Day: March 8, 2020

Iron Hearted Violet at Stages In Downtown Hopkins

Photo by Fischeye Films

Whenever I see a show aimed specifically at young people I try and see it with the intended audience. For example seeing a weekday matinee with a bunch of students, or if I can find one, bring one with me. Today I brought my 7 (8 in a month) year old Nephew, who is dinosaur obsessed. Why? Because with this type of show, if at all possible I want to see how the intended audience reacts to it as well as seeing how well their parents/teachers will do with it. I also have rules for reviewing plays with student actors, which you can read at the end of this entry*. I also like to take young people to the theater in an effort to lower the mean age of theater audiences in general. I believe strongly in the arts as a means by which we come to understand others and our world. For this reason it is important to expose young people to the arts and encourage them to also participate in them. A venue like Stages Theatre Company in Hopkins is a great place for that to happen. Most of the cast of the show are elementary to high school aged. For young people in the audience, that can be invaluable to their understanding and something they can explore too.

Iron Hearted Violet tells the story of the refreshingly, not beautiful princess, Violet. Violet and her best friend Demetrius while exploring the castle discover a hidden room. Within the hidden room there is a book from which they unwittingly release Nybbas, an ancient God of evil into their world. They don’t realize they have done this at first but things begin to change in their world. Demetrius leaves to go with the king and his men to capture a dragon that has been reported in the nearboy kingdom of the mountain king. When they return with the captured dragon, Violet and Demetrius are at odds. In his absence Violets mother has died, and she says she will never forgive him for being away when that happened. The forces trying to pull the two friends apart are more than what we see on the surface. There are unseen but heard characters who are working behind the scenes to try and stop the growing darkness that Nybbas is spreading through the castle. Violet and Demetrius will need to to work with these unseen aids and the dragon if they hope to save their world.

The set design by Sarah Brandner is very effective, it allows for action on multiple levels, creating a sense of more space then we see. Kids will find the castle scenes that are played on the upper levels impressive. Portions of the set are also easily moved, shifted and turned to create new locations such as other areas of the castle and the mountains. I’m not sure who to credit with the creation of the dragon which is basically the head portion, though it’s wings do make an appearance as well. The Costume and Make Up Designer is Samantha Fromm Haddow and the Prop Designer is Bridget Gustafson. Whoever created it, it was hands down my nephews favorite part of the show. It was a very impressive design, a head that was fully created giving the sense of reality, but shows the kids a more conceptual version of the rest of the dragon, helping them bridge the gap between seeing things fully presented for them and suggesting the rest allowing them to use their imaginations as well. The last element that I want to draw attention to was the Sound Design by Peter Morrow. The use of directional sound in the play was very effective in emmersing the audience in the play. Much of the audience were looking around to see where certain sounds came from, creating a sense that the story was all around them not just limited to the stage.

The Adaptation by Playwright and Director Jeannine Coulombe is the weakest link. Their ideas at play in terms of the role of “story” also a link to mirrors and the world in which the story takes place. I sort of got the ideas behind these elements but it was all a bit too unclear, I suspect these were elements that were important thematically in the book by Kelly Barnhill. They probably seemed like they were too important to leave out, but they are lost in the translation and only seem to muddy the story. I was a bit unclear on those elements and my nephew found the play enjoyable but confusing. He thoroughly enjoyed the play though as did I, I think most parents and children will enjoy it. At 80 minutes in length I’d recommend paying attention to the age recommendation of this one, which is 7 and up. Based on your child you might want to think of it more on the 8 or 9 and up scale. For more information and to purchase tickets go to https://www.stagestheatre.org/

*In general I do not review the performances of young actors. I feel it is important for young people to take part in the arts. I want them to participate in theatre because they love doing it, not for the feeling they get when someone praises what they have done. On the flip side I don’t think they need to hear criticism of their performances at such a young age. A negative comment can be hard on a mature performer but it goes with the territory, as an adult actor you have to develop a thick skin and accept that not everyone is always going to like what you’ve done. But young artists are not always equipped to deal with that. Be sure that if the acting was terrible it would be reflected in the quality of the production itself, which is what my review will be. As a rule In a show dominated by young actors I will tend to simply avoid performance discussion in general including the adults in the cast.

WORLD PREMIERE!!! The Next Great American Musical as it Turns Out, is Actually a Queer Asian Musical. “Interstate” Floors it at Mixed Blood Theatre.

Kai Alexander Judd and Rose Van Dyne in INTERSTATE Photo by Rich Ryan

Interstate is why I do this. This entire blog’s genesis was around the idea of having a way to let people know when there was great theater happening in our state. This is it boys, girls, and they/them’s – this is the one. Interstate, which is having its world premiere at the Mixed Blood Theatre in Minneapolis is undoubtedly the best original musical to come along in years. A perfect cast brings the music, words, and hearts of its creators Melissa Li and Kit Yan to life. This is their story specifically, but it speaks to all of us. We talk about representation in the arts whether it be theatre, a TV show, movies, whatever. Interstate is about representation on every level from characters to casting. It’s also just great theatre, filled with songs that find a way into your heart immediately. A story set in 2008 that’s timely and important right at this moment in history. A tale that has to be told and these are the people to tell it.

Interstate is the story of Dash an Asian transgender spoken word poet and Adrian a lesbian singer songwriter. Together they form the Asian queer duo, Queer Malady. Queer Malady is on a cross country tour sharing their music and words with fans and building followers through their YouTube videos. Being Asian, queer, and having a desire towards activism, they have different priorities that will cause friction as they continue across the country. Their story is intercut with that of Henry, a South Asian Transgender 16 year old, living in Kentucky who has discovered Queer Malady on YouTube and found a hero specifically in Dash. Henry is not out to anyone but begins a blog to chronicle his journey and to connect with others who are on similar journeys. We blog to know we are not alone. Through Henry, we are shown the importance of seeing yourself reflected in the world around you, he is lost and confused and unsure how to be his true self until he discovers Dash online. When he finds Dash and Queer Malady’s music he sees a way forward.

The entire cast is excellent and should move immediately from here to Broadway after the show closes. The three leads deserve special mention. Kai Alexander Judd plays Dash to Rose Van Dyne’s Adrian, together they make Queer Malady seem like a duo that has been performing together for years. They both have excellent voices that ideally complement each other. They have a great chemistry on stage, believable as best friends whether they are joking around or screaming at each other, there is never a false note. They are superb, and as great as they are, it is Sushma Saha who plays Henry that is going to knock your socks off. They have a voice so beautiful that I found tears on my cheeks before their first song ended. Saha is not just a great voice though, there is a scene that takes place at Henry’s church. I don’t recall them even having a line of dialogue in the scene, but using just their eyes, broke my heart with their performance. All three actors impress with their commitment and willingness to go to very vulnerable places. The show doesn’t flinch away from dealing with aspects of transgender life that are not as well known, such as binders, top surgery, T-injections, and neither do the performers.

Sushma Saha in INTERSTATE Photo by Rich Ryan

The Book for the show co-written by Melissa Li and Kit Yan, music and lyrics by Li and poetry, and additional lyrics by Yan owes something to Rent. There are some stylistic similarities but it is an original and unique story. Those similarities are its strengths and only goes to prove what an influential show that was. Interstate also shares that sense of power and importance that Rent has. Li and Yan are committed to representation, their characters are on tour to reach out to and speak for the Asian Queer community, and the show itself holds to those values. Steadfastly, casting artists that represent the characters as written, the importance of which is echoed in one of Henry’s lines in the show, he says he’s starting the online blog because it’s the only place he sees someone like himself. The truly amazing aspect is how perfectly it flows within the narrative of the show. These are the themes and they are served well in the telling a very human and moving story. Often times a show that you might say has an agenda leads with it’s message and becomes self important. Interstate is a story about characters that we come to empathize with tremendously and through their tale, their message is conveyed. Li and Yan’s lyrics are some of the richest I have heard, songs that are so well crafted are rare even in big hit broadway musicals. A version of the show in progress played at the New York Musical Festival is where it won the award for Outstanding Lyrics.

Directed by Jesca Prudencio and assisted by Shannon TL Kerans the productions speeds along like Queer Malady roaring down the interstate highway. Scenic and Projection Designer Justin Humphres does a great job with what amounts to not a lot in the way of a set. Good use of projection and some really clever elements such as the car headlights in the floor are all that is needed. The rest is handled with Genoveva Castaneda’s well chosen props. It’s simple without feeling simple. We don’t need elaborate sets that evoke the details of the real world, the story and music have already transported us there.

I encourage everyone to see and take advantage of the opportunity to see this show. We’re so fortunate that something this great is having its world premiere here. In a perfect world, this show with this cast would move from here to Broadway, but the world isn’t perfect, so don’t miss the opportunity. This is one of those rare productions that you want to capture on film so you can view it over and over, but that is not what live theatre is. You have to seize the day, don’t miss it! Lastly, don’t wait until the last showing; there’s a good chance you’ll want to see it again or tell someone else to. I’ve already booked to see it again this Wednesday. For more information about Interstate and to purchase your tickets go to https://mixedblood.com/. Content warning. There is strong racial slurs and trans and homophobic language. There is also a scene of fairly graphic sexuality, no nudity but you should be aware of it. It is probably appropriate for anyone over 16 for those under that age, you know your own child best. I’d offer as guidance that it is on par with Rent in terms of these depictions, hopefully that helps guide you.