The Wizard of Oz Creates a World of Magic and Wonder at the Children’s Theatre Company

Regina Marie Williams, Reed Sigmund, Aniya Bostick, and Dean Holt Photo by Glen Stubbe Photography

The Wizard of Oz probably looked like a no-brainer when it was scheduled, likely around the time Wicked was becoming a global blockbuster in movie theaters. Now, coming on the heels of its less successful Part 2, Wicked: For Good, it might not feel like quite the slam dunk Children’s Theatre Company was hoping for.

I don’t see every show at CTC. Frankly, my kids are grown, the grandkids don’t live in town, and my niece and nephew are getting a bit old for most of their programming. But I try to catch one or two shows a year, usually something that appeals to me, my wife, or one of our usual plus-ones. The other factor is cost: tickets aren’t cheap, and if I’m going to recommend a show to a family, it needs to justify that price. This one absolutely does, it’s worth the splurge for a family outing.

The production is extremely faithful to the classic film, featuring all the songs you remember and love from childhood. I’m old enough to remember when The Wizard of Oz aired just once a year on network television, an event in our house. (I want to say it was around Easter, though that might be my memory playing tricks.) Either way, it was appointment viewing, something we looked forward to every year. I revisited the film a few years ago in its converted 3D version, and it still holds up, and if you are interested in such things, it’s a really solid conversion to 3D. But I may be wandering off into the haunted forest here. What I mean to say is: this feels like event theater, something you plan for, splurge on, and remember as a family. It’s filled with humor, unforgettable music, and impressive stage magic.

The role of Dorothy is played on alternate nights by two young actors, Aniya Bostick, who performed the night I attended, and Harriet Spencer. Bostick capably shoulders the weight of the entire production. Her talent and confidence in such an iconic role make her one to watch.

The entire cast is strong, but two scene-stealers deserve special mention. First is Alfie as Toto, who earns a collective “awww” from the audience every time he trots onstage, never missing a cue or putting a paw wrong. Second is a brief but hilarious moment from Brendan Nelson Finn as one of the apple trees, he knows exactly how to land a laugh without derailing the scene.

One of the production’s greatest strengths is the casting of Dorothy’s companions. These aren’t just solid performances, they’re fully committed, energetic, and deeply entertaining portrayals that elevate the show from something aimed primarily at children to something that genuinely works for all ages. No one phones it in; every actor digs into their role, finding every opportunity for humor and heart. The result is a show that trusts its story to captivate children while delivering performances that keep adults fully engaged. Leading that charge are Dean Holt as the Scarecrow, Regina Marie Williams as the Tin Man, and Reed Sigmund as the Cowardly Lion, who may well be the biggest laugh-getter of the night.

As mentioned, this is a production rich with stage magic, something I always appreciate when done well, and it certainly is here. Credit goes to the entire design team, starting with scenic designer Adam Koch, who brings to life a sepia-toned Kansas and the vibrant, technicolor lands of Oz. Costume designer Lex Liang strikes a nice balance between originality and homage, no designs are direct copies of the film, but all are clearly inspired by it. Lighting designer Jeanette Oi-Suk Yew, sound designer Reid Rejsa, and projection designer Kylee Loera all contribute to a seamless blend of effects that create a true sense of wonder.

If your kids are begging to see Harry Potter and the Cursed Child but your bank loan didn’t come through, this is a fantastic alternative, and one that wont put a penny into the despicable J.K. Rowling’s pockets. One you can enjoy without putting your house up as collateral, though you’ll still most likely need to put it on a Credit Card and pay it off over a couple of months.

The Wizard of Oz runs through June 14 at Children’s Theatre Company in Minneapolis. For more information and tickets, visit https://childrenstheatre.org/whats-on/the-wizard-of-oz-2/

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Little Women Gets a Hugely Successful Adaptation at the Guthrie Theater

George Keller (Marmee), May Heinecke (Beth), Isabella Star LeBlanc (Louisa/Jo), Audrey Parker (Amy), and Stephanie Anne Bertumen (Meg) Photo by Dan Norman

Little Women has long been a favorite story of mine. I first experienced it in 1994 when I saw the film adaptation starring Winona Ryder in theaters. Since then, I’ve read the novel and seen other screen adaptations. But my only previous stage experience was the 2021 production at Artistry of Little Women: The Broadway Musical, which, frankly, was a disappointment. After that, I shied away from other stage versions, feeling that perhaps the theater just wasn’t the right venue for this story. Five years later, I decided to try again, this time with a non-musical adaptation at the Guthrie Theater. Why return? The script is by Lauren M. Gunderson, the most produced playwright in the country and the writer behind The Christmas at Pemberley trilogy, which follows characters from Jane Austen’s Pride and Prejudice, which are a personal favorite. (I’m still waiting for some ambitious theater company to mount all three plays in rep!)

So how does Gunderson’s adaptation compare to the Broadway musical? It blows it out of the water in every conceivable way. Gunderson uses the clever narrative device of having Louisa May Alcott herself tell the story. For those unfamiliar, Little Women is largely based on Alcott’s own life and her relationship with her three sisters. When the play opens, Alcott introduces us to her family, and then to their fictional counterparts. What’s beautiful about the story is how we follow the sisters and their relationships with each other and those around them. It feels very much in the vein of Jane Austen; you develop the same attachment to the characters, their misfortunes, and their joys. This is a story that thrives not on action or mystery, but on character.

Any adaptation of Little Women will succeed or fail largely on the strength of its cast. These are beloved characters, and audiences come in not just knowing them, but loving them. The cast here is sublime, led by Isabella Star LaBlanc as Louisa and, by extension, Jo. LaBlanc brings the perfect mix of confidence and intelligence. Her Jo has mischief in her eyes and secrets just beneath the surface. The moment that crystallizes her perfect casting is the look she gives the audience just before the blackout at the end of Act I. It can’t be described, it must be seen.

It’s also great to see Stages of MN favorite Daniel Petzold as Laurie. His strongest moments come in his interactions with Louisa; he’s particularly well suited to the show’s more meta elements, as well as the older, more mature version of the character. His younger moments feel slightly forced at first, but that fades as Laurie grows. The three sisters are equally well cast: Stephanie Anne Bertumen as Meg, May Heinecke as Beth, and Audrey Parker as Amy fully embody these beloved roles. A shout-out as well to George Keller, who is excellent as Marmee and delightfully comic as Aunt March.

As with most Guthrie productions, the set looks like a million bucks. Designed by Junghyun Georgia Lee, it’s a true stunner: an open grassy clearing surrounded by woods, with pieces of furniture scattered throughout. It supports the idea that we are watching Louisa and her sisters enact the story, rather than attempting strict realism. It’s a bold choice, and it works beautifully.

Fans of Little Women owe it to themselves to see this production. Like Theatre in the Round’s production of Pride and Prejudice last fall, it makes a story from another era feel fresh, immediate, and original.

Little Women runs through June 21st at the Guthrie Theater in Minneapolis. For more information and to purchase tickets go to https://www.guthrietheater.org/whats-on/little-women/

The Boy Who Cried a Solo Show With Just Three More Performances Is Not to be Missed

The Boy Who Cried is Em Adam Rosenberg’s first solo show. Faithful readers will know what a huge fan I am of Rosenberg, dating back to the first time I saw them onstage in the early days of The Stages of MN, in Theatre Pro Rata’s production of Top Girls at the Crane Theatre. So of course I was there for their first solo show, one that Rosenberg not only performs, but wrote as well.

As the title suggests, the piece uses the familiar lesson turned bedtime story of the boy who cried wolf as a launching point to explore Rosenberg’s own ideas. The show is divided into two acts. The first is about 85 percent comedic, with Rosenberg addressing the audience as though we are the sheep to their shepherd boy. This shepherd has a vivid imagination and fills long, lonely hours with elaborate fantasies—like a courtroom trial in which my wife and I (as sheep) are prosecuted for public sex. Rosenberg plays prosecutor, defense attorney, witness, judge, everyone! Delivering a comedic tour de force. But at the end of the first act, what has been light and silly takes a dark turn when a wolf attacks. But is it a wolf or a wolf in men’s clothing? What has been slain sheep, or innocence?

The second act jumps 20 years into the future, exploring how the past reverberates into the present, before taking a final leap into something strange and wonderful.

The website says the production weaves a personal narrative together with the familiar fable. Part of me doesn’t want that to be true. We like to imagine that our favorite artists’ creativity comes from childhoods full of encouragement and freedom, where imagination is allowed to run wild. But more often than we’d like to admit, it comes from darker places. Just as turbulent political times, like the ones we’re living through now, can inspire great artistic work, the same is true on a personal level. For many, creation is a way to confront or purge demons; for others, it’s a sign they’ve moved beyond them, able to transform pain into art rather than let it cause harm.

I don’t know whether Rosenberg experienced the trauma the piece implies, or if this is a fable meant to help us better understand the trauma of others. Either way, it offers a more meaningful lesson than a simple story about a boy so desperate for attention that he risks the safety of his village just to be seen.

I can’t speak to Em Adam Rosenberg the person, only to the artist. And the artist has once again revealed a new dimension, this time as a writer. In one fell swoop, they demonstrate not only that they can write a great show, but that they can move fluidly between comedy, drama, and fable at a high level. Every time I see Rosenberg’s work, I discover something new to admire, another talent coming into focus.

Em, I hope you never stop surprising me. But should we ever reach the end of “new” talents to discover, it won’t matter. You will always be seen. I will always see you.

The Boy Who Cried is running randomly at The Hive Collaborative through April 26th but there are only 3 more performances and this should not be missed. For specific dates, times, and tickets go to https://www.thehivecollaborativemn.com/events/ekfp2ln88d86u7qwotd6ortatym11h

The Full Monty From Theatre 55 Leaves Nothing to the Imagination Featuring Six Very “Brave” Performances

The Cast (who you can see much more of in the show) Photo by Dan Norman

The Full Monty is what it’s called, what it promises, and, I’m fairly certain, what it delivers. I say “fairly certain” because the show’s final reveal hinges on a well-timed lighting cue. The guys fully commit, and in the moment just before the blackout, there’s little doubt that once the G-strings are gone, so is everything else. So why, you might ask, should you go if they pull a trick at the end to prevent a clear look at their one-eyed trouser snakes? (Sorry—I saw Grumpy Old Men: The Musical on Sunday, and Grandpa’s one-liners are still rattling around in my head.)

Well, come on, if you want to see the penis’ (I don’t know what the plural is for penis, I’ve only ever had one of my own) of a bunch of men over 55 google it. You don’t really need to see the full package, because what you’re actually there for is the vulnerability, of both the performers and their characters. This show isn’t about sex or nudity; it’s about self-confidence, acceptance, being true to yourself, and showing up for each other. It’s about vulnerability, and who better to explore that than a group of men who often cope through toxic masculinity, bottling up feelings, and hiding fear and shame?

Based on the 1997 film of the same name, the musical relocates the story from Northern England to Buffalo, New York. Why? It doesn’t really matter, one economically depressed city facing mass unemployment looks a lot like another, and the story is universal. A group of out-of-work men, each desperate for their own reasons, money, dignity, or both, hatch a plan to raise cash by putting on a one night only strip show. The problem? Most of them aren’t in great shape, most can’t dance, and none have done anything like this before. The fun of the show, and it is fun, is watching them talk themselves from a ridiculous idea to the point where they’re ready to step onstage in front of a sold-out crowd.

There are some genuinely fun songs, highlights include “Big-Ass Rock,” “Big Black Man,” and “The Goods.” There are also a couple of surprisingly touching numbers, “You Rule My World” and “You Walk With Me,” both of which land with real emotional weight. I’m not going to lie, that’s part of the deal, remember, the performances are a little uneven. But honestly, that works for a show about a group of guys who no one would nominate as Chippendales material, trying to pull off a strip show. Nobodies bad, few are great, and they pretty much all completely win you over. Their willingness to give you everything they have, or at least a glimpse of it, is inspiring and genuinely endearing.

So go for the… peniseses (?) (I did try and Google “plural Penis” and may have some explaining to do to Mrs. The Stages of MN), but stay for a show about figuring out what really matters. And for the joy of watching a group of artists over 55 prove they’re not done playin’ yet.

But hurry, this show closes this weekend, April 19, at the Frey Theatre at St. Catherine University. For more information and tickets, visit https://theatre55.org/current-show/

Ada Lovelace: Bride of Science is the Most Interesting Math Lesson You’ll Ever Get

Ada Lovelace: Bride of Science

Ada Lovelace: Bride of Science is the first full-length play written by Stages of MN favorite Nissa Nordland. I’ve enjoyed Nordland’s writing in her short-form plays featured at the Twin Cities Horror Festival and Minnesota Fringe Festival. I’ve loved those shows, but anyone familiar with those festivals knows that kind of work is unique. I was excited, but also a bit anxious, to see what she would do with a full-length play. After all, I promise Minnesota honest reviews, and being a favorite doesn’t grant immunity from criticism. I’m relieved to report that I came away impressed by the discipline of the piece, which is without a doubt a polished, effective, and creative telling of the story of real-life mathematician Ada Lovelace.

Lovelace, the daughter of the poet Lord Byron, was a woman ahead of her time. Considered the first computer programmer, she died in 1852 at the age of 36. Knowing Nordland’s affinity for the dark side, I suspect the title is a play on The Bride of Frankenstein, especially given that Ada’s father, Lord Byron, figures into the origin of Mary Shelley’s famous tale. Ada does seem to share with Victor Frankenstein a single-minded obsession in her pursuit of, at a stretch, an artificial form of life.

We follow Ada’s story from her parents’ separation when she was one month old through her death. Along the way, we witness her relationship with her overbearing mother, her marriage to William King-Noel, 1st Earl of Lovelace, and her own challenging relationship with her children. But the two most important relationships are with her dead father, who emerges from a painting to converse with and encourage her, and with Charles Babbage, fellow mathematician and inventor of the Analytical Engine, which would have been the world’s first computer if it had been completed. Ada could see the potential of the Analytical Engine beyond what even Babbage could, and far beyond what the rest of the world, unable to imagine its use, could grasp.

Gabi Jones, who is relatively new to me, does a great job handling the highly technical dialogue while also conveying Ada’s “poetical science” approach to her work. Derek Lee Miller, as both Lord Byron and William King-Noel, is excellent as always. I especially loved his take on the dead Lord Byron, including a song he sings to Ada that is particularly well done. Tara Lucchino, as Ada’s mother, does not shy away from the character’s cruelty, but also allows her softer side to come through. David Tufford capably handles some truly challenging technobabble, but his best moments come in conflict with Ada toward the end, as well as in scenes with her fellow mathematician and friend Mary Somerville, played by Victoria Pyan. Pyan excels in scenes addressing what she sees as Babbage taking advantage of Ada’s intellect without giving her proper credit.

Lastly, praise must be given to scenic designer Ursula K. Bowden for a surprisingly large scale set full of inventive touches, including a computer punch card flat that scrolls to display the year as the play progresses. Director Josh Cragun also deserves recognition; his use of movement creates an almost dreamlike quality in scenes that primarily serve to deliver exposition or endnotes, transforming what could be dry information dumps into elegantly engaging interludes.

Ada Lovelace: Bride of Science runs through April 19 at the Crane Theater in Northeast Minneapolis. For more information and tickets, visit https://nimbustheatre.com/productions/ada-lovelace

Grumpy Old Men the Musical From Minneapolis Musical Theatre is a Rather Fun Adaptation of the 90’s Film.

Jim Ahrens, Michael Fischetti, Ward Eames, and Quintin Michael Photo by Molly Jay Photography

Grumpy Old Men: The Musical, based on the 1993 film, is a perfect fit for the theater company Minneapolis Musical Theatre, which specializes in “Rare Musicals. Well Done.” This is certainly a rarely performed musical and, as is often the case, there’s a reason for that. The show itself isn’t of the quality that a larger theater like Theater Latté Da or the Guthrie Theater is likely to mount. But what MMT does is take those not-quite-hit-worthy efforts and, as their slogan promises, do them well.

The smaller budget, the mix of professional and community theater actors, and sets that lean more on creativity than realism are exactly what make a show like this work. To see Tyler Michaels King, Erin Capello, Tod Petersen, and Roland Hawkins II perform this on the Guthrie thrust stage, surrounded by a set that cost 20 times MMT’s budget, would shine far too bright a light on the material. At this level, we forgive the show’s imperfections, in fact, they become part of its charm. I don’t know if a lavish set could be any more charming than the clever creations scenic designer Maggie Mae Sulentic has devised. Actually, I do know: it would be a step down.

This material was never meant to stand beside Les Misérables or even Legally Blonde. Just as the original film wasn’t aiming for the magic of When Harry Met Sally or Groundhog Day, it was meant to be fun, light entertainment. And if memory serves, it was. I haven’t seen it since 1993, but I remember laughing and, despite it being aimed at people much older than my then tender 21 years, finding it quite enjoyable.

That’s what this is, too. Though I will say, I don’t think most modern 21-year-olds would find it as entertaining as I did. The sweet spot here seems to be my age and older, which, thankfully for MMT, my highly scientific observational poll suggests makes up about 75% of theatergoers. The trick, as with any show, is finding that audience and making sure they know about it. So if you’re under 40 and this doesn’t seem like your cup of tea, let your parents know, they’re going to have a blast.

The grumpy old men of the title are two former friends who have been feuding for more than 30 years. Their rivalry gets a fresh burst of energy when they both fall for a new widow who moves in across the street. Her home furnishings, especially a statue of her late husband, are among the many clever set pieces that add delightful touches to the production.

There’s also a subplot involving their children that might feel unnecessary, if not for the charming performances of Jillian Bader and James Lane, who win you over completely. Jim Ahrens and Ward Eames play the titular grumps, trading barbs and insults like seasoned pros. There are also a couple of real crowd-pleasers. Punky, played by Lisa Denninger, is essentially the show’s version of Woody from Cheers, and if you don’t know what Cheers is, this show probably isn’t for you. Denninger nails the comedy, but she also surprises vocally, arguably the strongest singer in the cast, if I’m being honest (and you know I always am). The other standout is Michael Fischetti as Grandpa, the role made famous by Burgess Meredith in the film. He’s just as funny, and just as inappropriate here.

Grumpy Old Men: The Musical is a great show to take in with a group of friends, say, ages 50 to 87. It runs through April 19th at the Conn Theater in Minneapolis. For more information and tickets, visit https://www.aboutmmt.org/2025-26-season/

Hmong Futures: The Future of Us A World Premiere From Theater Mu.

The full cast of “HMong Futures: The Future of Us” Photo by Rich Ryan

Hmong Futures: The Future of Us is the new play by Katie Ka Vang, having its world premiere from Theater Mu. It’s the story of three generations of a Hmong American family a mother, daughter, and granddaughter. It is, to be sure, a story about family, but also about community, or our found families.

Fhoua comes to the home of her mother, Zong, whom she hasn’t spoken to in five years. We learn from a phone call with her own daughter, Maly, who is away at camp, that she has something difficult to ask her mother. We suspect she wants to ask if they can stay with her. There is a lot of information we are not privy to at first, which is gradually revealed. That withholding mirrors a key theme of the play: these characters don’t speak openly about important things, and the script reinforces that by keeping certain details from us.

The secrets matter, of course, but the real thrill of the production, and where Katie Ka Vang truly excels, is in the voice of the characters. Their exchanges, their frustrations, all ring true. The way they talk around issues, saying one thing while meaning much more than they verbalize, feels authentic and deeply observed.

The cast is fantastic at making the dialogue feel natural while conveying the unspoken meaning beneath it. Sharon Omi, as Zong, is excellent as a mother shaped by a different country and a more survival driven life. Nancy Ma is stunning as Fhoua, a woman so accustomed to avoiding conflict that she struggles to reconnect with her mother and seems ready to slip away again. Melody Her, as the 16-year-old Maly, is one to watch. This is my second time seeing Her perform, the first was in Again, also by Vang, with songs by Melissa Li, which I loved, particularly Her’s performance. A college graduate, she can still convincingly play a teenager without it ever feeling forced or artificial.

Rounding out the cast is Greg Watanabe as Unclefriend, a very funny role and part of the found family Zong has built. Mason Yang appears as Aben, a young man helping out in the cooperative Zong is part of and also staying with her. He is also 16, and he and Her share a nice scene in which they open up to each other about their family situations.

A final note on the set design by Sarah Bahr. The set places the interior of Zong’s house upstage, with her garden downstage. The characters actually garden at various points, and it beautifully blends their inner lives with their connection to nature and farming. It’s a wonderful achievement and an impressively executed design.

Hmong Futures: The Future of Us runs through May 3rd at the Gremlin Theatre in St. Paul. For more information and to purchase tickets, visit https://www.theatermu.org/hmong-futures#gsc.tab=0