The Mountaintop is Funny, Moving, and a Call to Action at Artistry in Bloomington

Mikell Sapp and Tyler Susan Jennings Photo by Dan Norman

In something that has become almost as common as in the post-pandemic era, The Mountaintop at Artistry was rescheduled from its original Friday opening to Sunday. I’m grateful I was able to reschedule and attend that first performance, because this is a production worth making time for. It runs through March 1st, and I encourage audiences to see it while they can.

Written by Katori Hall, The Mountaintop imagines what might have transpired in the motel room of Martin Luther King Jr. on the night before his assassination in Memphis. Dr. King, exhausted after a long day of meetings and speeches, calls down for coffee. The maid who delivers it, Camae, doesn’t simply drop off the tray and leave. She lingers. She shares her cigarettes. A conversation begins.

King flirts a little; Camae swiftly and humorously rebuffs him. She doesn’t judge him, but neither does she indulge him. Instead, she redirects the exchange with wit and confidence. What Hall does so skillfully in the script is to humanize King. His legacy and the magnitude of his work are never diminished, but we are allowed to see the man behind the icon, the fatigue, the doubts, the human impulses. By grounding him in recognizable humanity, Hall makes his accomplishments feel even more extraordinary. We connect not just to the legend, but to the person.

That connection is deepened by the wonderfully nuanced performances of Mikell Sapp as King and Tyler Susan Jennings as Camae. Much of the play’s humor, which serves as a necessary counterbalance to the ever-present awareness of what history holds, comes from Jennings’ spirited, knowing delivery and Sapp’s impeccably timed, subtly modulated reactions. Their chemistry keeps the dialogue lively and authentic, preventing the production from becoming overly reverent or heavy-handed. Guiding it all is the assured direction of Warren C. Bowles, whose steady hand maintains both intimacy and tension throughout the evening.

The Mountaintop is more than a speculative account of King’s final night, it is a call to action. It reminds us that while we are “just” men and women, so was he, and look at what he accomplished. The production closes with a montage of images from the years since his death. It acknowledges progress, but it also underscores how much work remains. The Mountaintop is not just a play about the final night in the life of Dr. Martin Luther King Jr. but it is a call to action. A reminder that while we are just men and women so was he, and look at all he accomplished. The show ends with the montage of what has come since his death it’s a reminder of progress but also of how much work there is yet to do. It ends with two particularly impactful images that are meant to stir us out of our complacency, and to view the message not from a historical perspective but from the present, from today. They are especially effective and well chosen, and best experienced firsthand.

The Mountaintop runs through March 1st at Artistry in Bloomington. From more information and to purchase tickets go to https://artistrymn.org/themountaintop

Watch the 2025 TCTB Awards on the latest episode of The Stages of MN YouTube Show!! https://bit.ly/TSOMNEp25YouTube

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Episode 26: The Stages of MN Learns About the Songbirds and the Bees

https://www.podbean.com/media/share/pb-f8nxz-1a4602d

Welcome to Episode 26 of The Stages of MN. A weekly show about the live theatrical experience.

On this episode:

Eric Morris and Laura Rudolph Morris welcome me into their Hive in part one of a two part entry in our series Theater Couples. Be sure to check out the Hive Collaborative Website for all the upcoming events https://www.thehivecollaborativemn.com/ .

Eric will be directing Once Upon a Mattress at Lakeshore Players from 4/24/26 – 5/17/26 https://www.lakeshoreplayers.org/mattress-season-73 and appearing in Come From Away at the Guthrie Theater this summer from 6/6/26 – 8/9/26 https://www.guthrietheater.org/shows-and-tickets/2025-2026-season/come-from-away/

Laura will be stepping in as a Long-term vacation swing in April and May and again at the end of the run of Guys and Dolls at Chanhassen Dinner Theatres https://chanhassendt.com/guysanddolls/

MN Honest Reviews:

Macbeth at The Guthrie Theater through March 22nd https://www.guthrietheater.org/shows-and-tickets/2025-2026-season/macbeth/

The Glass Menagerie at Theater Latte Da now extended through March 8th https://www.latteda.org/glass-menagerie

Some other events to check out:

FREE New Play Reading of Lion’s Tooth by Alex Church at The Black Forest Inn at 7:00 PM on 2/20/26 https://melancholicsanonymous.org/new-play-series#current-nps

Trademark Theatre has a staged reading of The Ostentatious Outlaws of Neehai Valley by Keith Hovis 2/23/26 at 7:30 PM at Park Square Theatre https://www.trademarktheater.org/outlaws

From Walking Shadow Theatre Company Feast runs 2/27/26 – 3/29/26 at 6:30 PM at the Black Forest Inn. tickets available for show only or with a feast. https://walkingshadow.org/feast-2026/ on Saturdays throughout the run you can purchase tickets to see Beowulf before Feast at 5:00 PM.

“At a Show With…” photos of who I saw out at the Theater.

Special thanks:

Ryan Lee for the use of his music catalog which is available at https://ryanlee.bandcamp.com/

To Dale Stark and Hennepin Arts for permission to film in the Orpheum Theater for the shows opening

Alex Dunkelberger and Micky Dunkelberger for their production assistance.

You can read all my reviews at The Stages of MN https://thestagesofmn.com/

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and Instagram / thestagesofmn

The show also available in podcast form https://robdunkelberger.podbean.com/ or wherever you enjoy podcasts.

Interested in sponsoring an episode, want to join The Stages of MN + 1 Club, or just have comments, questions, or suggestions for me? You can email me at robdunkelberger@thestagesofmn.com.

The Glass Menagerie at Theater Latté Da Brilliantly Blends Classic with Tech Adding Immediacy to Memory

Dustin Bronson and Nora Long Photo by Dan Norman

Tennessee Williams’ The Glass Menagerie is a classic of the American stage. When the term “classic” is applied to a work, sometimes it simply means old, and sometimes it means that it has stood the test of time. That is certainly the case with The Glass Menagerie, at least in regard to Theater Latté Da’s latest production, which is brilliantly directed by Artistic Director Justin Lucero.

By now, Lucero has completely erased any fears that may have arisen after the departure of Peter Rothstein about Theater Latté Da’s future. His direction is complex and detailed, reinforcing the themes of the play and creating a sense of emotional immediacy through what may be the most effective dramatic use of video technology I’ve ever seen in a theatrical production.

The tremendous cast is led by Stages of MN favorite Dustin Bronson, who pulls double duty as both Tom, the narrator, and as the production’s cinematographer. I’m aware that sentence requires an explanation, and one is forthcoming. What might feel like a gimmick to some is, in fact, deeply rooted in the play’s structure. The Glass Menagerie is a memory play, and these are Tom’s memories. Tom’s passion, aside from writing, was the movies, so it makes sense that his recollections would play out as projected images, memories visible on the screen of his mind’s eye.

Bronson opens the play addressing both the audience and the camera. At other times, he films other characters as they perform their scenes, allowing us to see the action from our seats as well as from the camera’s point of view. He also occasionally points the camera offstage to illustrate lines of dialogue, whether referencing audiences in movie theaters or the mirrored ball at the dance hall across the street.

What is truly remarkable is the precision of the framing in each use of the camera and in the projections designed by Adam J. Thompson. The amount of rehearsal required to ensure flawless execution must have been intense, especially when combined with Bronson’s demanding character work. Both were carried out impeccably.

The first act is largely dominated by the relationship between Tom and his mother Amanda, played by Nora Long, with sister Laura, portrayed by Amy Eckberg, taking on a more passive role. Laura is often more the subject of the scenes than an active participant in them. In the second act, with the introduction of Jim, she initially remains sidelined, incapacitated by her extreme anxiety. However, she comes to the forefront in the second half of the act.

Sound design and original music are by Katherine Horowitz, with cast member Brandon Brooks—who plays Jim, the gentleman caller—providing a live soundscape. Using a variety of glass music instruments, Brooks creates an evocative auditory environment. It is another high-wire act, perhaps more forgiving if something goes awry, but no less impressive. Brooks executes it perfectly, and his soundscape is matched only by his engaging performance.

The Act II scenes between Jim and Laura give us a glimpse of what might have been, as he gently draws her into conversation and even into a dance. Their interplay unfolds with natural ease, culminating in moments of tenderness and pain that illustrate how hope can be as fragile as one of the pieces in Laura’s glass menagerie.

The Glass Menagerie is a compelling drama brought to life by a brilliant cast in an exquisitely designed and executed production under the masterful direction of Justin Lucero. If you’ve never seen this classic play, I can’t imagine a better production to experience. And if you’re interested in film or the technical aspects of theatre, this is a shining example of how the two can be married, not as a gimmick, but in service of the story.

It’s a stunning piece of theater that works on every level.The Glass Menagerie runs through March 1 at Theater Latté Da. For more information and to purchase tickets, visit:
https://www.latteda.org/glass-menagerie

Watch the 2025 TCTB Awards on the latest episode of The Stages of MN YouTube Show!! https://bit.ly/TSOMNEp25YouTube

Despite a String of Local Theater Accidents and Ailments surrounding Adaptations. The Guthrie Rolls the Dice on the Scottish Play.

Daniel José Molina (Macbeth) and John Catron (Macduff) Photo by Dan Norman

I’ve got to hand it to the Guthrie: Macbeth was a brave choice for this year’s Shakespeare production, especially given the unfortunate events surrounding other “Macbeth-adjacent” productions over the past couple of years, from Theater Latté Da’s Scotland, P.A. to Rough Magic’s The Macbeths. It has sometimes felt as though the so-called “curse” wasn’t being dispelled so much as branching out into adaptations. You can Google or search Facebook for the details of those misfortunes.

For the curious, I’d suggest keeping an eye on the Guthrie’s social media accounts to see if anything mysterious or unfortunate befalls this production. I sincerely hope not, because this Macbeth is thrilling and fast-paced, and I’d hate to see any performances canceled and audiences deprived of the chance to experience it.

Former Guthrie Artistic Director Joe Dowling returns to direct this bold new production of Shakespeare’s tragedy of ambition and corruption.

Headlining the cast, and returning to the Guthrie after his wonderful turn as Henry V in the History Plays during the 2024 season, is Daniel José Molina as Macbeth. He was excellent as Prince Hal, but he may be even better here. His delivery of the famous “Tomorrow, and tomorrow, and tomorrow” soliloquy is unlike any version I’ve ever heard, and it works brilliantly.

Other standouts include John Catron as Macduff (among several other roles), whose final confrontation with Macbeth is especially powerful. A quick note of praise also goes to fight director Annie Enneking, the climactic battle has a precision and speed rarely seen in live theater.

Stages of MN favorites Regina Marie Williams and Daniel Petzold each take on multiple roles, and it’s always a pleasure to see them, especially in Shakespeare. Meghan Kreidler is at her strongest as Lady Macbeth when her grip on reason begins to unravel. Peter Christian Hansen’s Banquo sports a couple of memorable wigs that give his character, particularly in spectral form, a striking visual identity. I know some folks will be delighted to learn that his chest has also come out of retirement for this production.

If you’ve never seen Macbeth, this is an excellent place to start. It’s one of Shakespeare’s shorter thrillers, and this production moves with a driving pace that feels almost like a modern suspense film. The production team creates a cold, towering backdrop for the action, and the frequent use of fog reinforces the sense of danger and isolation in the Scottish Highlands.

Macbeth runs through March 22 at the Guthrie Theater in Minneapolis.
For more information and to purchase tickets, visit:
https://www.guthrietheater.org/shows-and-tickets/2025-2026-season/macbeth/

Watch the 2025 TCTB Awards on the latest episode of The Stages of MN YouTube Show!! https://bit.ly/TSOMNEp25YouTube

Whoosh! Finally Washes Up, But Not Out at History Theatre

(Foreground) Andrew Erskine Wheeler. (background) Danny Diamond, Brian Miller Photo by Rick Spaulding

They say good things come in threes, or is that deaths? Maybe it’s both. My point, and I may actually have one, we’ll get to in a bit. But first let me give you a little history of my experience with Whoosh!, which seems appropriate considering it deals with history and even more obviously it is playing at the History Theatre.

It was the 2022 Minnesota Fringe Festival, my first Fringe festival if you want all the sordid details. I was a fresh faced blogger wandering the festival, inexperienced in its worldly ways, and in that hotbed of creativity it seemed anything was possible. On day 9, I first encountered Andrew Erskine Wheeler’s Whoosh! and I awarded it The Stages of MN Fringe of the Day Award, back when that award meant even less than it does today.

That first incarnation was a fast-paced whirlwind that left the audience stunned and Wheeler dripping with perspiration. It also had the irresponsibly long title Whoosh! The Civil War Mythology of Michael Hickey and His Perilous Precipitation Over St. Anthony Falls!

At the 2023 Fringe Festival, I found myself standing in line with Wheeler. Recognizing him, I worked up the nerve to tell him how much my wife and I had enjoyed Whoosh! The Civil War Mythology of Michael Hickey and His Perilous Precipitation Over St. Anthony Falls! the previous year. Once I caught my breath (one should always practice saying that title at home before attempting it in public, you need to figure out where to take breaths). Wheeler, clearly having experienced this before with others, helped steady me and suggested I put my head between my knees until I felt like I could stand without passing out. Once the oxygen returned, he told me they were remounting Whoosh! later that month at the Mill City Museum. Naturally, I secured tickets for my wife, our daughter, one of her friends, and myself, and then shared the news with you faithful readers.

That version was longer, fleshed out the story, and added live musical accompaniment. It lost the high-wire intensity of the original’s breakneck 50-minute pace, where a thousand and one props and costume changes had to happen with surgical precision. But what we gained was depth. It wasn’t better or worse, just different. A zero-sum trade that pointed the way forward. I remember saying to someone at the time, it may have been my friend and fellow Twin Cities Theater Blogger Erica Skarohlid, who is also the Marketing Director at History Theatre, that this would be a perfect show for the History Theatre.

Which brings us to my third experience, now with the more health conscious title simply Whoosh! (still with the exclamation point, so you know it’s exciting). If I had a coherent point about things coming in threes, this is where it would all make sense. Or not. The real point is this: I’ve loved this show in every incarnation, but this one is the best.

By adding another 45 minutes, any sense of sacrificing the original’s momentum is gone. Instead, Whoosh! has fully graduated into what it always wanted to be. What began as a one-man tour-de-force packed with props has become a brilliantly designed, full length production that dazzles on every level.

Wheeler still delivers a masterclass performance, more than enough to captivate the audience all on its own. Everything added here only enriches what he does, nothing competes with him, it all supports him.

Whoosh! isn’t a musical, but music is now integral to its identity. The show is accompanied by Northern Shores which consists of Danny Diamond and Brian Miller, who perform traditional Irish acoustic music, sing, and even accompany Wheeler when he breaks into song, all in character.

That character is Michael Hickey, an Irish immigrant who arrives in America in the mid-1800s to join his older brother. They work as loggers before enlisting to fight in the Civil War. Hickey tells his story by leaping through time, always circling the infamous moment, the one where he becomes the only person to ever go over St. Anthony Falls and live. But this version makes it clear: the show is about far more than that moment. We gain a rich understanding of Hickey’s relationships, the war, his commanding officer, his struggles with alcohol, and the cultural forces shaping his life. And after the curtain call, a final revelation deepens those connections even further. The result is a beautifully intricate, emotionally resonant tapestry.

As with every iteration, the show is directed by Stages of MN favorite Allison Vincent, who opens the piece onto a broader canvas while never letting the focus drift from Wheeler. Every production addition serves the story, whether heightening spectacle or sharpening a joke.

And yes, that trip over the falls. This is the most significant new element, transforming a spectacular historical event into a truly spectacular theatrical moment. I won’t spoil it. Just know that every technical element here represents the best possible version of itself.

Erik Paulson’s multi-level set design marks a dramatic evolution from the original black box space, fluidly transforming into forests, battlefields, and the falls themselves. Brant Miller’s video design both establishes location and supports Hickey’s pointed commentary on cultural bias. Tony Stoeri’s lighting, Richard Graham’s sound design, Kirby Moore’s properties, and Mandi Johnson’s costumes are flawless, each contributing to a unified vision and a singular theatrical experience.

Whoosh! runs through February 22nd at History Theatre in St. Paul. For more information and to purchase tickets go to https://www.historytheatre.com/2025-2026/whoosh

Watch the 2025 TCTB Awards on the latest episode of The Stages of MN YouTube Show!! https://bit.ly/TSOMNEp25YouTube

How to Catch Creation Captured My Heart, See it Before it Ends on 2/8 at Theatre in the Round

Tia Tanzer and Duck Washington Photo by Aaron Mark Photo Film

Third time’s the charm, as the saying goes. This was my third attempt to see How to Catch Creation. I was originally scheduled to attend on January 17, 2026, but changed my plans in anticipation of a far-right wing protest slated to end in the Cedar-Riverside neighborhood that Theatre in the Round calls home. I rescheduled for Friday, January 23, but that performance was canceled in observance of the statewide general strike. I almost cut my losses and accepted that I simply wasn’t going to see it.

But I kind of love Theatre in the Round, and earlier this season, for the first time in probably a decade, I had missed their annual Agatha Christie play when my stepmom passed away. I didn’t want to miss another show. And my God, am I glad I didn’t. The production is only running one more week, closing on February 8th. If you can make it to one of the remaining performances, I highly recommend you do so.

Mary Cannon Photo by Aaron Mark Photo Film

I’m not entirely sure what I was expecting going in. I had read the synopsis on the theatre’s website, but it didn’t really sink in, because this play wasn’t what I expected at all, and it’s unlike anything else I’ve ever seen at Theatre in the Round. I think it’s representative of the changes we’ve seen at TRP over the last several years, particularly since the arrival of their current Executive Director, Larisa Netterlund. We’ve seen more risks being taken. I’m not sure the audience has fully caught up with what’s happening at TRP yet, but I hope word spreads and programming like this continues.

How to Catch Creation, by Christina Anderson, weaves together the lives of six characters in San Francisco, four in 2014 and two in 1966–67. Griffin, a man recently released from prison after spending 25 years incarcerated following a wrongful conviction, reconnects with his best friend Tami, a painter who runs an art school. Both are in their mid-forties. They each come into contact with one half of a younger couple in their mid-twenties: Stokes, a painter, and his girlfriend Riley, a computer programmer.

Tia Tanzer and Izzy Maxwell Photo by Aaron Mark Photo Film

Tami and Riley meet when Riley confronts her about why Stokes’ application to her school was rejected. Griffin and Stokes bond in a park over their shared love of the work of Black feminist author G.K. Marche. We also see Marche and her partner Natalie in the 1960s, and events in that timeline echo powerfully in the present-day story.

I think I expected this play to be about the creative process, but that turns out to be only a small part of it. It’s about the desire to create: Stokes wants to paint, then write a novel; Tami wants to paint; G.K. writes; even Griffin longs to create a new life. But what the play is really about is connection, the heartaches, sacrifices, joys, the need to be seen and heard, and the desire to reach out to another human being, whether for friendship or for love.

Duck Washington and Noah Branch Photo by Aaron Mark Photo Film

The cast features Duck Washington, a Stages of MN favorite, as Griffin. Washington brings an almost Zen quality to the role, creating a portrait of a man who long ago made peace with the inequities of life. His calm and openness make Stokes’ desire to seek out his advice mirror our own. Lyreshia Ghostlon-Green, the only other performer I was familiar with going in, plays Natalie in a role punctuated by moments of fairly intense, at least for Theatre in the Round, sexuality.

The rest of the cast was new to me, but I sincerely hope they appear in many future productions, because they are all terrific. This play contains conflict and even betrayal, but there isn’t a single character you don’t like. That’s certainly a testament to Anderson’s writing, but it’s also a credit to the performers. Every one of them creates a character you care about, whose longings and struggles you internalize. I found myself unexpectedly tearing up in the final moments. Faithful readers know that’s not entirely unusual for me, but the way it crept up on me surprised me and revealed just how deeply these six characters had seeped into my heart.

Mary Cannon and Lyreshia Ghostlon-Green Photo by Aaron Mark Photo Film

I was going to name my favorites among the performers who were new to me, and then realized I’d be listing all of them. So here they are: Tia Tanzer as Tami, Izzy Maxwell as Riley, Noah Branch as Stokes, Mary Cannon as G.K. Marche, and Abdoulie Ceesay, who appears briefly in a non-speaking role just before intermission and then vanishes until curtain call. (What play does that?) It’s wild, but his role is deeply consequential, and while you don’t see him for long, you do see more of him than the other performers.

I also want to give major props to Director Vanessa Brooke Agnes and Set Designer Kejia Yu for making this tapestry of stories flow so seamlessly. There are a lot of scenes in this play, which often leads to clunky transitions and broken momentum. Here, the storytelling never pauses. Locations shift fluidly with the introduction of a prop or a performer. Sometimes scenes from different timelines unfold simultaneously. It feels organic and effortless, when in reality it’s the result of precise writing and incredibly thoughtful execution by everyone onstage and backstage.

Lastly, a note on Jacourtney Mountain-Bluhm’s costumes, sometimes in a show like this even though it takes place over the course of months, the actors find themselves wearing the same costumes in about every scene. Not here, it feels like there is a new costume for every scene and as I mentioned, there are a lot of scenes! I don’t usually notice costumes that much, but I noticed and appreciated the effort.

How to Catch Creation runs through February 8 at Theatre in the Round. I urge you to see it before it closes. This is a deeply satisfying play, brought to life by a cast of mostly unfamiliar but thoroughly compelling performers.

For more information and tickets, visit:
https://www.theatreintheround.org/howtocatchcreation/

Watch the 2025 TCTB Awards on the latest episode of The Stages of MN YouTube Show!! https://bit.ly/TSOMNEp25YouTube

Ride the Cyclone is a Dark and Wild Ride You Should Take, While You Can at Lyric Arts

The cast of RIDE THE CYCLONE Photo by: Dan Norman

The last three or four months have given me the opportunity to see several unique musicals that don’t get produced very often, the kind of cult shows most people have never heard of, but musical theater fans whisper about. Ride the Cyclone falls squarely into that category. After an Off-Broadway run in 2016 and, to the best of my knowledge, only one previous local production in 2019, which I did not see (possibly at the Jungle Theater, though I may be misremembering), this is not a show that comes around often.

I almost missed it this time as well. I was originally scheduled to see it earlier in the run, but a road closure and poor road conditions conspired to keep me away. I’m very glad I finally made it. If you enjoy bizarre, off-center musicals, I strongly encourage you to catch Ride the Cyclone before it closes at Lyric Arts in Anoka on February 8. Who knows when, or even if, it will be mounted locally again.

The musical is narrated by an animatronic fortune teller machine and centers on six teenagers stuck in limbo after dying in a roller coaster derailment at an amusement park. They’re told that one of them will be allowed to return to life, while the others will remain dead. The show unfolds as each character presents their case through song, revealing who they are and why they deserve to be the one who survives. Five of the teens are members of the St. Cassian High School Chamber Choir. The sixth is a mystery, known only as Jane Doe. She doesn’t know who she is either and moves through the show like a cross between a robot and a nonviolent zombie.

After the performance, the usual post-show question, “Who was your favorite?”, yielded no clear answer, which feels exactly right for this production. Ride the Cyclone is a true ensemble piece, and its underlying message is that no one is more worthy than anyone else. Every performer gets a moment to shine, and each character leaves an impression.

The real standout here may be the production design. Scenic design by Cory Skold, properties by Ren Edson, costumes by Sarah Christenson, lighting by Shannon Elliott, sound design by Paul Estby, and projections by Michaela Lochen all combine under the assured direction of Marci Lucht to create a striking, immersive visual experience. It’s a dark carnival brought vividly to life.

When I think back on the show, I don’t immediately hear the songs replaying in my head, though several are quite good, but rather the images and sensations. Jane Doe levitating. Roller coaster tracks climbing the walls of the stage. The giant rat. The Great Cassandra, perfectly played by Dezhane Antoinette. The sound of the roller coaster itself, rumbling even before the show begins. And the video design that opens the show and punctuates key moments throughout.

Ride the Cyclone feels less like a traditional musical and more like a trip through a shadowy carnival, full of unexpected thrills, strange beauty, and moments of genuine wonder.

Ride The Cyclone runs through February 8th at Lyric Arts in Anoka. For more information and to purchase tickets go to https://www.lyricarts.org/ride-the-cyclone

Watch the 2025 TCTB Awards on the latest episode of The Stages of MN YouTube Show!! https://bit.ly/TSOMNEp25YouTube