The Pavilion isn’t a feel good play, but brings a certain melancholy pleasure to those of us given to looking back at what might have been. And really, isn’t that all of us at sometime or another? I don’t know what a younger audience makes of this play, I imagine they find their own hook into it, perhaps as a cautionary tale. But for many who are 15 to 20 years out of high school, like the characters in the play, and those of us with even more years distance, I think it will feel very personal. It’s a play that deals with the themes of time, regret, longing, love and life. Taking place at the 20th high school reunion in Pine City Minnesota, two high school sweethearts grapple with the pain of the past, the reality of the present, and the longings for the future. Who of us hasn’t thought back to those special someones in our past who got away or were left behind. The ones that hindsight with, its 20/20 vision seem like the ones that would have led to a life of happiness and fulfillment? There is a longing at the center of this play that resonates with all who have loved. At times philosophical and others comical, it’s the night that doesn’t go as planned but also the kind of night you wish would never end.

Written by Craig Wright it features the characters of Peter and Kari who were together in high school, when she became pregnant, Peter left for college and never looked back. Now it’s 20 years later and Peter has come back hoping to reconnect with Kari. Kari, wants nothing to do with him at first but as the night goes on, they continue to interact. Like old friends who haven’t seen each other in a while, awkward at first but after a few hours they discover the bond that drew them together in the first place. The play utilizes a narrator who opens describing how from the first moments of the worlds creation we came to this moment in Peter’s life. The narrator then goes on to play every character at the reunion which allows Peter and Kari to discuss their feelings and get advice, allowing the details of their past to be shared with the audience. It’s a brilliant device that allows for infinite characters while keeping the cast small and the real focus on the one-time lovers.

The role of Peter is played by Chris Paulson, whom I first saw in Bright Star at Lyric Arts and has been been doing impressive work in everything I’ve seen him in. Here his slightly sorrowful eyes reflect the longing and hopefulness he’s looking for in seeing Kari again. His boyish face also plays well into the idea that he hasn’t really found himself yet and in some ways is still a lost young man even at 37. The play also gives him a scene to show off his singing. Audrey Johnson as Kari brings an emotional openness to the role allowing the audience to feel her anger and hurt when confronted by Peter. In the second Act, after having vented some of the built up fury she begins to soften, Johnson handles this transition beautifully finding this natural warmth that has been dormant in Kari. She shows us in her eyes that while she didn’t come hoping to see or get back with Peter, that the thought is not a completely foreign one. In the second Act we get a sense of what they felt for each other; so well, you feel the ache of what could have been. The role of narrator and every other character is fabulously performed by Michael Terrell Brown. From his opening monologue which is beautifully conveyed to his complete vocal transformations from one reunion guest to another, he is at once the comic relief and the lyrical and poignant commentator on the unfolding events. The final performer is Steven Ramirez who provides a nice musical accompaniment to the play and has a few small non verbal interactions with the cast.

The play is directed by Jake Sung-Guk Sullivan who clearly has an affinity for shows in which actors portray multiple roles. He played that part himself as one of the two clowns in The 39 Steps at Lyric Arts and as Writer and Director of The Invisible Man at this years Minnesota Fringe Festival. Here he shows his clear understanding of how to utilize the technique effectively. He has a skill for creating moments of connection that bath the later scenes between Peter and Kari with yearning. When Peter gets on stage to sing a song it starts out haltingly, but in a moment and for the majority of the song it feels like this moment just clicks. It represents that high Peter is having in performing the song, that Kari is feeling hearing it, a perfect moment that melds memory with the present. And then as it ends the lighting changes again and the uncertainty of the present day reasserts itself. Which brings up the work of Lighting Designer Andrew Norfolk, which is used throughout to evoke the emotional shifts, create changes in setting and even represent a shooting star. The set designed by Justin Hooper is a wonderful with its creation of part of The Pavilion of the title and the wooden pathways near the lake.

I found The Pavilion to be a nostalgic trip that I am very glad I took and encourage you to go on the journey as well. The Pavilion runs through October 29th at Lyric Arts in Anoka, for more information and to purchase tickets go to https://www.lyricarts.org/pavilion.

Don’t want to miss a single review from The Stages of MN? You can subscribe and have every post sent directly to your email. To subscribe on your computer: from the home page on the right, enter your email address and click subscribe. On your mobile device scroll to the bottom of the page and do the same. You can also follow me on Facebook, @thestagesofmn click follow and on Instagram thestagesofmn. You can also read some of my reviews syndicated on the MN Playlist website https://minnesotaplaylist.com/

I am also a member of the Twin Cities Theater Bloggers (TCTB), where you can read roundups of shows by my colleagues and I when you follow us on facebook @TwinCitiesTheaterBloggers. We also produce the podcast Twin Cities Theater Chat!! which you can access through this link or wherever you enjoy podcasts https://twincitiestheaterchat.buzzsprout.com/ . We post biweekly longer form episodes that will focus on interviews and discussions around theater topics. There is also shorter episodes in which we Bloggers tell you what we think you should get out and see as well as what we have on our schedules that we are most looking forward too.

What a week of theater it has been. This concludes a seven day six show week. You might think fatigue would be setting in by tonights show, Shakespeare no less. But such is the power of theater, bad theater can drain us, but great theater can replenish our souls. Ten Thousand Things Theater Company’s (TTT) production of Twelfth Night is great theater. This is how Shakespeares comedies need to be done, in a way that everyone can not only understand but unreservedly enjoy them. TTT’s artists interpret Shakespeare’s work with a modern sensibility, that makes it fresh, funny and above all, accessible. New to me theater companies, theater spaces, and classic shows has become a common theme this season. When M’colleagues in the esteemed body of the Twin Cities Theater Bloggers heard that I had never seen a production by TTT, I avoided by the narrowest margins being expelled from the group when a vote of no confidence was called for. I won over the swing votes by promising to see the very next production they put on. In my defense, this was the fourth show I tried to see. I was scheduled to see Thunder Knocking on the Door but Covid shut down the theaters. Last winter I was scheduled to see Mlima’s Tale but the performance got cancelled due to a storm. Last Spring I attempted to put Emilia on my schedule, but literally every theater company in the city opened shows the same two weekends. The date I had finally found to see it on, I had to back out of when my colonoscopy was rescheduled – which is a shitty excuse but there you have it. Long over due but so worth the wait and I’ll never miss another production from this company again as everyone was right. Particularly when they said you haven’t seen Shakespeare performed until you’ve seen TTT perform Shakespeare.

The play written in the early 1600’s by an upstart crow by the name of William Shakespeare is one of a grouping of plays called in some circles, the convoluted comedies, or “the play with the twins”, or “the play with the shipwreck”, even sometimes as “the one where the woman puts on a hat and everyone thinks she’s a man”. To which the inevitable reply to any of these statements is, “Which one?” Yes much like Stephen King or John Irving today, Shakespeare liked to play variations on a theme in some of his plays, great writers can pull that off. This one is the one where twin brother and sister Sebastian and Viola are survivors of a shipwreck though both believe the other to have perished. Viola, for reasons of plot contrivance, decides to disguise herself as her brother but without taking his name, instead taking the name of Cesario, apparently because when spoken quickly it can easily be confused with several of the other characters we’ll meet later in the play (this is a literary technique that would later be used to great effect and consternation by J.R.R. Tolkien in his books about middle earth). Viola becomes the servant of Duke Orsino who is stalking Olivia, whose affections are also sought after by Malvolio and Sir Andrew Aguecheek. Aguecheek is a drinking buddy of Olivia’s uncle Sir Toby Belch, who kinda has a thing for Olivia’s maid Maria. Meanwhile, Sebastian was saved from drowning by Antonio. Finding himself alive, he surprisingly decides not change his name or his gender. Though he does conspicuously disappear for three quarters of the play in the company of Antonio, who at the end of the play professes to anyone who will listen what love he did show Sebastian, so possibly still falling into the LGBTQ+ column. There is also a Jester who defiantly goes by a name not ending in “ia”, “io”, or something sounding like either of those but by the name Feste. Olivia falls in love with Cesario, who remember is actually Viola, who in turn has fallen in love with Orsino. Confused? Let me just assure you, hilarity ensues, it really does.

I saw a production of Twelfth Night a few years ago at The Guthrie Theatre, it was a very good production, but this was Ten Thousand Times better! It’s a combination of the direction by Marcela Lorca, the musical direction and compositions by Isabella Dawis, and an incredible cast. My wife and I play a game after a show where we ask each other who their favorite performer was. We were sort of stumped for answers with this one. Maybe it was Brian Bose as Feste, they had a great singing voice, a wonderfully physical performance, and just electrified the play when he entered it with his energy. Or maybe it was Katie Bradley as Olivia, it’s hard to top her reaction when she finally sees Cesario (aka Viola) and Sebastian at the same time. But wait, what about Maggie Chestovich as Maria and also Orsino’s servant Curio (notice this actor get’s both an “ia”and “io” character to play). Her moments of silent comedy are so perfectly executed. With her it’s as much about the performance moments not speaking as it is speaking. Yet, are we forgetting the duel roles played by Ryan Colbert as Sir Andrew Aguecheek and Antonio? Of all the performers playing multiple roles, which is everyone, these two by Colbert are the most hilariously different, that it’s almost hard to believe they are the same performer. Of course Dariana Elise Perez has the task of playing both Viola and Sebastian, sometimes in the same scene which she and Director Lorca have devised a wonderfully creative way to accomplish. Maybe, though its Mo Perry whose stint on a scooter and other bits of comedic physical movement stole the spotlight. Will Sturdivant as Orsino? He somehow makes his “me too” alarm sounding behavior not translate into mood obliterating cringieness. We laugh with the character rather than shake our heads thinking this role is problematic. But then there is Karen Wiese-Thompson as Sir Toby whose performance is only outdone by her small turn as the Priest. This is a comic performance that is probably going to stick with me for the rest of my life.

Do yourself a favor and get to Twelfth Night before it closes on November 19th. If you know anyone who hasn’t ever really seen Shakespeare performed or says they cannot understand the language, take them to this play. Not only will you be creating a new Theatergoer, but also a Shakespeare fan. The show plays at multiple location to find out where and to purchase tickets go to https://tenthousandthings.org/season/twelfth-night

Don’t want to miss a single review from The Stages of MN? You can subscribe and have every post sent directly to your email. To subscribe on your computer: from the home page on the right, enter your email address and click subscribe. On your mobile device scroll to the bottom of the page and do the same. You can also follow me on Facebook, @thestagesofmn click follow and on Instagram thestagesofmn. You can also read some of my reviews syndicated on the MN Playlist website https://minnesotaplaylist.com/

I am also a member of the Twin Cities Theater Bloggers (TCTB), where you can read roundups of shows by my colleagues and I when you follow us on facebook @TwinCitiesTheaterBloggers. We also produce the podcast Twin Cities Theater Chat!! which you can access through this link or wherever you enjoy podcasts https://twincitiestheaterchat.buzzsprout.com/ . We post biweekly longer form episodes that will focus on interviews and discussions around theater topics. There is also shorter episodes in which we Bloggers tell you what we think you should get out and see as well as what we have on our schedules that we are most looking forward too.