The Marvelous Wonderettes is Underselling Itself, It’s Somekind of Wonderful From Sidekick Theatre

Camryn Buelow, Faith Winship, Leslie Vincent and Debi Kilde are the Marvelous Wonderettes.

I’m a child of the 70’s, teen of the 80’s, but I grew up with the music of the 50’s and 60’s. Sure The Marvelous Wonderettes is a jukebox musical and those can be a little uninspired sometimes, but when the music is this good and the hook so simple and sweet, then I’m all in. If you love the music of this era, girl groups and doo wop and even segwaying into some motown, you’re sure to be wearing a smile throughout this show. What I love about theater is it can serve up such a variety of experiences. Just coming off the Twin Cities Horror Festival, I spent the better part of a week being thrilled at shows that made me laugh, tremble, and sometimes suppress my gag reflex. Other shows make us think about the world we live in, while others create empathy for people who are different from ourselves. As the Byrds sang in 1965 “To everything turn, turn, turn there is a season” The Marvelous Wonderettes is a time to smile. This show filled me with joy and gratitude for these fantastic songs and the wonderful vocal talents of this cast.

The show written and created by Roger Bean is broken into two Acts. Act One is 1958 at the Senior Prom and The Marvelous Wonderettes, four friends and all candidates for Prom Queen, are providing the musical entertainment. There are some rivalries and story threads that playout throughout the show, but it’s basically the four girls up there wowing us with their renditions of classic songs from “Mr. Sandman“, “All I Have to Do Is Dream“, and “Goodnight, Sweetheart, Goodnight“. Act Two takes place 10 years later at the 10 year reunion where The Marvelous Wonderettes have once again been asked to provide the musical entertainment. Just as the music changed from simple bubblegum pop in 1958 to songs with a little more to say, so have the problems of the Wonderettes evolving from stolen boyfriends to unfaithful husbands. But even with the slightly more mature story threads of the second Act, the show never bogs down or gets heavy man. It uses the pop music of the times creatively and pieces together plots and character names in an almost jigsaw like fashion that’s wonderfully satisfying.

I went because I enjoyed the last production by Sidekick Theatre and because Leslie Vincent, a performer I’ve been really impressed with in the past was in it. I knew if nothing else, I would enjoy hearing her sing some of these classic songs. What I discovered was that the entire quartet is amazing. In each Act they all get their own chance to shine as lead singer, but as importantly they all provide the beautiful backup vocals for each other. Vincent plays Betty Jean (BJ) who is always being upstaged both on stage and off by her BFF Cindy Lou played by Camryn Buelow. Vincent is always great, but my favorite moment from her in this show was when she sings “It’s My Party“. Buelow plays the diva of the group stealing the spotlight and whatever else she can from Betty Jean, but her best moments are a more accessible Cindy Lou in Act Two with the one two punch of “Son of a Preacher Man” and “Leader of the Pack“. Debi Kilde plays Missy who’s crush on teacher Mister Lee provides some good natured audience participation. Her performance of “Secret Love” is surprisingly moving for a show that trades in laughs and bubblegum music. Kilde also is the Choreographer for the show and while it isn’t overly elaborate there’s no denying the girls have some nice synchronization and routines that add to the overall charm and feeling of authenticity. Suzy is played by Faith Winship and is wonderful with her characters little comedic bits, in the first act she’s constantly chewing gum, in the second act she gets to be pregnant. Her body language is perfect and adds these little extra moments to each of the acts that just somehow adds to the shows perfection. My favorite song from her was “Respect” which has a fabulous gag in it that I’m not going to spoil. The best way to describe these characters I can think of is to imagine the Pink Ladies from Grease, imagine if Sandy and Rizzo were sidelined and the remaining Ladies got to flesh out their stories and show off their vocal chops.

The show is directed by Brian Pierce with Musical Direction by Gary Rue, both of whom perform in the tight little rock quartet that back the Wonderettes. The scenic design is by Tim Stoltz with costumes by John A. Woskoff and the look of the show matches the sound perfectly bringing us back to the 50’s and 60’s. The show features over 30 classic songs from the 50’s and 60’s all but one or two will be familiar to most audiences. If the music of that era is your jam as it is mine, you’ll want to get out to see this show at the Minnesota Masonic Heritage Center where it is running until November 12th. For more information and to purchase tickets go to https://sidekicktheatre.com/wonderettes . There is the option to purchase a meal before hand. I enjoyed a wonderful brunch before the show and I highly recommend this option. dinner and a show couldn’t be easier!

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Twin Cities Horror Festival XII: Final Review from Day Seven Shadows Under Wabasha

This will be my final posting for this years Twin Cities Horror Festival (TCHF) and with this review I have successfully seen and reviewed each of the 11 shows. It’s been a great year; there have been laughs, thrills, and some real gross-out moments. I encourage you to get out and see as many shows as you can, but be warned, you need to purchase your tickets ahead of time. Already what is arguably the best show of the festival, Rasputin, has sold out it’s remaining performances. Shows are selling out right and left this year, which is great for the festival and artists, but puts us audiences in danger of missing out. Don’t miss out!! For more information check out the Festivals website at https://www.tchorrorfestival.com/ and to purchase tickets go to https://tix.gobo.show/festival/tchfxii

Shadows Under Wabasha by Kyle Dekker and Jacob Gulliver draws on the history of The Wabasha Street Caves and St Paul’s colorful past of criminal leniency. The show makes much better use of the studio space than Lock-in was able to, any seat should afford you a view of all the action, though beware of the splash zone! If you’re one that enjoys some blood with your TCHF, this show opens a few veins and will not disappoint any vampires in the audience. Of the cast the standout is Ileri Okikiolu as Haggins, a WWI vet who is part of a heist gone wrong that results in the four criminal partners trapped in one of the caves after the entrance collapses. Okikiolu has a presence that commands your attention and Bridget Foy as Bertinelli gives a solid performance as well as the clear headed but alcoholic leader of the gang. The script has the basis for a solid show though it does gets a little muddled towards the end. The building of tensions between the trapped men could be better modulated as the show seems to devolve into its bloody resolution rather than build to it. This one has some nice costumes and fun props and set design with its faux exposed brick walls, and a lesson in how to utilize that Studio space.

For some behind the scenes information about the TCHF listen to season 2 episode 5 of the Twin cities Theater Chat podcast https://twincitiestheaterchat.buzzsprout.com/2150807/13763195

Twin Cities Horror Festival XII: Two Reviews from Day Six. Songversation: We Have Been Told We Will Burn, Ghost in the Machine

With Only one show left to see in the Festival myself and options for readers to see various shows narrowing, I thought I’d take a second to highlight a few of the shows I’d prioritize if you can’t make it to everything. Rasputin which as of this writing, in the wee hours of Wednesday Oct 25th, has two performances left Wednesday Oct. 25th at 6:00 PM and Sunday Oct. 29th at 4:30 PM. Marie-Jeanne Valet, Who Defeated La Bete du Gévaudan has two more performances as well Friday Oct. 27th at 7:30 PM and Saturday Oct 28th at 6:00 PM. Those are the two shows that are for me virtually tied for Best of Fest. For most impressive special effects and blood work and maybe scariest I recommend Choices which also has two performances left Thursday Oct. 26th at 6:00 PM and Sunday Oct. 29th at 7:30 PM. For simply the funniest and cleveriest I was surprised and delighted by Overtoun which actually has three more chances to be seen Wednesday Oct. 25th at 9:00 PM, Friday Oct. 27th at 10:30 PM, and Saturday Oct. 28th at 7:30 PM. Frankly my recommendation though is to see everything, which is still possible with the exception of Lock-In, which had it’s final performance on monday in the studio. It’s being replaced beginning Wednesday with Shadows Under Wabasha. For More information check out the Festivals website at https://www.tchorrorfestival.com/ to purchase tickets go to https://tix.gobo.show/festival/tchfxii

Songversation: We have Been told We Will Burn falls under the category of most unique show in the festival. The creation of Shanan Custer, who also performs in Kin at this years TCHF, and Rhiannon Fiskradatz, is a variation on their Songversation shows that can be seen at Bryant Lake Bowl and Theatre. This was my first exposure to the duo’s Songversation format, but as a big fan of Custer’s whom I’ve followed for years I was confident I would see something special. The theme of this episode is witches and it’s a melding of visual essay and song with elements of ceremony to not really explore the subject so much as meditate on it. While there are images of what we traditionally think of as witches in the Halloween sense, the focus is more on the concept as it has been used to try and control or destroy that which threatens the Patriarchal hierarchy. One specific example is that of Sinead O’Conner who spoke truths that the status quo wanted to ignore and so like the the witches of Salem she was suppressed undermined and devalued by a rigged system. While featuring some eye opening information to be sure, you’ll get the most out of it by not looking for a distinct narrative, but letting the whole wash over you. The beauty of the piece is not in the individual details but in the mood created by the flow and combination of image, music, word, and ritual.

Ghost in the Machine is a return to the narrative style of which most of the TCHF is made up of with a play that feels ripped from today’s headlines. Artificial Intelligence seems to be constantly in the news and social media these days which makes it the perfect subject for a horror story. Ghost in the Machine references all the usual A.I. Fears and the movies they are based off of without doing anything so predictable. It reminds us that Computers, while superior in many ways, are no match for their human creators when it comes to being horrible. The script by Tim Wick doesn’t reveal itself too quickly and the mind leads us down several false paths before we begin to put it all together. The cast are all good with Elora Riley as Arwyn turning in a particularly smart performance as the hip programmer being wooed by the super secret and shady Weyland Corporation. Gore free it’s a well plotted little gem with food for thought that will keep you thinking about it long after you’re home and in bed.

For some behind the scenes information about the TCHF listen to season 2 episode 5 of the Twin cities Theater Chat podcast https://twincitiestheaterchat.buzzsprout.com/2150807/13763195

Morris Micklewhite and the Tangerine Dress At Children’s Theatre Company

Mathias Brinda and Joy Dolo. Photo by By Glen Stubbe Photography

Morris Micklewhite and the Tangerine Dress is short but sweet and as always the best productions at Children’s Theater Company (CTC), broadcasts an important message. Focused on presenting the idea that gender should not dictate what a person plays with or what clothing they choose to wear it makes the case for acceptance of everyone being true to themselves. In a world that can be marginalized black and white, the show illustrates that between the extremes there’s an abundance of colors including tangerine. Adapted from the Popular children’s book by Christine Baldacchino and Isabelle Malenfant by Juliany Traveras and Directed by Heidi Stillman.

Morris is a young boy with a vivid imagination who is inspired by a Tangerine Dress that he discovers in the dress up box at his school. It feels right and for him, it’s the perfect clothing for playing astronaut in. The other children tease and exclude Morris, telling him dresses are for girls and Astronauts cannot wear dresses. Morris is supported in his choices by his teacher and mother who understand the way the world reacts but knows what truly matters is not what the world thinks, but how Morris feels inside. Wearing the dress makes Morris happy, it reminds him of his mother’s hair and fuels his imagination. That imagination is what finally begins to break down some of the other kids, who are able by the end of the play to open their minds and let go of societal gender constructs. The play ends with a fantasia of imagination come alive through the work of Scenic Designers William Boles and Sotirios Livaditis. Morris and his friends explore the universe untethered by reality to explore a rich galaxy fueled by their creativity. For a play that feels grounded in reality for most of its 50 minute run time, it’s exactly the right touch to send audiences of all ages out with a sense of wonder and a kernel of an idea that openness and acceptance can be a beautiful and wondrous thing.

CTC assembles a young cast that reflects the message of the play and anchors it with the fabulous Joy Dolo. Dolo plays dual roles as Morris’s mother and his teacher, creating distinct but caring portraits. As the teacher she’s especially effective at showing the struggle within of supporting while also helping Morris navigate the reactions and expectations of others. Morris is played by Mathias Brinda who identifies in the program with the pronouns She/They. It’s always a surprise to see someone so young who has the stage presence of an experienced performer as Brinda does. Brinda has to carry the play and their performance captures the wonder of a child whose brain is full of fantasies and curiosity. Of the four child characters in the play two boys and two girls, there is a leader of each gender who will not abide Morris’ gender nonconforming behavior and two that are the followers but eventually rebel against their friends intolerance. The bullies are played by Truman Bednar as Henry and Hildie Edwards as Becky who’s a trans actor and advocate. Both are strong in portraying the cruelty of kids on the playground, not an easy task, being mean to others even though it’s accepted that it isn’t real.

Morris Micklewhite and the Tangerine Dress is running through November 19th at Children’s Theatre Company in Minneapolis. For more information and to purchase tickets go to. https://childrenstheatre.org/whats-on/morris-micklewhite/

Twin Cities Horror Festival XII: Two Reviews from Day Four. Overtoun and Kin

Before we jump into todays reviews again I want to urge you to purchase your tickets ahead of time. On The third day of the festival When I went online to check status of tickets there was already two sold out performances and another listed as a Sellout Risk. For More information check out the Festivals website at https://www.tchorrorfestival.com/ and to purchase tickets go to https://tix.gobo.show/festival/tchfxii

Overtoun, a Spiral Theater Original Production is about a bridge in Scotland where dogs are commiting suicide. The description gave many of us pause. Are we sure we want to see a horror festival play about dog suicide? This sounds like it’s going to be very heavy. It isn’t. This is a comedic play filled with wordplay that is deceptively clever. The cast of five actors make it look easy but I promise you pulling off this script takes a certain kind of talent, it reminds one of a Marx Brothers movie, Playwright and Assistant Director Kyle Munshower, exploits every double meaning and leaves no homophone unturned. The scenic design makes effective use of reversible flats on wheels that allow for effective location changes with a minimum of deadtime. What deadtime there is they cover nicely with the live musical score by Music Director Griffin McEnery. Anytime you need to make significant scene changes you risk breaking the spell, but if you need to, this is how to do it. The wonderfully tongue in cheek cast is Anya Naylor, Anjeline Mae Ramirez, Mar Burris, Carlyn Grande, and Alec Logeman. Overtoun takes a depressing idea and makes something witty and infectiously funny. Focusing on the absurdities of the people of Overtoun they never wade to deeply into the truly horrific theme dog suicide.

Kin, a Special When Lit production written and starring TCHF’s Artistic Director Nissa Nordland Morgan, is a change of pace from the other shows I’ve seen so far this festival. Rather than being peppered throughout with strange occurrences, fast paced plots, and large doses of humor, Kin is more of a slow burn. The first scene takes the time to establish and familiarize us with the newly married Mona and Aurora, played by Nissa Nordland Morgan and Tara Lucchino, who are spending New Years at a remote cabin in northern MN. The dialogue hints that there is something that Mona doesn’t want to talk about but it’s primarily staged as a way for us to get to know the characters and a bit about their pasts. It’s a sexually charged scene that in no way prepares you for the turn the play takes with the introduction of Accalia, Mona’s mother played by Shanan Custer in the next scene. The script explores the folklore about She-Wolves, family, and love. Three strong performances, but there is no denying that the introduction of Custer’s character in the second scene adds a jolt of energy and menace to the play. Custer dominates her scenes in a thrilling performance. The Scenic Design by Zach Morgan is simple, clean, and effective, giving you everything you need to set the scene and nothing superfluous.

For some behind the scenes information about the TCHF listen to season 2 episode 5 of the Twin cities Theater Chat podcast https://twincitiestheaterchat.buzzsprout.com/2150807/13763195

Twin Cities Horror Festival XII: Three Reviews from Day Two. The Hand That Washed Ashore, Rasputin, Lock-in.

Before I jump into the reviews of the shows from Day two of the festival I want to encourage you to Plan ahead and purchase your tickets before heading to the theater. On night two of the festival, three of the four performances were sold out. This is great for the festival and for the artists but can be a major bummer if you are the audience member who just shows up hoping to see a show. For More information check out the Festivals website at https://www.tchorrorfestival.com/ and to purchase tickets go to https://tix.gobo.show/festival/tchfxii

The Hand That Washed Ashore falls into the category of horror comedy, but more specifically horror comedy along the lines of Evil Dead II. It’s very serious but has elements of an almost slapstick style of comedy. It’s a tricky tonal balancing act but one that Playwright Vincent S. Hannam and Director Patrick Kozicky nail. A construction crew is trying to clear an island of storm damage on Lake Superior in Northern Minnesota before it opens to the public. When they find a chest on the shore, against the adamant pleas of one of the crew, they open it and must face the wrath of a vengeful severed hand. When you walk into the theater you’ll know immediately by the tarp on the floor that this ones going to get a little bloody. It builds slowly but when things start happening, they happen quickly. Once the chest is opened things get crazy fun. A solid cast including some double duty from Derek Dirlam as the foreman and later as the dismembered hand make this one to see.

Rasputin from Four Humors, the theater group that started the TCHF returns with their first post pandemic show and it was the best of the night, running neck and neck with Marie-Jeanne Valet, Who Defeated La Bete du Gévaudan from opening night as “Best of the Fest”. What do they have in common? Both are based on historical events, both set during a period in history when a revolution is just over the horizon, both feature a live musical score performed on stage, and finally, both feature Allison Vincent. It’s becoming clear that if you want to have a hit show at TCHF, you cast Allison Vincent in it. This time Vincent also is credited as co writer along with the three other cast members Ryan Lear, Brant Miller, and Matt Spring. The play uses a Rashomon style narrative device, wherein the three men who killed Rasputin, the Mad Monk of Russia, tell their different stories to the inspectors investigating the murder. We see the same evening play out in three different versions. Spring plays Rasputin with the swagger and confidence of a rock star, it’s a brilliant turn, but then so are all of the performances in this production. There is some rather effective special effects in this show too, including a spectacularly realistic gunshot. This was sold out and I wouldn’t be surprised if that trend continues for the entire run. Definitely more on the humorous side of things, but it’s not all fun and games!

Lock-in is a troubled production and unfortunately a show that is best skipped. It happens, I think the biggest issue with this tale of a youth group reunion is the script which doesn’t work as a stage script but better suited for film. It’s laden with short scene after short scene, making transitions clunky and ruining any sense of pacing. There were a lot of high hopes for this one as there are several Transgender characters, which faithful readers will know is something I’m passionate about. It’s never fun to say this but the script, the performances, the blood and other effects, and even the set construction all come off as just not being up to the quality of the other shows in the festival. There’s a mirror effect that could work, but it’s placement in the set is unseen by some of the audience, and those who can see it, see the the actors standing behind far too much in advance of its use. I think the cast is having fun and that’s something, but I just cannot recommend this one.

For some behind the scenes information about the TCHF listen to season 2 episode 5 of the Twin cities Theater Chat podcast https://twincitiestheaterchat.buzzsprout.com/2150807/13763195

Twin Cities Horror Festival XII: Three Reviews From The Opening Night. Marie Jeanne Valet…., Girls in Bins, and Choices.

Last night was the opening of the 12th annual Twin Cities Horror Festival (TCHF) at the Crane Theater in Northeast Minneapolis. The Festival launched not with a wimper but a scream! Without going back and looking at all of my previous reviews from prior years, my guess is this was the strongest single day block of shows I’ve seen in the Festival. Before I dive into my reviews of opening night let me orientate those of you who have never been. TCHF is like a mini genre focused Fringe Festival, with a new show beginning every 90 minutes. Each show runs one hour or less, in between shows the previous show has 10 minutes to strike their show, then the upcoming show has 10 minutes to set theirs up with the final 10 minutes for seating the audience. The great thing TCHF has over the MN Fringe Festival is that it’s easy to see every show, whereas it’s actually impossible to see even half of the Fringe shows. The Festival runs 11 days from October 19th to the 29th and there are 11 shows each of which is performed five times. My recommendation is to try and allow yourself time to see two or more shows on any given visit. My second recommendation is to purchase your tickets ahead of time. On opening night the shows had very few open seats and there was already one sold out performance and I know there is already at least one sold out for night two as well. For More information check out the Festivals website at https://www.tchorrorfestival.com/ to purchase tickets go to https://tix.gobo.show/festival/tchfxii

Marie-Jeanne Valet, Who Defeated La Bete du Gévaudan produced by The Winding Sheet Outfit is the show to try and top at this years festival and that will be a tall order I assure you. Based on historical myth/fact? it tells the story of the monstrous red wolf or wolf-like creature that terrorized the village of Gévaudan in France during the year 1764. The story is told by four versatile actors Megan Campbell Lagas, Peyton McCandless, Derek Lee Miller, and Allison Vincent with all playing multiple roles. Vincent, who seems to be everywhere these days including two shows in the TCHF (the other is Rasputin), is particularly strong, with a turn as King Louis XV that nearly steals the show. The company uses a mixture of techniques including several sequences using Shadow Puppets to recount some of the deaths caused by La Bete all of which is hauntingly accompanied on multiple musical instruments by Director Amber Bjork. On a strong night, this is hands down my recommendation if you could only make it to one of the three shows I’ve seen so far. Its perfect balance of drama, humor, creativity, and yes horror result in an overall artistic triumph of a production.

Girls in Bins by Rachel Teagle has as one of its central elements a true crime podcast called Murder Bitches which is modeled after real life podcasts like My Favorite Murder. While the audience was laughing at some of the podcast moments, having been exposed to a few episodes of My Favorite Murder, I can tell you it was surprisingly accurate recreation only slightly heightened for comedic effect. Murder Bitches is the preferred audio accompaniment for Ruth a pregnant woman who due to a high risk pregnancy is unable to do anything but stay home and take it easy. Ruth is restless in her new home, waiting for the truck to arrive with all of their possessions and furniture. The only thing that has arrived are the black and yellow storage bins her husband was able to bring with in his trailer when they moved across the country to Connecticut. While her husband John Michael and friend Yvette try and keep her comfortable and distracted, Ruth seems to be doing a fair amount of her own self distraction as more and more clues to a dark secret keep popping up. The show makes good use of the Podcast audio bits and is well acted by Suzanne Victoria Cross as Yvette, Ben Tallen as John Michael, and especially by Siri Hellerman as Ruth. It’s a tight little tale of serial killers mixed with a consideration of the existential nature of pregnancy and genetics. The only criticism is that plot wise we are way ahead of the characters for most of the play.

Choices by Tyler Olsen-Highness is produced by Dangerous Productions, if you’ve ever been to the TCHF and seen a drop cloth on the floor of the stage, there’s a good chance you saw a Dangerous Productions show. Known for their penchant for the blood and guts approach to horror, they are masters of the stagecraft of gruesomeness. But their expertise isn’t limited to moments of violence and blood, they also have a forte for the art of distraction and misdirection. They masterfully use light and the absence of light to create scares and rachet up the feelings of dread and suspense. The story centers around a surprise birthday party for John, planned by his partner Greg and sister Jean. When Jean and his friends arrive at the cabin they find the very surprised and nervous acting John alone in the windowless cabin where the generator is always on the fritz. The title comes from a party game they play where one player is asked to make a choice, drinking ensues. Throughout we get flashbacks to John and Greg’s relationship slowly revealing why John is so anxious and why Greg isn’t there. Add loud knocks on the cabin door and Johns insistence that they are not outside once it gets dark and we find ourselves on the edge of our seats not knowing what will come next. The only thing for certain, given the drop cloth on the floor, there will be blood. If blood and gore is not your thing, this is one to skip, if you are OK with that, this is the show that most resembles what we think of as modern horror. The cast is fully committed, Leif Jurgensen as John is very effective at portraying a man barely holding onto his sanity as things keep coming at him. Laura Mahler takes no prisoners as Jean the off the hook, bombastic party girl sister. Dangerous Productions comes through with what most audiences at TCHF are looking for, in your face straight on horror that’s effective at creating the scares both emotionally and technically.

For some behind the scenes information about the TCHF listen to season 2 episode 5 of the Twin cities Theater Chat podcast https://twincitiestheaterchat.buzzsprout.com/2150807/13763195