Fefu and Her Friends an Intimate Site Specific Play Staged by Theatre Pro Rata at the Searle Mansion Feels Like Eavesdropping

Christy Johnson, Brettina Davis, Jessica Winingham Photo by: Alex Wohlhueter

Fefu and Her Friends really feels as if you’re eavesdropping on a gathering of friends at the spacious country home of Fefu, played with breezy naturalism by Jessica Winingham. It’s set in the 1930s but written in the 1970s. The characters dress and observe the customs of the earlier era, but much of their behavior reflects the playwright’s feminist perspective. The result feels like a glimpse into how people might have actually behaved outside of literature and film, how longtime friends really spoke to one another and the emotions they allowed themselves to express.

Everything about this production, from the setting to the performances, works to be anti-theatrical, breaking down the barrier between actor and audience. Not through participation (there’s none of that), but through proximity. The audience follows the performers throughout the beautiful Searle Mansion on Lake of the Isles in Minneapolis. Without the usual dividing line between stage and house, the sense of “performance” all but disappears. The actors don’t need to project or exaggerate; we’re sitting close enough to touch them. The result feels more like film acting, subtle, intimate, and immersive.

There isn’t much of a traditional plot, and for once, that doesn’t feel like a drawback. The women have gathered to prepare for a fundraising event, but that’s largely incidental. Instead, we get fragments of conversation, glimpses of relationships, and small revelations. One of the more unusual elements is the character of Julia, whose empathy for animals takes on a surreal and tragic dimension.

The structure is as unconventional as the storytelling. The entire piece runs about 90 minutes. Act One, roughly 25 minutes, unfolds in the living room, introducing the characters. For Act Two, the audience is divided into four groups, each led to a different room in the mansion to watch a short scene. After eight or nine minutes, groups rotate to another room and another scene, until all have been seen. The audience then reconvenes in the living room for a final act of about 25 minutes.

A lot happens in that short span, and yet, in another sense, very little does. M’colleague Jill from Cherry and Spoon remarked that she’d happily watch a 10-episode Netflix series about these characters, which perfectly captures the experience. You’re drawn in not by plot, but by the people themselves. You simply want to spend more time with them. Listening to them talk is the point, and it’s consistently fascinating.

The performances are wonderfully unmannered across the board, and those that lean more theatrical feel intentionally so. Jessica Winingham is excellent as Fefu, evoking a grounded, realistic version of a 1930s screwball heroine. Equally compelling are the quiet interactions between Brettina Davis and Christy Johnson as Cindy and Christina, with Johnson earning a lovely laugh for her character’s peculiar method of drinking, placing a few drops of alcohol on an ice cube and sucking on it.

It’s also nice to see Nora Sonneborn again, though I’ll go on record saying she should be required to sing in every role going forward. As always, great to see Nissa Nordland, and I have to share this revelation I had about her. Though it has nothing to do with her performance in this role, other than the time period, costume, and her hair style. I was suddenly struck with the certainty that in 20 years time, though she’ll still be too young for the role, but with makeup could pull it off, she needs to play Agatha Christie’s Miss Marple. I think some company needs to do an annual Miss Marple play and cast her every year, it’ll be a tradition. She has the slightness of frame, the bird-like profile, that intelligent twinkle in her eye. It’s one of those things, where now that I’ve seen it I’ll never be able to unsee it.

Fefu and Her Friends has an unusual schedule:

May 11, 7:30 PM – Opening Night, Mobility Access Night
May 12, 7:30 PM – Pay What You Can
May 13, 7:30 PM

May 18, 7:30 PM – Pay What You Can, Mobility Access Night, ASL, Audio Description
May 19, 7:30 PM
May 20, 7:30 PM

May 26, 7:30 PM
May 27, 7:30 PM
May 28, 7:30 PM – Closing Performance

For more information and tickets, visit https://www.theatreprorata.org/production-history/fefu-and-her-friends

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The Hobbit at Theatre in the Round, the Story You Love Told Like You’ve Never Seen it Told Before.

Issabelle Hopewell as Bilbo Baggins Photo by Richard Hudson

The Hobbit at Theatre in the Round is not what you expect it to be. Those familiar with Theatre in the Round will go in knowing there isn’t going to be a huge animatronic dragon at the end. There isn’t going to be a cast of dozens, in fact, the cast isn’t even a dozen. It’s made up of ten performers, nine of whom are listed as ensemble because they each play multiple roles. Only the main protagonist, the hobbit of the title, Bilbo Baggins of the Shire is given a single, dedicated performer: Isabelle Hopewell.

That’s right, Isabelle. You wanna make something of it?

Fans of IP properties like Tolkien’s Middle-earth can get a little precious about their expectations, so let’s get this straight right out of the gate: this production tells the story of The Hobbit faithfully, but it does so in its own way. If you relax and open yourself up to it, you’ll have a blast. If you’re going to get hung up on the fact that a female actor is playing Bilbo and another is playing Gandalf, then stay home. There aren’t enough tickets to go around as it is, so don’t rob someone else of the chance to enjoy this wildly creative take on the fantasy classic.

This version of The Hobbit begins not long, long ago, but thirty years in our future, and not in a land far, far away, but in the Seven Corners area of Minneapolis. I can already hear the “WTFs?” But trust me, faithful readers: this is a true and faithful telling of the story. It’s just a bit meta.

What we’re watching is The Hobbit performed as a makeshift play by a group filling in for a professional troupe whose caravan broke down and couldn’t make it. But don’t worry, they’ve seen the show many times. They know the story, and they even have some of the props. And while they may be short a few performers, they find inventive ways around that, some of which involve gently wrangling the audience into the action. Don’t worry, Cherry and Spoon, it’s low key group participation.

Coming off what is probably the most impressive display of stage magic I’ve ever seen in Harry Potter and the Cursed Child (and yes, remember to make your donations to Transforming Families https://www.tffmn.org/ to counteract the bad works of J.K. Rowling), this was a nice reminder that theatrical magic doesn’t have to be high-tech to be effective. This show is filled with low-tech, creative solutions to the story’s fantasy elements. None of it will leave you wondering “How did they do that?” but much of it will have you cheering at how clever and funny it is. It doesn’t wow, it delights, which is just another form of theatrical joy.

Oh, and that dragon? I may have misled you. There is a dragon, and it’s more than you expect and exactly what you need it to be.

And that cast, Isabelle Hopewell absolutely Baggins the hell out of the role of Bilbo. Wini Froelich is a fine Gandalf (among several other roles). The entire cast is fully committed, you can tell they’re having a blast, and so is the audience. Several cast members also double as the band.

The band, you say?

Yep. It’s not billed as a musical, but there are several short songs included in the price of admission. Bravo to director Scott Gilbert and his technical staff and designers, they’ve created something that feels truly unique and engaging.

After the last three shows at TRP, all of which were excellent but played to half-full houses, it was a pleasure to sit in a sold out theater. The longest running community theater in the Twin Cities is doing great work, and it’s nice to see them filling seats again.

The Hobbit runs through May 31 at Theatre in the Round in Minneapolis. For more information and tickets, visit theatreintheround.org but hurry, performances are selling out.

Harry Potter and the Cursed Child Dazzles, Astonishes, and Wows! You Will Believe a Boy Can Wizard!

Adam Grant Morrison, David Fine, and Maren Searle Photo by Evan Zimmerman

First off, let’s deal with the Dementor in the room: the Dark Lord, J.K. Rowling. I struggled with whether or not to review Harry Potter and the Cursed Child. Faithful readers know that transgender issues are very important to me and my family. It’s one of the oldest conundrums in the world of art, can you still love and enjoy the art when the artist is revealed to be someone you cannot, in good conscience, support?

I own all the movies on Blu-ray, so as long as I don’t upgrade to 4K UHD, can I still watch and enjoy them, since I’m not adding any money to Rowling’s Gringotts vault? I love the Harry Potter books and films, and I really wanted to see the touring production of this Broadway show, but I was torn. I receive press tickets, so in that regard I’m not putting money in she-who-must-not-be-named’s pocket. But what about those who might read my review and decide to see it? I can’t just take the press tickets and then not review the show.

And what about the hundreds of people a tour like this employs, the actors, many of whom, if they’re just starting out or aren’t big names, don’t have the luxury of turning down a steady job? Doesn’t their work deserve to be acknowledged and praised or critiqued on its own merits? Then the rationalizations start to kick in, driven by that primal urge to see a favorite story continue, to find out what happens to characters I fell in love with a quarter of a century ago. Can the $5 or $10 that might go to Rowling from each ticket really matter at this point? Doesn’t she already have more money than she could ever need to spread her particular brand of ignorance? Probably. And yet, I was torn.

My fellow Twin Cities theater blogger over at Cherry and Spoon suggested that, even though our tickets were free, we could offset our attendance by donating the cost of those tickets to an organization that supports and protects the transgender community. So I’ve made a donation to Transforming Families equivalent to the full cost of the tickets.

Transforming Families is a Minnesota-based 501(c)(3) nonprofit that provides:

Monthly support groups for youth and caregivers
Educational and social events that build confidence and connection
Advocacy and outreach to create safer schools and communities
Family mentorship to help relocating families build supportive networks

When my son George first transitioned, we found answers and community through Transforming Families of Minnesota. At the time, the group consisted of maybe a dozen families gathering for peer-led support. Over the past decade, it has grown to more than 1,000 members. I offer this as a way to ease the guilt of any other Potterheads who can’t help but go to the show but feel conflicted.

Now, the review.

Harry Potter and the Cursed Child, pared down from its original two-part version (still running in London), is written by Jack Thorne, based on a story conceived by Rowling, Thorne, and John Tiffany. I had never read the script, though I believe someone in my family owns it. So I can’t say what’s missing from the extended version, which runs over five hours. What I can say is that, at just under three hours, this version absolutely flies by.

There’s a campaign called #KeepTheSecrets that urges audiences not to spoil the plot or its twists. There’s even a spoiler notice in the cast list asking audiences not to read it until after the show. So I’ll keep it simple: the story takes place 19 years after the events of Harry Potter and the Deathly Hallows. The children of Harry and Ginny, Ron and Hermione, and Draco Malfoy take center stage, but don’t worry, their parents are very much present and play significant roles.

But let’s be honest, what you really want to know is: how’s the magic?

It’s everything you want it to be and more.

There are effects I have no idea how they accomplished, and others where I can guess the technique, but they’re executed so flawlessly that they’re still astonishing. One effect, used whenever reality is distorted, makes the entire stage seem to ripple, as if the world itself is being rewritten before your eyes. I assume it’s some lighting or projection, but it looks uncannily real.

And it’s not all massive, mind-blowing spectacle. One of the most jaw-dropping moments happens right at the beginning: as the kids run toward Platform 9¾, the actors, dressed in ordinary street clothes, spin once and instantly appear in full Hogwarts robes. It happens in a fraction of a second. It’s completely unexpected and utterly magical.

Technically, every aspect of the production is flawless, with one minor exception. During a climactic wand battle, there appeared to be a glitch, the flames that should have appeared didn’t. It was a bit of a bummer (and forced me to rethink the photo I planned to use for this review), but honestly, the show is so dazzling that the moment barely registers. I suspect it will be fixed quickly.

Performance wise, the cast faces a daunting challenge. The films have left such an indelible impression of these characters that it’s hard not to compare. Still, I found myself adjusting fairly quickly. Ryan Hallahan felt a bit too jockish as Draco Malfoy, and Adam Grant Morrison was perhaps slightly too whiny as Albus Potter. On the other hand, David Fine is terrific as Scorpius, bringing warmth and humor to the role.

If you’re a Harry Potter fan, you’ll want to see this. It truly is magical. Ticket prices are a bit steeper than most shows, but you can see where the money goes, it’s all onstage, and it’s worth it for true believers.

But if you do go, please consider making a donation to Transforming Families. I know tickets are expensive, so even contributing the $5 or $10 that might otherwise go to Rowling per ticket would be a meaningful gesture.

Harry Potter and the Cursed Child runs through May 17 at the Orpheum Theatre in downtown Minneapolis. For more information and tickets, visit hennepinarts.org.

Once Upon a Mattress at Lakeshore Players

Once Upon a Mattress at Lakeshore Players in White Bear Lake is a case of the parts being more successful than the whole. It’s ultimately an enjoyable experience, though the musical itself and, to be honest, this production as well, is by no means a must-see. The show has a couple of memorable songs, but there’s a reason it isn’t performed very often. It’s a bit unfocused, though still serviceable. I suspect there’s been some script tweaking, as it felt surprisingly meta for a 1959 musical. I didn’t catch all of the pop culture references, there were definitely allusions to boy bands (a world I know nothing about), and likely other musical nods that went over my head. Younger or more in-the-know audiences may get more out of those moments.

The plot adapts The Princess and the Pea, padded out with enough additions to stretch to nearly three hours, including an intermission. To its credit, it doesn’t feel that long. If there’s a primary issue with this production, it’s likely budget and time, the perennial challenges of theater-making. This is an epic-length musical with a serviceable but bare-bones set design by Justin Hooper. The main set piece, a large staircase connected to a platform upstage that later transforms into the famous stack of mattresses, is an impressive build. However, it seems to have consumed much of the available resources, leaving little room to flesh out the rest of the set. They gamely try and get a lot of mileage out of a large red see through curtain, but it shows. One could argue for a simple, elegant aesthetic, but that doesn’t quite match the tone of this show.

It often feels like what works does so at the expense of something else. The costumes by Sarah Christenson, for example, include some genuinely inspired choices. The Minstrel, played perfectly by Devin Dolquist, is clearly styled after Elton John, and the costume is fantastic. Sir Harry’s look feels like it stepped out of a fairy tale and then got run through a hipster filter, and King Sextimus sports a ’70s Elvis-style white jumpsuit with a cape, another fun touch. But much of the rest of the cast is dressed in either jeans and T-shirts or corsets and bustiers. You get the sense that, with more time and budget, the entire design could have matched the creativity of those standout elements. Instead, the inconsistency contributes to an overall feeling of disjointedness, as though the production never quite comes together as a unified whole.

Thankfully, the cast is consistently strong. The secondary romantic pair, Sir Harry and Lady Larkin, are especially well played by Thomas Friebe and Lizzie Stuebs. They get a standout song in each Act, and both are highlights of the show. Sophia LaFave as Princess Winnifred fully leans into her big numbers, delivering them with just the right amount of attitude. And Maya Vagle as Queen Aggravain, delightfully overbearing and far too attached to her son, is fabulously over-the-top in all the best ways.

Once Upon a Mattress runs through May 17th at Lakeshore Players. For more information and to purchase tickets go to https://www.lakeshoreplayers.org/mattress-season-73

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/

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