Oscar Wilde’s Salomé is Shiveringly Good at PAIKKA

Nathan Keepers Photo by Molly Jay Photography

The new production of Oscar Wilde’s Salomé, playing at PAIKKA, isn’t just a play, it’s an experience.

To get the most out of it, when they show you the coat rack, do not avail yourself of it. Find a seat close to the action, but also as near as possible to the end of the room you entered from. A character exits and enters through an exterior door several times during the show, and depending on the weather, you’re going to want to protect yourself. If I have one criticism, it’s not the use of the door, it’s how long it’s left open. I’m not saying I believe they shouldn’t do it. I just know I wished I’d had my coat instead of sitting there in a short-sleeved T-shirt.

The discomfort is clearly intentional, and I understand the artistic reasoning. Still, a warning might have been nice. At times I found myself distracted, not only by my own chill but by concern for the actors, who occasionally had even less protection than I did. And that’s all I’ll say about that. Take the proper precautions and you’ll be free to immerse yourself in this riveting drama.

Wilde’s play tells the story of Jokanaan (John the Baptist), imprisoned in a cistern by King Herod. The production opens in a dining hall, where some audience members are seated (don’t worry, there’s no audience participation), as four servants tidy up and gossip. We quickly learn that one of them is infatuated with Princess Salomé, Herod’s stepdaughter.

When Salomé leaves the party and enters the dining hall, she hears Jokanaan’s prophetic ravings and becomes fascinated. She convinces a servant to bring him before her. She is captivated by him, and is determined to kiss his lips, but he refuses her advances and is returned to his prison. Soon Herod and his wife, Herodias, enter. It becomes disturbingly clear that Herod harbors an inappropriate fascination with his stepdaughter. He promises Salomé anything she desires if she will dance for him. She agrees, and when she names her price, he desperately attempts to dissuade her.

Director Grant Sorenson eschews traditional theatrical forms, creating something immediate, immersive, and visceral. From my seat at one of the tables, it felt like front row theater in the most literal sense, which as faithful readers know, is my preferred vantage point. The action unfolds between two long banquet tables, with audiences seated along the outside edges and in rows lining the walls. The performers use the entire space, moving from one end of the room to the other and even through both doors. At times, the actors are directly between the tables and the audience, eliminating any sense of distance.

The performances are uniformly strong. Ani Tonoyan, in a dazzling silver gown, makes Salomé both seductive and calculating. Emily Gunyou Halaas brings a grounded realism to Herodias, watchful and keenly aware of her husband’s wandering eye. Logan Lang’s Jokanaan is ferocious, a prophet teetering between divine inspiration and madness, with bursts of physical intensity that are genuinely startling.

But it is Nathan Keepers as Herod who steals the show. His performance is layered with pointed allusions to Trump, funny, unsettling, and chillingly recognizable. He prowls the dining hall, ranting and rambling, his obsession with his stepdaughter rendered both grotesque and darkly comic. Whether you see the parallels immediately or gradually, the effect is undeniable. It’s a bold and captivating performance.

The ensemble of servants is equally compelling, and the presence of Stages of MN Must-See Lister, Stephanie Kahle, alone is reason enough to attend.

Salomé runs just two weekends ending February 28th. For more information and to purchase tickets go to https://www.salomempls.com/

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

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Chanhassen Dinner Theatres Rolls the Dice on Guys & Dolls and Comes Up a Winner!

Chanhassen Dinner Theatres officially ushers in a new era as the post Michael Brindisi years begin, with new Artistic Director Tamara Kangas Erickson making her Main Stage directing debut with Guys & Dolls. While the title itself isn’t exactly a boundary pushing choice, this production proves the theatre is in very good hands. It far exceeded my previous experiences with the show. I had an absolute blast, it features a terrific cast and truly exceptional dancing.

Erickson, who has choreographed more than 50 productions at CDT, shares choreography duties here with Linda Talcott Lee. I’ve often felt that in musicals, especially the ones pushing three hours, overtures and long instrumental transitions can drag. Not here. Erickson turns those moments into highlights. Scene changes become showcases for high-energy dance breaks, frequently led by the immensely talented Kyle Weiler. Under Erickson’s leadership, there’s little doubt that choreography at CDT will continue to be top tier.

Set in a stylized 1940s New York that looks like it stepped straight out of a Dick Tracy comic strip, Guys & Dolls follows Nathan Detroit, a lovable schemer who can organize the longest running floating crap game in the city but can’t manage to marry his long suffering fiancée of fourteen years, Miss Adelaide. Adelaide headlines at the Hot Box Club and has been telling her mother they’re already married, with five children.

Desperate for cash, Nathan bets slick gambler Sky Masterson that he can’t persuade straight laced missionary Sarah Brown to accompany him to Havana. Sky takes the bet, but what starts as a hustle turns into genuine romance. Beneath the gangsters and gambling, this is really a show about two love stories and how when it comes to matters of the heart all bets are off.

The four leads are outstanding. Sara Masterson brings a gorgeous voice and winning sincerity to Sarah Brown, and her Havana “drunken” sequence is beautifully played. Charlie Clark’s Nathan Detroit is funny, earnest, and completely endearing, a lovable gangster who clearly adores his doll. Madeline Trumble is comic and musical gold as Adelaide, delivering her big numbers with flair and impeccable timing.

The biggest revelation for me was Shad Hanley as Sky Masterson. I’ve enjoyed Hanley in previous roles, but this feels like a breakout moment. From the second he steps on stage, he owns it. Confident, charismatic, and yes, helped perhaps by that striking dye job, he’s effortlessly the coolest guy in the room.

And a sure sign of a strong cast is when you want to keep going after praising the leads. Matthew Hall is terrific as one of Nathan’s guys, and he absolutely brings the house down with “Sit Down, You’re Rockin’ the Boat.” Cynthia Jones-Taylor is hilarious and commanding as General Cartwright, my only complaint is that we don’t get more of her. And it’s always a pleasure to see Stages of MN favorite Tod Petersen, as Sarah’s Grandfather, who brings warmth and tenderness to “More I Cannot Wish You,” a beautifully quiet moment in a show bursting with bold personalities.

Visually, this production pops. Rich Hamson’s costumes are wild, colorful, and unapologetically theatrical, bold suits in primary colors, plaids, and stripes that look torn from a comic strip page. Sky’s wardrobe, by contrast, is sleek and elegant. Adelaide’s nightclub ensembles are especially fun. Nayna Ramey’s set design makes dynamic use of the space, even revealing an area of the theatre I didn’t know could be used, which was a delightful surprise.

And, as always, the Chanhassen Orchestra under music director Andy Kust delivers a lush, full sound that supports the performers without overpowering them.

This Guys & Dolls is big, bold, joyful entertainment, and a confident first Main Stage outing for Tamara Kangas Erickson. Guys & Dolls runs through September 26 at Chanhassen Dinner Theatres. For more information and to book your seats for a delicious dinner and show go to https://chanhassendt.com/guysanddolls/

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

Part 1 of My Theater Couples Interview with Eric Morris and Laura Rudolph Morris on the Latest Episode of The Stages of MN YouTube show!

Faithful readers this is to let you know that the latest episode of The Stages of MN show has been up since last week. As usual I forgot to do a post for all of the Blog subscribers. So here is the link, https://bit.ly/TSOMNEp26YouTube. And the link for the podcast version as well https://bit.ly/TSOMNEp26Podcast

This episode marks the return of our series on Theater Couples. Last summer I went to talk with Eric and Laura at their home and theater The Hive Collaborative. I came away with so much footage that I’ve had to break it into two parts. The other consequence of shooting so much is that it was a huge tackle editing wise. I found that with my ambitious plan to produce an episode every week, there never seemed to be time to tackle that massive edit until we hit our winter hiatus. Now the full interview is edited, we have about 20 minutes on the cutting room floor. But don’t worry about the mess, I’ll sweep it up later.

They next episode will come out next week sometime, in line with our new release plan of every other week. Its not that I’ve lost enthusiasm for this project, its about finding that work/life/theater balance. Its also about trying to have more time for some of the fun things we always wanted to do with the show, like more in person interviews like the Theater Couples series and the Sharing a Sandwich With… series. There are so many folks I want to have on and Zoom works, but we want to mix in more in person interviews as well. Hopefully this schedule will allow for more of that.

I hope you enjoy this episode which also features my MN Honest Reviews of Macbeth at The Guthrie Theater and the Glass Menagerie at Theater Latté Da. Plus some info on three upcoming events that should be a lot of fun!

Watch the 2025 TCTB Awards on Episode 25 of The Stages of MN YouTube Show!! https://bit.ly/TSOMNEp25YouTube

Les Misérables Continues to Stun and Captivate at the Orpheum Theatre

Lindsay Heather Pearce as Fantine Photo by Matthew Murphy

This is my fourth journey to post-revolutionary France with Les Misérables and, remarkably, my fourth time seeing this touring production at the Orpheum Theatre. The first was in 2018, before The Stages of MN’s time. At a time when I’m trying to scale back on the number of shows I attend so I can focus on producing episodes of the YouTube show, repeat viewings are usually the first to go. For example, although I enjoyed Kimberly Akimbo when it played The Orpheum Theatre last year I decided to skip it at the Ordway Center for the Performing Arts this month.

But when it comes to Les Misérables, there are shows you can miss… and shows you simply don’t. You can probably guess where this one falls. Even though it was here just over a year ago, I signed up without hesitation. And when it returns in a few years (fingers crossed), I’ll be there again.

Once more, I was completely swept up in the overwhelming beauty of this production. With its magnificent cast and painterly production design, every scene glowing as though lifted from a Rembrandt painting, the show remains one of the most breathtaking theatrical experiences around. Inarguably among the greatest musicals of the late 20th century, it pairs music by Claude-Michel Schönberg with lyrics by Herbert Kretzmer, adapted from the novel by Victor Hugo. Nearly three hours long, it never wastes a moment. Every lyric, every musical phrase, propels the story forward. No matter how many times I see it, I remain riveted from beginning to end.

Set in early 19th century France, Les Misérables follows Jean Valjean, imprisoned for 19 years for stealing a loaf of bread to feed his sister’s child. Upon his release, he discovers that freedom does not mean acceptance. Shunned and desperate, he is taken in by a Bishop who offers him food and shelter. When Valjean steals silver from him and is caught, the Bishop claims it was a gift, granting him a second chance. In that moment of grace, Valjean resolves to remake his life.

Years later, he has become a factory owner and mayor. There we meet Fantine, unjustly dismissed and forced into a tragic downward spiral to support her daughter, Cosette. Meanwhile, the relentless Inspector Javert begins to suspect Valjean’s true identity. The narrative spans years, weaving together love, sacrifice, political unrest, and redemption, culminating in the Paris student uprising. Though epic in scope, the storytelling is remarkably clear. And while the events can sound relentlessly bleak, the overall effect is anything but. It is uplifting, powerful, and wonderous.

Opening night featured numerous understudies, something I might not have realized had I not been told. Randy Jeter stepped in as Jean Valjean, a role I had previously seen performed by Nick Cartell. Jeter more than did the part justice. While he may not have had quite the same upper-register strength as Cartell, his performance was emotionally grounded and vocally assured.

Lindsay Heather Pearce delivered a heartbreaking “I Dreamed a Dream,” letting Fantine’s despair seep into every note. Jaedynn Latter’s Eponine was another standout. If Valjean is the show’s conscience, Eponine is its heart. Her “On My Own” was so moving it briefly makes you question whether Marius truly belongs with Cosette. Hayden Tee’s Javert was vocally powerful and dramatically nuanced, his final scene eliciting audible gasps. Even on my fourth viewing, I still can’t quite figure out how that moment is staged. Kyle Adams, stepping into the role of Thénardier, provided comic relief alongside Victoria Huston-Elem’s Madame Thénardier, though Adams doesn’t quite eclipse previous performance by Matt Crowle who I saw last time and whom he was understudying for tonight. Still, their timing offered welcome levity amid the drama.

The production design, everything from the sets to the lighting, projections, and costumes, creates one of the most beautiful shows I’ve ever encountered. On one side of the stage there’s a doorway; on the other, a stone archway. Those elements remain constant. Throughout the play, the sides push out to varying degrees and, somehow, these two openings come to look like entirely new structures. It’s a fascinatingly versatile set, large, impressive, and solid-looking, yet able to flow, change, and reconfigure with remarkable fluidity.

Set and image design is by Matt Kinley, inspired by the paintings of Victor Hugo. Lighting designer Paule Constable doesn’t merely illuminate the stage, she paints with light. There’s such a seamless melding of physical set and lighting design, and it’s through the marriage of these two art forms that the show achieves its painterly aesthetic. And yes, when set and lighting design look this good, it is absolutely an art form.

Projections by Finn Ross and Fifty-Nine Productions are used sparingly and effectively, enhancing rather than overwhelming the physical scenery. As someone often wary of excessive projection, I found this production a reminder of how breathtaking the medium can be when used judiciously.

Les Misérables runs through February 22 at the Orpheum Theatre in downtown Minneapolis. For tickets and more information, visit hennepinarts.org.

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

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

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/

Follow me on Facebook / thestagesofmn

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