/Heave Away,” but they reset and jumped right back in. Honestly? Since “Heave Away” is one of my favorite moments, it felt like a bonus round. No complaints here

Before I sign off, I have to acknowledge the musicians and Musical Director J. Oconer Navarro. If you are one of those low-down weasels who slinks out during the curtain call, I’ll warn you not to this time. Seeing the band join the cast onstage and get some appreciation as they jam is the cherry on top of this delicious musical. And while I’m on the subject, I’ll just say this: I think it’s a classless thing to leave without applauding the performers who just spent an evening doing their best to entertain you. Stay, clap, be a decent human. I have to go home and usually stay up writing until the review is done and posted, and I would never consider behaving like that. Just had to say it, its been building up for a while, and Come From Away inspires that kind of cathartic release.

Come From Away uses music to weave a tapestry that taps into our collective trauma and allows us to face it through the humanity of people forced together, who rose up and found the best in themselves. There is a running bit where the Newfoundlanders say you’d do the same. Would I? would you? I’m guessing yes. Would our country? absolutely not. I think we would have in 2001, but Trump would likely refuse to let any plans land in the US if this happened elsewhere. Come From Away runs through August 9th at the Guthrie Theater in Minneapolis. For more information and to purchase tickets go to https://www.guthrietheater.org/whats-on/come-from-away/

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Monty Python’s Spamalot At The Ordway Can’t Compete With Classic Film, It Works Best When It Goes Its Own Way

Photo by Matthew Murphy and Evan Zimmerman

Monty Python’s Spamalot is a stage musical adaptation of the British comedy troupe Monty Python’s film, Monty Python and the Holy Grail. It doesn’t compare to the brilliance of that film, at least for this lifelong fan of everything Monty Python. That isn’t to say it’s bad, but the film has set a very high bar.

For me, the evening started off on the wrong foot, as it seemed that the sound was not balanced well. I had trouble hearing the vocals, even dialogue, if there was music playing as well. Struggling to hear a fun show is no fun. I’m not sure if adjustments were made during the show or if my ears were able to tune in to the actors better over the course of the evening, but I struggled less as the night wore on. Perhaps for that reason, perhaps for others, I found Act “Moo” to be much more enjoyable.

The main contributing factor, aside from the sound issue, for the second act’s success was that it seemed to deviate more from the film. When you know a film as well as I do this show’s source, it’s hard to get too excited about line readings that aren’t as good as the original. That’s no knock on the cast, I don’t think many actors would fare well in comparison to Graham Chapman, John Cleese, Terry Gilliam, Eric Idle, Terry Jones, and Michael Palin. It’s not really fair to compare them, but when you are saying the same lines they did, it’s also hard not to. The best parts of the show were when they incorporated new material. The show’s book and lyrics are by original Python member Eric Idle, so the additional material feels like it belongs.

As for the parts lifted straight from the film, it’s a testament to how well written the film was that some sections still get big laughs. But there is something that works against a show when, while you are watching it, you are thinking about the superior version. I wish Idle had taken more license to create something fresher. I think 50% less original material would have allowed the truly classic bits, the ones you can’t leave out, to feel like welcome nuggets of nostalgia rather than long sections of straight screen-to-stage translation.

So the big criticisms are the sound balance and the unenviable task of actors who have to take on such iconic material, a losing battle for anyone. That said, let me also say that I really liked the cast. It isn’t their fault they are not John Cleese or Graham Chapman. A standout for me was Major Attaway as King Arthur; one of his best moments is the song “I’m All Alone,” both vocally and comedically. Another is Amanda Robles, who plays the Lady of the Lake. She delivers some seriously funny, but also vocally impressive, moments that really brought the house down.There is a song where she does snatches of other songs that’s quite funny. Another successful bit, is a scene that pokes fun at the idea of making this film into a musical by replicating a moment from Phantom of the Opera. A nice Easter egg for fans of musical theater.

The production design by Paul Tate DePoo III relies heavily on some well-used projections. DePoo similarly utilized projections to even greater effect in The Great Gatsby, which played the Orpheum last week. I do think part of me was hoping for a little more stage magic, but when I thought about it, this is more in keeping with the film’s small budget, and I think the design approach is ultimately the right choice for the show.

Monty Python’s Spamalot runs through June 14th at The Ordway Center for Performing Arts in St. Paul. For more information and to purchase tickets go to https://ordway.org/events/spamalot/

Midsummer Night’s Dream, Thumbs and Bottoms Up For This Production From The Modern Rep

*David Michaeli, Bryce Baxter, Richard Rigmaiden, Leo Rossmiller, and Jonathan Edwards* *Photo by Molly Jay Photography*

The Modern Rep Theatre Company’s production of A Midsummer Night’s Dream is performed both as it would have been in Shakespeare’s day and unlike anything you would have seen in Shakespeare’s day. When the plays were first produced, all the roles on stage were played by men, as women were not allowed to act in the theater. In this way, this is a very faithful performance, as all the roles are played by men. One of the great things about Shakespeare is that 400 years on, groups can perform the plays and bend them to their will. This production is certainly bent, as the company’s website describes it, “messy, sexy, and very gay.”

I like a production that takes chances and finds interesting new ways to speak Shakespeare’s text. I also appreciate a traditional staging, and I’m grateful that my first exposure to the play on stage was The Guthrie’s wonderful production in 2024. I saw that production twice, which I think allowed me to enjoy this one more thoroughly. I had a solid understanding of the plot and the characters, so I never felt lost. A familiarity with the play also helped me to spot the departures, which can be subtle and clever, and usually rather blew (or blue, I mean).

The cast is great, and they run their Bottoms off, each playing at least three roles. They really seem to feel at home in the roles of the fairies of the forest, but are just as good as the amateur actors and the four young lovers. They are capable of doing the one thing you must do when performing Shakespeare: whether you are in Elizabethan costumes or dressed as barn animals, you have to speak the language so that the audience can understand it. I’m not talking about enunciation, I’m talking about meaning. The audience needs to understand the meaning behind what they say, even if they don’t know what every word means.

I very much enjoyed this show, but there are a few things you need to know before you go. For some reason, this theater company believes there must be an element of discomfort for the audience. In their first production, Salomé, they opened a large garage door to the outside for extended periods during a particularly cold stretch in late February. In this production, the seating is on metal bleachers with no backrests. If you have a bleacher seat (thank God we did), bring it with you. The show runs nearly two hours without an intermission, depending on your fitness level, that’s a long time to sit without back support.

There are a few other things you should know, which are actually kind of fun. When you arrive at the location, you are going to question whether you are in the right place or not. The entrance to the performance space is halfway down an alley. The cast mingles with the audience before the show, offering free tattoos, popcorn, and shots. And lastly, It is very risque, so if that isn’t your jam, skip it, but if you are OK if things get a little hard “R”, you’ll be good.

If you like your Willy a little on the queer or wild side, I think you’ll have a blast with this production. If you are new to A Midsummer Night’s Dream, read the Wikipedia plot synopsis before you go, it will help keep you from getting lost. There is nothing worse than sitting through two hours of something you can’t follow.

Midsummer Night’s Dream runs through June 20 at 901 N 3rd St in Minneapolis. For more information and to purchase tickets, go to https://www.dreammpls.com/about.

My Antonia Reveals Itself in World Premiere as a Beautiful New Musical at Theater Latté Da

Will Dusek and Sara Masterson Photo by Dan Norman

The World Premiere of the new musical My Ántonia at Theater Latté Da is one of the best new musicals I’ve seen in some time. Intimate, inviting, full of memorable songs, and featuring a knockout cast, this feels like a show that should have long legs. It opens with the audience feeling like part of the show, with cast members standing among us as they set the scene of the Nebraska prairie of the late 1800s. We hear the birds and the crickets, the sounds of nature coming alive as the cast sings the prologue.

The novel, which is told in the first person and is semi-autobiographical, translates surprisingly well to the stage. In order to maintain that first-person perspective, we have the main character, Jim, run into Willa in a bar in New York City. They reminisce about the old days, and in particular Ántonia. We then flash back to Jim, recently orphaned, on a train from the East to live with his grandparents in Nebraska. On the train is the Shimerda family, immigrants from Bohemia who will be his neighbors. Young Jim befriends their daughter Ántonia, who is a couple of years older than him. They spend their days together, and he teaches her to speak English. They have a beautiful song that deals with their introduction and the beginning of Jim teaching her the language, called “Name, What Name.” It is the first inkling that the music in this musical might be something special.

We see the characters at different stages of their lives, with Jim and Ántonia being played at different ages by three different pairs of actors. What worked extremely well was the framing device of the forty-something Jim and Willa, who pop in and out of the narrative throughout the show. It allows us the emotional connection that comes as the characters move forward from memory into the present. Who among us cannot relate to thinking back on the past, to that person who slipped away out of our lives, the one we see now that could have been the one we were destined for? We feel certain of it now, but there was usually a reason things went another way. Still, when it comes to memory, nothing is quite as emotionally potent as unrequited or unexpressed love.

This is one of those shows where the cast is so good that if you try to limit how many performers you’ll mention, you won’t even get to Sally Wingert and Bradley Greenwald, who in supporting roles do what they are so skilled at doing, punching those small moments, those little asides, just perfectly. With two of The Stages of MN favorites, Tom Reed and the limitlessly talented Em Adam Rosenberg, as the older Jim and Willa, in a genuinely funny scene beginning the tale, you realize that you’re going to have to breeze through the performers or you’ll be up all night. For the record, Reed and Rosenberg are outstanding; both bring the emotions home in the final moments of the show that, yep, had ol’ Rob in tears again. Damn you, Rosenberg. Every time, really? Honestly, is that necessary?

Right out of the gate we have Lillian Hochman and Maddox Tabalba, who play the youngest Ántonia and Jimmy. Hoshman is probably older than the 14 she appears to be, but I’m fairly certain that Tabalba is in the ballpark of young Jimmy’s age, which I’d guess to be 12 to 14. These two are stunningly good. As the young adult Ántonia and Jim, we have Sara Masterson and Will Dusek, who again are just terrific. Add to that Anna Hashizume, and it’s a who’s who of my “must-see” list.

The music and lyrics are by The Kilbanes, whom I’d never heard of, but who clearly should be writing musicals. I was especially impressed by their willingness to venture outside of the period for inspiration. The prairie songs sound different from the town songs, and one song, “Saturday Night Me,” had a subtle ’50s rock ’n’ roll feel to it. It’s about the young people letting loose at the dance hall, and the style is like a shorthand to the audience to convey teenagers coming into their own. I hope this show goes on, I think it has the potential to go beyond regional theater. I, for one, would love to have a cast recording of it. There were several songs that I instantly wanted to be able to hear again.

My Ántonia runs through July 12th at Theater Latté Da in North Minneapolis. For more information and to purchase tickets go to https://www.latteda.org/my-antonia It’s not often that you get a new musical that works this well, don’t miss your chance to see it!

Gorgons Take off the Kid Gloves at Yellow Tree Theatre

Christina Baldwin and Jamie White Jachimiec Photos by Alex Clark

Gorgons by Don Nigro is clearly a fictional take on the feud between Bette Davis and Joan Crawford and the making of their late-career classic Whatever Happened to Baby Jane? But in this telling, Bette is named Mildred and Joan is named Ruth, and the film they are making is called Gorgons. Why? I don’t know, maybe for legal reasons, though if someone really wanted to sue over this, I don’t think you’d have too hard a time convincing a jury whom the play is based on. But maybe it’s because, for the ending, it decides to veer into Once Upon a Time in Hollywood territory. I’m not implying there is a flamethrower or anything, it’s much more subtle, but it begins with the Academy Awards, a scene that definitely did not happen in real life.

The play is 90 minutes of two strong-willed actors trading brilliantly comic insults back and forth. I don’t know if it matters or not in terms of enjoyment, but I relished all the little Easter eggs that any student of film history, particularly the workings of the studio system and the gossip surrounding these two legends, is likely to catch. In a certain way, this is sheer entertainment, and if that’s all you get out of it, you’ll go home a happy camper. But there is also a message here about the way society encourages women to compete against each other, and I suspect that was one element that attracted director Austene Van to the material. Austene is someone who does not prescribe to the concept that the way to get ahead or succeed is by putting others down. She is of the “raise others up, because we all do better when we all do better” school of thinking, a school I’m happy to be a fellow graduate of.

Nigro, who just passed away last February, is noted as being among the most widely produced and published playwrights in the world, with nearly 500 plays to his credit. I don’t think I’ve ever seen one before tonight. is not that strange? Frankly, if they are all as well written as this is, I’m not sure why I’ve not come across one before now. Of course, as well written, sharp, and witty as it is, this one relies heavily on a cast who can do it justice. Both actors, Christina Baldwin in the Bette Davis (like) role and Jamie White Jachimiec in the Joan Crawfordish role, are up to the task. They know just how to sling an insult through a smile, and exactly when to drop the facade and just tear into the other. Watching them is like watching Benedick and Beatrice trade barbs, but without the underlying sexual tension, or is it about lesbians?

White Jachimiec has the slightly less showy role. If you’ve seen Whatever Happened to Baby Jane?, you’ll know that Crawford plays the sane sister, while Davis is the full on cuckoo for Cocoa Puffs sibling. She tries to capture Crawford, but it mostly comes down to the eyebrows; otherwise, she might as well just be playing an actress named Ruth, which, actually, she is, so it works. The only thing that makes that less effective than really seeing Crawford in her is the fact that Christina Baldwin absolutely nails Bette Davis. Granted, there is makeup and wigs used in aid of the transformation, but it is also the cadence of her voice and the way she moves around the stage. It’s kind of uncanny, but in a way that isn’t distracting but entrancing. The strange thing is, if you’d asked me to cast this show with local actors, I might have hit upon Baldwin for Crawford, but Davis never would have occurred to me. I’d have probably cast Sally Wingert, who I’m sure would be good, but I doubt anyone could surpass Baldwin in this role. To quote Kim Carnes, “She’s got Bette Davis eyes.”

This is a fast-paced, inside Hollywood comedy, with the perfect amount of genuine emotion sprinkled in to remind us that some of their bluster is meant to mask their inner wounds. Fans of old Hollywood, great acting, sharp tongued strong women, and fantasy revisionism of history will find Gorgons a delight.

Gorgons runs through June 21st at Yellow Tree Theatre in Osseo. For more information and to purchase tickets go to https://yellowtreetheatre.com/gorgons-1

The Great Gatsby Dazzles at the Orpheum Theatre

The Great Gatsby NA Tour Company Photo by Evan Zimmerman for MurphyMade

The Great Gatsby, the classic American novel written by Minnesota native F. Scott Fitzgerald, gets a splashy Broadway musical adaptation. The style of the era and the excesses of the lives of its characters work in this medium, even if the subject matter seems a little dark. Those familiar with the book, which I’m surprised to discover is not as many people as I thought, will understand it doesn’t have a happily-ever-after ending. When I was a young whipper-snapper, we read books in school; apparently that isn’t the thing anymore. Or perhaps they are being assigned other books instead of what many consider to be one of the greatest novels ever written. You know, maybe they are being assigned Twilight instead. If you missed out on the novel, know that this is a fairly faithful adaptation, even incorporating some of the major imagery from the book.

Set in 1922 on Long Island, the story is told by Nick Carraway, a young war veteran who rents a small cottage next to the estate of Jay Gatsby, who throws loud, lavish parties which he himself doesn’t attend. After receiving an invite to a party, Nick meets Gatsby, who asks for his help in reuniting with the girl he fell in love with before going off to the war, Daisy. Daisy is Nick’s cousin, who is now married with a child, though not happily. Her husband Tom is an asshole who carries on affairs, which everyone, especially Daisy, is aware of. Daisy’s childhood friend Jordan Baker is also on hand as a possible love interest for Nick. The other major characters are George and Myrtle Wilson; George runs a gas station while his wife is having an affair with Tom. Trying not to spoil the plot for the vast number of you who apparently are unfamiliar with it, I’ll just say that, like the novel, the play deals with the themes of the American Dream, class, and how the two collide. Much as it is becoming more and more the case today, the dreams of the lower class are decimated by the excesses and disregard of the wealthy.

There was a lot to like about this production, and probably the top selling point is the production design. Everything from costumes by Linda Cho to the set and projection design by Paul Tate DePoo III, and lighting by Brian Ronan, works seamlessly together. The projections had a three-dimensional quality to them and were coordinated with practical set pieces, sometimes to the point where you weren’t sure which layers were real and which were projections. A favorite lighting cue that really stood out was where the eyes of a billboard at the gas station, as everything fades to black in the scene, even the billboard, except for the eyes, which continue to shine for a couple of additional seconds.

The songs varied nicely in style. Some, like “Roaring On,” had a very Jazz Age feel to them; others, like “For Her” and “My Green Light,” are beautifully touching and romantic. One song, “The Met,” really showcased Joshua Grosso, who plays Nick, and his almost physics defying movement. Grosso, along with playing the best character, was my favorite in the cast. Jake David Smith, who plays Jay Gatsby, achieves things vocally that one might expect would require surgery at a young age to achieve, the upper registers he reaches are impressive. The role requires someone with a very high upper range, which must limit the casting possibilities. Senzel Ahmady and Leanne Robinson, as Daisy and Jordan, are both strong vocally as well as great dancers. The choreography by Dominique Kelley really kicks in during the second act, which includes a very fun and energetic tap number.

The Great Gatsby won the Tony Award in 2024 for Best Costume Design, with most of its other various award nominations also recognizing its design elements. That really is the main selling point on this one. Though everything else is of solid quality, it is the design work that sticks with you.

The Great Gatsby runs through June 7th at Hennepin Arts’ Orpheum Theatre in downtown Minneapolis. For more information and to purchase tickets, go to https://hennepinarts.org/events/the-great-gatsby

Home, I’m Darling Reveals There is More Than Expected Beneath Its 1950’s Facade at Lyric Arts in Anoka

Siri Hellerman, Charlie Morgan, Kendra Mueller, and Kyler Chase. Set Design by Greg Vanselow Photo by Molly Jay

Home, I’m Darling, the Olivier Award–winning play for Best New Comedy (2019), makes its Twin Cities premiere at Lyric Arts in Anoka. It’s a wonder it took so long for a local company to stage it, it’s the perfect new work to engage audiences. Funny with commentary is such an intoxicating combination. It feeds both sides of our brains, entertaining us while also stimulating the parts of our brain that question things. The play will have you questioning the characters’ motivations as well as your own assumptions. I personally have always had an affinity for the pop culture trappings of the 1950s, more teen culture, early rock ’n’ roll, a malted and a burger, not the gender politics.

Johnny and Judy live an idyllic 1950s marriage, straight out of the movies and sitcoms of the time, but minus the kids and all their easily solved problems. The only discordant element is that it is, in fact, the 21st century, not the middle of the 20th. What began as a shared affinity for the aesthetic of 1950s nostalgia became an experiment to see if they could live their lives by the principles of that simpler time. Judy is a housewife; Johnny brings home the bacon, which he exchanges at the door for a much-deserved drink served by Judy before she finishes getting dinner on the table. They are surrounded by their carefully cultivated home, which resembles the movie set of a period remake of a Douglas Sirk film crossed with a 1950s malt shop.

The pair long for that simpler time, but there is no such thing, there never was, as Judy’s mother Sylvia points out in one of the play’s most thrilling scenes. What the characters fail to realize is that the world has moved on. Where it was once possible for the middle class to survive on one income, that hasn’t been the case for most households in a long time. The 1950s they have based their lives on comes from films and TV, not reality. The problems people have now, they had then, they just weren’t allowed to be shown in popular entertainment. When reality begins to seep in around the brightly colored walls of their fantasy, we begin to see whose fantasy it really is and how far they are willing to go to preserve it. There is a moment where I literally gasped out loud, and I wasn’t the only one.

Kyler Chase, who was the Noah Hynick of Lyric Arts (in seemingly every production) when I first started frequenting the theater, plays Johnny. He has the slightly forced 1950s spousal banter down perfectly but can switch into real-world mode when things hit the rocks. Kendra Mueller is incredible in portraying her character’s almost pathological need to be a 1950s housewife. She has that part of the role down perfectly; it is only topped by her ability to subtly project the fear she feels when cracks begin to appear. She looks the part, plays the part, becomes the part.

The supporting cast is quite good as well. Charlie Morgan and Siri Hellerman play their friends Fran and Marcus, who have a similar fondness for the 1950s but refrain from taking it as far as Johnny and Judy. Hellerman captures the awkwardness of a friend who tries to be supportive but struggles with the idea of abandoning her identity as a career woman. Morgan gets to show off some fancy footwork while also eventually revealing the darker side of the fantasy. Izzy Maxwell plays Johnny’s boss Alex, the modern career woman confronted, after being invited over for cocktails, with a previous century’s version of what some corners of society expected her to be. She’s excellent at trying to be respectful of Judy’s choice but is ill at ease with how to interact with her and their world. Patti Hynes-McCarthy plays Sylvia, Judy’s mother, and has a terrific scene where she unleashes on what she sees as a betrayal by her daughter of everything she fought for as a feminist. It’s a riviting scene and Hynes-McCarthy Absolutely nails it.

Patti Hynes-McCarthy, Kendra Mueller, and Siri Hellerman Photo by Molly Jay

Scott Ford directs the show with inspired little flourishes during the scene changes that add to the artificial ’50s veneer. James Grace contributes to those and a few other scenes with fun choreography. Sarah Christenson’s costume designs and Greg Vanselow’s scenic design, along with Ren Edsen’s prop designs, are worth the price of a ticket on their own. It’s a great-looking show, and like the 1950s it emulates, there is a lot more happening than can be seen on the surface.

Home, I’m Darling runs through June 21st at Lyric Arts in Anoka. For more information and to purchase tickets, go to https://www.lyricarts.org/home-im-darling

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