Hair Ball! A Bigfoot Musical Adventure is a Rollicking Outdoor Comedy from the Creative Geniuses of Open Eye Theatre.

Open Eye Theatre I’ve found to be one of the most creative theatre companies around. Their The Red Shoes last fall was so good that even with my busy schedule I had to take it in twice. They’ve brought the same flair for design and over the top performance style to their outdoor summer show Hair Ball! Performed on the green roof of the Bakken Museum, this a bring your own chair or blanket affair. Hair Ball! is a musical comedy perfectly suitable for all ages. But, make sure everyone coming has a sense of humor, if you don’t have a taste for the absurd and the ability to find joy in a tongue in cheek production, you’ll miss the pleasures in store. Open Eye has assembled a cast that seems to have sprung from an episode of The Adventures of Rocky and Bullwinkle and Friends and costumed them accordingly. The only thing more delightful than their appearances are their singing voices. It’s the perfect way to spend a summer evening, running a brisk 75 to 80 minutes with no intermission, there’s still plenty of time afterwards to stop off for ice cream.

The story is set on Discovery Island, a remote Canadian island resort. It opens on the grounds of the hotel where the mayor of Discovery Island, Sheldon Witherspoon, is welcoming all of the locals to a town meeting which is interrupted several times. Once by Hotel Guest Patricia Von Highsmith, who is looking for the hotel owner Forbelius Dort to complain about, among other things, that the hand soap in the women’s restroom is to dry. The other interruption is when local crackpot and conspiracy theorist Jerry Loudermilk burst on the scene to raise the alarm about a bigfoot like creature, the Megapaw, that has been sent by aliens. Jerry knows first hand about the Megapaws because years ago he came home to find that they had come and made off with his wife, their son, all of their possessions, and some legal documents pertaining to their marriage. Next of the seen is Patricia’s daughter Winnifred, who does not want to be a society lady when she grows up, she wants to be a detective! When Winnie hears of the Megapaw she heads out into the woods to find it. The towns people send out a call to the Canadian Ranger, he’s not a Mounty, that we are informed would require a fee to the Royal Canadian Mounted Guard. He arrives and heads into the forest in search of Winnie and the beast, for there is no animal alive which he can not endanger. Soon the whole gang heads into the woods and there they will discover love, Megapaws, and magic mushrooms!

Seriously, this cast is just the bees knees as they are cartoon characters in the best way possible. It’s not as easy to pull off as you might think. They act in the style of a cartoon but are not cartoonish, and I was pleasantly surprised at all of their singing voices. When I saw what they were doing performance wise, I thought they cast them for their ability to hit this perfect note, but when they sang, it became apparent they didn’t have to make any trade offs between acting and singing talents. They’re all great but to highlight a few of favorites I’ll start with Luke Aaron Davidson as the Ranger Montgomery Ward. He’s a cross between Dudley Do-Right and a young Kevin Kline, getting Do-Rights animated look with Kline’s comic timing and voice. Georgia Dolittle as Patricia Von Highsmith and Abilene Olson as Winnie both commit fully and have wonderful voices, I just adored both of them. Finally, before I end up just listing everyone, Tom Reed as the hotel owner and Frances Roberts as the Mayor really set the tone from the opening. A show like this setup can feel a little “let’s put on a show in the backyard!” but the way these guys launched the show, I knew immediately this wasn’t going to be an amatuer production.

The one downside of an outdoor show without microphones on the cast is that occasionally when the actors faced the other way you missed a song lyric or line of dialogue. Director Joel Sass does a good job of midicating this as much as he can by making sure the performers are oscillating throughout their performances. You never miss more than a snippet here or there. Josef Evans who wrote the show, book, music, and lyrics has created a wonderful piece of theatre. It’s silly, but smart, the songs are really catchy and full of humor, but also sometimes quite sweet. The Megapaw designs were by Anne Sawyer, I’m not sure what happened, but I gather that the adult Megapaw was supposed to be on stilts, it wasn’t at the performance I attended but both Megapaw costumes were impressive without stilts. The costumes are by Rubble & Ash and they were the perfect unifying element in creating the tone of Hair Ball! I especially liked the Mayor and Hotel Owners costumes and of course the Rangers uniform was perfection.

Hair Ball! is running through June 19th at the Bakken Museum for more information and to purchase tickets go to

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Preview of Ghoulish Delights Presents: Rattus Rattus! 6/10/22 thru 6/18/22 at The Open Eye Theatre

Image designed by Tim Uren

The trio behind the Mysterious Old Radio Listening Society (MORLS) Joshua English Scrimshaw, Eric Webster, and Tim Uren are bringing a special program to The Open Eye theatre in Minneapolis this week. Rattus Rattus is a Two Act show will consist of Act I “The Rats in the Walls” in which Tim Uren performs his acclaimed one-man show adaptation of the 1924 H.P. Lovecraft short story. Act II will be the trio in a brand new stage adaptation of the classic radio play and a personal favorite of mine “Three Skeleton Key”. I’m in love with this group, I’ve started getting into their podcasts as well which I highly recommend.

I have not seen, read, or listened to any version of “the Rats in the Walls” but it played to sold out houses at the 2006 and 2016 Minnesota Fringe Festivals so I’m excited for this experience. Three Skeleton Key is a classic radio horror story that I first heard in a college course. I have since listened to the recording via tapes and downloads and even got the chance in 2020 to hear see the MORLS perform it live at the Park Square Theatre. This I’m told, will be a new experience. There will be new scripts in from of Joshua, Eric, and Tim they will be performing the adaption as a play, with minimal set and props. If you’ve never heard “Three Skeleton Key” it’s a very creeping and suspenseful yarn.

Unlike their monthly Park Square gigs, where they do live performances of old radio scripts in the style of a radio show creating all of the sound effects and music in front of the audience, Rattus Rattus will be performed multiple times over the next two weeks.

Performing at Open Eye Theatre
506 East 24th Street, Minneapolis, MN

Friday June 10th
Saturday June 11th
Thursday June 16th
Friday June 17th
Saturday June 18th
Showtime: 7pm

Sunday, June 12
Showtime: 2pm

For more information and to purchase tickets for Rattus Rattus go to You’ll find additional information there on another rat themed performance Reverend Matt’s Monster Science presents “Rat Kings”.

Perfect Arrangement at Theatre in the Round Players in Minneapolis

Zach Christensen, Courtney Matula, Ariel Pinkerton, Tony Burton. Photo by Roger C. Watts.

Wonderfully acted by a strong ensemble Perfect Arrangement is the perfect show to celebrate Pride. It reminds us how far we have come in terms of LGBTQ rights despite what feels like some steps backwards in recent years. Set in the 1950’s, it is a look back in time when being in the closet didn’t feel like a choice but a necessity. Opening like a 1950’s sitcom including built in commercials, the play grows darker and more real as it progresses. Opening with a look at the face, the characters show the world by the end we see all of them as they really are with their masks removed. Part historical, part satire, part drama, part comedy, within all of these parts runs a message about being your authentic self and how that is never as straightforward as it seems. Even by the end if you put yourself in the character’s shoes, you find yourself at a crossroads where ideals and reality intersect.

Written by Topher Payne Perfect Arrangement refers to the situation that the four main characters have set up for themselves. Bob and Millie are married and live next door in a duplex to their friends Jim and Norma. Bob and Norma work together at the State Department, Bob is the head of a team that has been looking for Communists within the U.S. Government. As the play opens the two couples are having a get together with Bob and Norma’s boss Theodore and his wife Kitty. During this opening scene, Theodore announces to Bob and Norma that they will be leading a new initiative to seek out and expose anyone who’s moral shortcomings could make them vulnerable to blackmail. This includes among other things, those who are homosexuals. As the scene plays out, the characters behave and speak as if they are on the Dick Van Dyke Show. Once Theodore and Kitty leave, the performances immediately become less stylized and one of the first lines of dialogue contains a certain four letter word that would never have escaped the lips of Rob and Laura Petrie. You see the perfect arrangement is that the couples have married each others lovers. Millie and Norma are the real couple who live in the this half of the duplex, Bob and Jim are lovers and live next door which they are able to move between through a closet that connects their two living spaces. For the rest of the play, Bob and Norma are tasked with doing their jobs without exposing themselves. When an affair from Millie’s past surfaces achieving these two paradoxal goals becomes more and more complicated.

All four leads are well cast with the standout being Courtney Matula as Millie. While not a complete natural with all of the comic bits, she captures the 50’s housewife facade perfectly and by the end she is the heart of the play. Ariel Pinkerton as Norma, gets to be the voice of outrage and conscience for the the foursome, and has some nice moments when she gets to vent her frustrations. Zach Christensen as Bob is the cool headed planner of the group, who does some ethical gymnastics in order to reconcile his personal and professional goals. Tony Burton as Jim seems to have the least to do and as such comes off as more or less a Bob’s trophy husband, albeit one that is kept in the closet. Alison Anderson does a nice turn as the easily confused and distracted Kitty, and Daniel Hildebrand as her husband, nicely vacillates between congenial and no-nonsense boss. Also quite strong in a smaller role is Katie Wodele as Barbara, a co-worker of Bob and Norma’s whose sexually free lifestyle has put her in the hot seat.

The show is well directed by Alissa Blaeser. She seems most adept at the satirical portions such as the opening scene and the dramatic moments such as the climax, and a little less sure in the broader almost slapstick or farcical passages. Lee Christiansen’s Set Design makes good use of the unique theatre in the round format and feels authentically period. The costumes by Colleen O’Dell felt very period correct as well and the gowns worn by Ketty, Norma, and Barbara as they head to the Opera were actually quite stunning. Lastly, I enjoyed the music by Sound Designer/Composer Robert Hoffman particularly the use of “I’m Coming Out” as exit music.

Perfect Arrangement is the closing show of Theatre in the Round Players’ 70th season for more information about the show and to purchase tickets go to

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In the Next Room, or The Vibrator Play Builds to a Satisfying Climax at Yellow Tree Theatre

Photo by Tom Wallace

In the Next Room can easily claim more onstage orgasms than any other play this theatrical season. Honestly, probably any season. That said it’s more likely to be a hit with your mother than with anyone looking for something salacious. While there is no denying that the acts take place in full view of the audience they are still done with a sense of decorum that comes off as sweet rather than titillating. For anyone mature enough to attend the show, it’s billed as a comedy and there are plenty of laughs, but there are also real issues being discussed. Some of the biggest laughs come from some really sad truths about women’s sexuality at this time in history. Set in the latter part of the 19th century the play takes a look at the role of women as wives, mothers, and sexual beings through the lens of the early 21st century and the perspective is eye opening. From my opening line and the subject matter you might assume the humor comes from risque situations and mountains of double entendres, but it doesn’t. It comes when we recognize the truths laid bare under voluminous undergarments.

The play is written by Sarah Ruhl whose play Orlando I likewise reviewed favorably this past winter. Ruhl is a writer of considerable skill and uses it in the plays I’ve seen to question and examine gender roles while also entertaining her audience. The story is set in the house of Dr. Givings and his wife Catherine who have a newborn daughter but is unable to produce enough breast milk for. The set is divided into two rooms, the families parlor and the room next door which is the Dr.’s laboratory. The Dr. uses his invention to treat patients with electrical therapy who are suffering from hysteria, his invention is of course the vibrator. We are introduced to his new patient Sabrina Daldry who has been brought to the Dr. by her husband Dick Daldry, there’s a double meaning in that. Mrs. Daldry undergoes treatment from Dr. Givings assisted by his nurse Annie. After the treatment, in conversation the Daldry’s mention that their housekeeper Elizabeth has recently lost a child and it has been arranged that she will come and work as a wet nurse for the Givings. Dr. Givings is a man of science and has no issue with this arrangement but Catherine has reservations due to the fact that Elizabeth is black. Though it comes to light later on that Catherine’s issues seem to be more about not being able to provide for her child and in seeing her daughters emotional attachment transfer from her to Elizabeth. As Sabrina’s treatments continue, one thing becomes obvious that It’s much more effective in achieving the goal when Annie is in the room. Catherine becomes curious about this treatment her husband practices and wishes him to try it on her. One of the central themes of the play is the seemingly universal ignorance that the “Paroxysms” they are inducing are in any way related to female sexual gratification. Which is something, it’s revealed through conversation between the women in the play, they are unaware even exists. In the second act we are introduced to a new patient, this time a rare male patient, Leo Irving an artist. For this, Dr. Givings must use his “Chattanooga Vibrator” which stimulates the prostate gland. On meeting Mr. Irving, Catherine is attracted to his ability to express himself, something her husband has trouble doing unless he is discussing his fascination with electricity.

There are a lot of interesting characters and situations going on and Ruhl’s play contains enough ideas for two or three well rounded plays. It allows for a complexity to the characters that could easily be lost on a less talented cast. Emily Gunyou Halaas as Catherine has the most challenging role, she has to gain our sympathies while also displaying some characteristics that are unlikeable. She does an excellent job of showing us the frustrations she is feeling the sense of unfulfillment that every aspect of her home life entails. Paul de Cordova as Dr. Givings captures the enthusiasm of his characters profession while believably playing his cluelessness about his wives needs or the connection between his work and the intimacy she is longing for. As I alluded to before, the humor doesn’t come from one liners but from our understanding of our modern perspective of what the characters do not understand. All of the performers in the play excell at finding the perfect way to deliver that obliviousness without making their characters seem clueless all of the time. The supporting cast is each given moments to shine. Erin Nicole Farste as Elizabeth gets an actors dream scene where she describes how she has felt about her son’s death and nursing the Givings’ daughter. Laura Espingas as Annie has a beautiful and subtle moment with Adelin Phelps’s Sabrina that is heartbreakingly tender and seems like a moment that could have been the climax of a play all it’s own. Phelps pulls of what must be a very vulnerable task for an actor, having to perform the moment of orgasm multiple times during the run of the show. Do you play it for laughs, do you draw on your personal experience, how much are you going to share of yourself in those moments. However she achieved it, she found the perfect balance between finding the laugh, but also feeling somewhat realistic. Joel Liestman is cast as Mr. Daldry and it’s the sort of character role that he excels at. He’s given a wonderful comic moment when he tries to pose and make himself attractive to one of the other characters, which knowing these characters was never going to be successful. Finally James Rodriguez who doesn’t enter the play until the second half, perfectly portrays the sensitive and passionate artist as well as a gentleman, who has to go to a very vulnerable place onstage as well.

The production is directed with her usual sure hand Austene Van who seems to be everywhere at once these days. I feel like half the productions I see she is involved with in some way, and the other half should be so lucky. Sarah Brandner’s Set Design works really well in Yellow Tree Theatre Thrust stage configuration. We have a half door to show the wall between the the parlor and the Dr.’s laboratory, so we know clearly where the divide is but if you are seated to the sides of the stage the divide does not interfere with your view. I also really enjoyed the surprise set location that figures in the final scene which I won’t spoil but is well executed. Yellow Tree’s performance area is small and when the majority of the characters are on stage at once it does feel a little cramped, but I’d say Brandner and Van have done a good job with the design and blocking of keeping it from feeling unnaturally close. I also want to acknowledge the exquisite work of Costume Designer Samantha Haddow and Prop Master Julia Emery Cervera. The women’s dresses and underclothes seem authentic and the Dr.’s inventions are quite interesting and seem like plausible instruments for… well… you know.

In the Next Room, or the Vibrator Play runs through June 26th at Yellow Tree Theatre in Osseo MN. While I thoroughly enjoyed this play and find it funny and thought provoking it is not for all ages as you should assume. The theatre recommends it for high school aged and above, I’d error on the above side. It’s not that there is anything that is to inappropriate for high schoolers, I just think they may lack an understanding of the historical context and the life experience to fully appreciate the play. For more information and to purchase tickets go to

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The Roommate Features Two Top Notch Performances and a Surprising Script at Mixed Blood in Minneapolis

Greta Oglesby and Alison Edwards Photo by Dan Norman

Prime Productions is an interesting theatre company that focuses on providing roles for women over 50 on stage and behind the scenes. The Roommate is the perfect show for this company as it provides two juicy roles for it’s actors. The show will hit a chord with women of a certain age, but it’s appeal is not limited to any demographic. As a man of a certain age, I may not have been able to identify with every aspect of the characters but that doesn’t mean it didn’t connect with me. The circumstances of the characters are specific but most of the humor is universal. While I’d say this is definitely a comedy, it’s a little less straightforward than that, which is one of it’s many charms. But there’s no point in pretending that it’s biggest charm is anything other than it’s cast who are absolutely perfect in their roles.

Sharon played by Greta Oglesby is a divorced empty nester living in Iowa City, Iowa. Robyn played by Alison Edwards has just driven from New York, “the Bronx”, and is going to be Sharon’s roommate. The play opens on move in day when the women meet for the first time. The scene is filled with awkward moments as the women begin to learn about each other. We learn that Sharon is in a reading group, has a son who lives in New York who designs women’s clothing, and he is not gay, not that there’s anything wrong with that. Robyn is a vegan lesbian all of which catches Sharon off guard and makes her nervous. There is a lot of humor in the way they play this scene, but also an undercurrent of suspense. There are several clues in the scene that Robyn has secrets, that something is off. Edwards plays the scenes as if she is on edge throughout it, raising our suspicions but without tipping us to what her story is. It’s a fine line and Edwards walks it well, we don’t fear her, but we know there are secrets being kept. Oglesby takes the opposite approach telegraphing every emotion and thought which is the key to her character and to making the relationship dynamic work. Oglesby needs to let us into her character while Edwards needs to keep us out for the tension to work. As the women bond, Robyn will become more accessible. Sharon we are already onboard with and remain so as she goes through changes and tries new things. When Sharon discovers that Robyn smokes marijuana, she admits that she has never done anything like that. When they sit and try it together, its one of the best scenes and one in which Oglesby is clearly having a blast as are we the audience because we already feel like we know her. The characters together are what makes the play work, some of us will identify with Sharon, others more with Robyn but there is something we can recognize in each them. Personally, I’m a total Sharon.

The Roommate was written by Jen Silverman who has a real knack for writing the awkward getting to know you dialogue that is filled with humorous moments without ever feeling jokey. Sharon is so relatable and we warm to her so quickly because she sounds and behaves like a real person. Silverman writes Robyn with equal authenticity but as a completely different type of person. Sometimes in a comedy script that’s less developed, you can give characters each others lines, or jokes and no one will notice. Silverman’s writing is character specific, they each have their own distinct voices and their lines must be spoken by them or they will not work. Greta Grosch directs the play with some interesting decisions. One is the transitions between scenes, the lights go down and stage hands come on and remove or place props and help the actors to change costumes on stage. At first this seemed like an odd choice, but I quickly found it to be the best approach. None of the changes are that drastic, they move quickly and allow the next scene to start in a timely manner. Having the actors exit the stage, change, then re-enter and restart the play would have created a choppiness to the pace that would have worked against the show. I also thought the lighting choices by Grosch and Lighting Designer Grant E. Merges were a success. Frequently the lights would come up partially on a character highlighting them within the space for a moment and then come up on the rest of the stage as the scene opened up. I really like the Set Design by BrownKnows Design, particularly the window frame and ceiling molding that gives structure to the invisible back wall of the kitchen and dining room set.

The Roommate is at its heart a comedy but it isn’t just the female Odd Couple you might be expecting, it takes some unexpected turns, some really unexpected turns. I don’t want to spoil those surprises but it is worth pointing out that we completely buy those twists because of the skillfully comic and endearing performances by Greta Oglesby and Alison Edwards. The Roommate runs through June 19th at Mixed Blood Theatre for more information and to purchase tickets go to

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Diary of a Wimpy Kid: The Musical at The Children’s Theatre Company

Photo by Kaitlin Randolph

I was originally supposed to attend the May 1st performance of Diary of a Wimpy Kid: The Musical but had to reschedule due to Covid. Usually for a Children’s Theatre Company production I would have a child as my companion so that I could get a sense of how the show plays to its target audience. Due to the rescheduling it ended up being my wife and I. The good news was that two of our kids were very into the Jeff Kinney books on which the show is based, so we were very aware of the source material and what appeals to its target audience. Some shows like Annie or Matilda can play on Broadway or the Children’s Theatre Company with equal success, others are best suited for the Children’s and similar venues. Diary of a Wimpy Kid belongs squarely in the later category and that’s perfectly fine. Its humor and storytelling is aimed directly at its target audience, and it hits a bullseye. Middle Schoolers are going to find a lot of what they like about Kinney’s books brought to life and the process experience the joys of live theatre.

Greg Heffley is beginning middle school and as it has happened for kids through the years, this is the point at which his priorities begin to change. It suddenly becomes more important to be popular, what we wear, and who we hang with begins to override just having fun and doing our own thing. The show follows Greg as he tries one plan after another to up his placement on the popularity ranking of his school. His attempts are thwarted over and over again by a multitude of sources. The show bounces around from segment to segment much in the vein of another staple of Children’s Theatre, You’re a Good Man Charlie Brown. While there is more of an overall story arc than there is in the Peanuts musical, it’s a very episodic show. This probably results in a more attentive audience as each new scene brings a fresh set up or adventure. The book for the musical by Kevin Del Aguila does a nice job of picking out favorite moments from the books series, in that way it’s a nice adaption.

The Music and Lyrics by Michael Mahler and Alan Schmuckler serve the show during its run-time, but like You’re a Good Man Charlie Brown, there’s not many songs that stick with you beyond the your time in your seats. The one possible exception is Animal Heart, which gains its own notoriety by refusing to end, but in a very humorous way. The lyrics are full of fun little jokes and as I say work within the show, but they are all too specific to have a life beyond the show itself. Like a production of that Charlie Brown show this production Diary of a Wimpy Kid, as well as future ones, will rise or fall on how well it is designed and directed. Jenn Thompson direction gets how to transition between short scenes that amount to a daily comic strip. Getting between these moments and keeping the show fluid is key and Thompson handles all of that perfectly. The Scenic Design by Scott Davis brilliantly captures the look of the books, using the design of lined journal paper as it’s motive. Carrying the lines paper look even into the cabinets in the Heffley family kitchen. The look of the show also cleverly utilizes projection which was designed by Edward T. Morris again helping to build that connection to the look of the source material.

The cast has alternate performers for the characters of Greg Heffley and his little 3 year old brother Manny. For the performance I saw Greg was played by Patrick McDermott and it was clear from the opening moments that despite his young age, he is at home on stage. There was none of the self consciousness we sometimes see in young performers, Mcdermott’s control of the stage and his singing voice made it clear he was the star. Kamryn Henderson plays Rowley, Greg’s BFFL (Best Friend For Life) is casting that seems ideal. Henderson seems born to play someone who knows how to be, or perhaps doesn’t know how, not to just be himself. For the image sensitive Greg this is a disaster. It’s to both McDermott and Hendersons credit that you empathize with both of them. We recognize Greg’s desire to stifle that which brings negative attention, but we also appreciate the beauty of being able to dance like no one else is around.

Diary of a Wimpy Kid: The Musical is not going to win over adults without children, unless they are adults who grew up on the books. But it’s going to be a great show for those about to enter middle school through high school. There are plenty of laughs for everyone and a very effective look to the show, for the right audience it will be a blast. For more information and to purchase tickets go to .

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Preview: Friday May 27th Mysterious Old Radio Listening Society Returns to Park Square Theatre

I’ve become a huge fan of this group and what they do. I’ve written several reviews in the past about their shows at Park Square Theatre in Downtown St. Paul. Mysterious Old Radio Listening Society (MORLS) performs live two classic radio scripts from the golden age of radio, do all of the voices as well as creating all the music and sound effects live in front of an audience. The problem with writing reviews of a show that will only be performed once is that you, the reader, don’t have a chance to read the review and decide to go see it. So I thought instead I will give you a heads up ahead of time so you have a chance to go buy tickets and attend the show. If you’ve never experienced a performance like this in the style of those old radio broadcasts you really need to check it out. I highly recommend these shows for families, including grandparents who may even remember listening to some of these very shows. It’s a unique opportunity to step back in time and show the younger generation what home entertainment used to look like. I think you’ll be surprised at how well they respond to something that seems so old fashioned.

Since the last performance of the MORLS that I attended I have begun listening to their podcast as well. You can find it wherever you listen to podcasts. In those shows they play an actual recording from an old radio show and then discuss it. the programs themselves run about 30 minutes and then they banter in a highly entertaining and humorous way for about 20 minutes about what they thought of the program and whether it stands the test of time. I’m really enjoying going through these podcast episodes and highly recommend them.

Upcoming productions of The Mysterious Old Radio Listening Society at Park Square Theatre:

Friday May 27th 7:30 PM Legends of the Old West

“Death of a Picture Hanger” from Crime Classics (1953) – A true tale of the Old West told with wry wit and a sense of tragedy.

“Matt for Murder” from Gunsmoke (1954) – When Marshal Dillion is accused of murder, the governor sends another legendary lawman to Dodge City.

Sunday June 26th 2:00 PMMore Best of the Worst

“Battle of the Magicians” from Lights Out (1934) – What do magicians, airplanes, and zombies have in common? Absolutely nothing. But logic is no defense against this madcap mystical mash-up from the mind of legendary radio writer Wyllis “Quiet Please” Cooper.

“The Cup of Gold” from Dark Fantasy (1942) – A sports reporter’s investigation into the death of a golf pro leads to a series of shocking revelations! Scott Bishop’s murder mystery turned Surrealist manifesto will keep you guessing (or at least scratching your head) until the bitter, inexplicable end

go Park square theatre for tickets for in person or to stream from the comfort of your own home. Also for more information about these shows as well as an upcoming production at Open Eye Theatre of Rattus Rattus a double feature bill of Rat Centric Stories featuring the classic “Three Skeleton Key” and “The Rats in the Walls” go to .

Don’t miss a single review from The Stages of MN, 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. Also Follow me on Facebook, search @thestagesofmn and click follow and on Instagram thestagesonmn.