The 39 Steps Hilarious and Faithful Adaptation of the Hitchcock Classic

The 39 Steps is a stage play adapted by Patrick Barlow from the novel by John Buchan and the film by Alfred Hitchcock, one of Hitch’s early successes during his formative British years. It was also one of the earliest VHS tapes my family owned in the late 1970s. The novel later served as the basis for a 1978 film starring Robert Powell, which I also devoured endlessly as a kid. So this story of a man wrongly accused, on the run to clear his name while trying to foil a plot by foreign agents, holds a special place in my heart. I’ve seen this stage adaptation before at Lyric Arts and have always found it to be a clever and affectionate tribute to Hitchcock’s take on the story.

The 39 Steps answers the question: What if a Hitchcock movie were performed by four people who drank too much coffee and refused to slow down? Richard Hannay is framed for murder, chased across the countryside, and swept into an increasingly absurd web of spies, secrets, and romance. With dozens of characters, breakneck pacing, and comedy that borders on athletic, the show is a non-stop joyride where the thrills are fake, the laughs are real, and the ingenuity is jaw dropping.

Director Sarah Nargang, who has a background in clowning, puts that experience to excellent use in staging the controlled chaos that unfolds over the course of the play. One of the great joys of this production is its use of meta-humor. There’s no attempt to disguise the fact that four performers, assisted by two stagehands or “background clowns”,are staging a cross-country chase involving dozens of characters and at least as many accents. In fact, much of the humor comes from acknowledging exactly that. A lightning fast costume change might earn a round of applause from the audience and a gracious bow of acceptance from the performer.

Michael Kelley as Clown 1 and Lois Estell as Clown 2 handle most of the rapid fire character changes, and their timing is impeccable. I love that roles are assigned regardless of gender, giving the performers freedom to fully commit to the absurdity. Kelley and Estell are brilliant at creating a wide variety of characters, each one as distinct as it is hilarious. The background clowns, who also serve as understudies for the other roles, deserve recognition as well. Though they primarily assist with scene changes and passing tree branches outside train windows, Dominic DeLong-Rodgers and Sophie Finnerty contribute enormously to the show’s momentum and humor.

Hannah Steblay also plays multiple roles, but unlike the clowns, she generally inhabits characters with longer arcs. She portrays both Annabella Schmidt, the spy who passes her mission to Hannay with her dying breath, and Pamela, the woman Hannay finds himself handcuffed to, resulting in an inspired and delightfully physical routine as the pair attempt to navigate a gate together. Hannay himself is played with matinee idol poise and dashing charm by Grant Henderson, who nicely captures the easy charisma of Robert Donat in the original Hitchcock film. It’s excellent casting all around.

The 39 Steps is a great show to take the family to: a classic thriller story performed with comic brilliance that allows the magic and ingenuity of stagecraft to shine. The show runs through February 7th at Lakeshore Players in White Bear Lake. For more information and tickets, visit https://www.lakeshoreplayers.org/39steps-season-73

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

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Something Rotten Has Sold Out It’s Entire Run

The Cast of Unlabeled Theatre Company’s Production of Something Rotten

What did I think of Unlabeled Theatre Company’s production of Something Rotten!?
In a practical sense, it doesn’t matter, because as of opening night, the entire run is completely sold out. That’s a wonderful problem for any theater company to have. But Unlabeled Theatre Company isn’t just any theater company.

The company exists to create opportunities for adults with disabilities to participate in theater. Every role is performed by an actor who has a cognitive and/or physical disability or is neurodivergent, paired with a neurotypical Shadow Partner. Together, the two performers share the role, performing it in unison.

Right now, those of us who love theater are thinking a lot about the importance of art and its power to change the world. Sometimes those sentiments can feel grand, idealistic, or even a little naïve, especially when the world feels as bleak as it does right now. In moments like these, when we need art the most, our convictions can start to feel implausible.

Then you see a show like this.

It reminds you that change doesn’t always look big. Sometimes it’s small and precious, like changing one person’s understanding of what they are capable of. What they can do. What they can become. That’s what Unlabeled Theatre Company does: it creates possibility and hope.

On this night, the performance showed everyone in the room, but especially those on stage, what they could do. That may sound small, but for those who shared that moment, it was enormous. And the thing about small changes is that they ripple outward. It’s not just the people on stage whose worlds expand; it’s the person in the audience who recognizes themselves in someone performing. Who sees, through that person, that maybe they, too, can do something they were once made to believe they couldn’t.

At the beginning, I said it doesn’t matter what I thought of this show, but of course it does. You don’t need my review to convince you to see a show you can’t buy a ticket for. What I can do is this: I can tell you how beautiful this evening was. How it reminded me that there is still humanity among us. That there are people and organizations in a world that often feels flooded with cruelty who are choosing instead to lift others up.

Will this review sell another ticket? No, not this time. But maybe it sends you to their website. Maybe you subscribe to their newsletter so the next time they produce a show, you don’t miss it. Maybe it reminds you that there are forces in this world that aren’t trying to exclude or diminish, but to expand, to affirm, and to celebrate. To remind us that every person has value, and every person has something to share.

Everyone was great, and the standing ovation at the end wasn’t a “look what you did” moment. It was deeply felt and completely earned. We were genuinely entertained and moved by the music, the laughter, and the joy that radiated from the stage.

While you can’t see this production, I strongly encourage you to visit Unlabeled Theatre Company’s website and join their mailing list to stay connected to their work https://unlabeledtheatre.org/. I Hope you get to experience the magic of one of these performances, you will be amazed at the talent on stage.

If you’re able, consider making a donation to help them continue this vital mission.

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

Tubthumping Thursday is a Comedy Grab Bag Of Improv Hilarity at Bryant Lake Bowl Theater

On Monday, I caught one of my favorite improv shows, Off Book, at the Jungle Theater. If you’ve never seen it, their next show is March 2, and I highly recommend it. Off Book pairs actors who have memorized a script with improvisers who have absolutely no idea what the script is. Without fail, hilarity ensues. What does that have to do with Tubthumping Thursday? Well, one of the actors in Monday’s performance was Nissa Nordland, who happens to be one half of the Twin Cities improv duo Bury the Leads. Bury the Leads made up one-third of the bill at this month’s Tubthumping Thursday at Bryant Lake Bowl Theater.

This was my first time attending Tubthumping Thursday, a monthly comedy cabaret hosted by Cameron Cylkowski, who also performs with the group Secret Neighbors. The third act on the bill was Police Cop Detective PI. With the demise of Huge Theater a year ago, it’s been great to see other venues step up and make space for the wide variety of improvisers in the Twin Cities.

I won’t lie, I came to Tubthumping Thursday to see The Stages of MN favorites Nissa Nordland and Sam Landman. Their ongoing series (which they hope to eventually expand into an online show) centers on a pair of character actors named Clyde & Faye. Each performance offers another glimpse into the lives of these “not-the-leads” and their quest to finally land the part. As anyone familiar with Nordland and Landman’s work would expect, it’s excellent. They take audience suggestions and incorporate them into a scenario, in this case, being cast as the best friends of the main characters and required to film a sex scene together. Nordland and Landman keep things relatively clean, though a quick Google search of the audience suggestions tells a much filthier story.

What makes this series so compelling is the ongoing character development. At the end of this episode, because “episode” really feels like the right word, there seemed to be a spark between longtime friends Clyde and Faye. Like Buffy the Vampire Slayer before it, we may come for the jokes, but we stay for the character arcs and emotional bullseyes.

Secret Neighbors performed as a quartet led by Cylkowski, fellow company members include Courtney Miller, Cat Wright, Elizabeth Dunn, and Sean Yahn. After asking the audience a few opening questions, they spun those details into a series of funny situations and delightful tangents. Police Cop Detective PI, featuring Adam Fielitz and John Haynes, played cop partners on a stakeout. Both groups were excellent, and I’d happily check out any improv show featuring either of them on the bill.

Keep an eye out for all the unique and adventurous theater happening at Bryant Lake Bowl Theater by visiting https://www.bryantlakebowl.com/theater and subscribing to their newsletter. I always recommend arriving when the doors open,one hour before showtime, to snag a good seat and order dinner and a drink (or two). The food is great, and the beverage selection includes solid non-alcoholic options as well.

You can follow Bury the Leads on facebook to find out when and where they perform next, I do!

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

Plano Is a Fast Paced Darkly Humorous Journey Into Another Plane of Reality at Mixed Blood

Plano, the play by Will Arbery, falls under the heading of experimental theater, a phrase that can trigger flashbacks to previous traumas in much the same way the term performance art often does. This production marks the first full-length show from the new company Third Space Theater, which had a breakout hit with Breach at last year’s Minnesota Fringe Festival. Thankfully, the group of up-and-coming theater makers behind Third Space Theater weaponizes experimental theater as a way to engage and entertain the audience rather than alienate them.

Plano is a strange play that moves at breakneck speed, condensing time, sometimes within the space of a single sentence. Co-directors Alex Church and Em Adam Rosenberg guide the cast with a perfectly calibrated tone: not quite grounded in reality, but not completely detached from it either. That balance allows the increasingly unmoored narrative to unfold in a way that feels deliberate rather than chaotic.

The story focuses on three sisters, played by The Stages of MN newly minted “Must See” performer Stephanie Kahle, and what I suspect are future members of that club, Hannah Leatherbarrow and Mariabella Sorini. The sisters seem cursed in distinctly unsettling ways: one is married to a man who is clearly gay while her house is infested with slugs; another’s husband is abusive, and he multiplies; the third suffers from mysterious ailments. Their memories become their nightmares, and they move through them, interacting with and attempting to normalize the bizarre circumstances surrounding their lives.

The cast is impressive in how they mine humor from the dialogue purely through delivery. They never play a joke; instead, the laughter emerges naturally from their complete acceptance of the absurd. Beyond the three sisters, the cast includes Jennifer D’Lynn, Ben Qualley, Samuel Osborne-Huerta, and Michel Hundevad as a faceless ghost. Everyone is fully aligned tonally, contributing to the dreamlike, or perhaps nightmarishly unreal, quality of the piece.

Plano is a thinker. It’s the kind of show that will take days to fully process. And yet, it’s also immediately entertaining, I was able to write about how much I enjoyed it barely an hour after leaving the theater. At a brisk 85 minutes with no intermission, it flies by.

I highly recommend this production, and if you can, try to attend one of the performances that includes a preshow concert by co-director and choreographer Em Adam Rosenberg. It’s well worth arriving an extra half hour early. Those dates are January 9, 10, 12, 17, and 18.

Plano runs through January 18 at Mixed Blood Theatre in Minneapolis.
For more information and tickets, visit:
https://tix.gobo.show/events/event/r5FkUiiCpqF7daXpAl2N

Watch for the 2025 TCTB Awards to be announced on the next episode of The Stages of MN YouTube Show!!

SHUCKED Is Hilarious Proof That Corn Can Be Sexy And Extremely Stupid at The Orpheum

The Cast of The North American Tour of SHUCKED Photo by Matthew Murphy and Evan Zimmerman

SHUCKED, the original Broadway musical that garnered nine Tony Award nominations in 2023, is a show that feels tailor-made for Twin Cities audiences. I went in knowing almost nothing, just that it involved corn, and I assumed it would be silly. What I didn’t expect was how raunchy it would be at times, or how consistently it would land its jokes. To give you some point of reference think Hee Haw after dark mixed with The Simpsons and that will get you close to the tone of the show.

To give you a reference point: imagine an R-rated version of Hee Haw and you’ll be pretty close. Much of the humor falls squarely into the “it’s so dumb it’s clever” category—nonstop wordplay groaners that somehow make you laugh while you’re rolling your eyes. The jokes come at you about a mile a minute. Then the show pulls off a real surprise: the songs aren’t just funny, they’re genuinely good, and they’re performed by a very talented cast. The result is a musical that’s funny, upbeat, delightfully silly, and more than a little raunchy at times. I was honestly surprised by just how much fun I had with this unapologetically corny show packed with songs that really pop.

The story is narrated by two storytellers who guide us through the action with songs and an endless stream of one-liners. The setting is Cob County, a place so devoted to corn that it has literally walled itself off from the rest of the world with corn. No one ever leaves, and no one outside seems to know it exists. On the day of Maizy and Beau’s wedding, just before the vows, the unthinkable happens: the corn begins to die on the stalks. Since corn is everything in Cob County, the wedding is put on hold until the cause of the corntastrophe can be discovered. Against Beau’s wishes Maizy ventures into the outside world for help. She ends up in Tampa, Florida, where she mistakenly believes a podiatrist named Gordy, who advertises himself as a “corn doctor”, can save her town. Gordy is a con man (though not a particularly good one) who realizes the stones in Maizy’s bracelet are valuable and decides to tag along to Cob County under the pretense of saving the corn, while secretly planning to steal the jewels to pay off his mob debts. Romance, betrayal, broken engagements, and new ones ensue, with Lulu (Maizy’s cousin) and Peanut (Beau’s brother) along for the ride providing commentary, chaos, and some of the show’s biggest laughs.

Danielle Wade is the engine of the show as Maizy. She has a wonderfully distinctive voice, part Southern twang, part Bonnie Tyler rasp, with real raw power behind it. Her unique sound and along with her spunky performance are spot on for the character she’s playing. Nick Bailey gives a stellar vocal performance as Beau, nailing songs that feel like classic rock power ballads. There may very likely be country music comparisons that are more apt, but not being at all versed on country music, or really any contemporary music to be truthful, those would be lost on me.

Miki Abraham is fantastic as Lulu, stopping the show with “Independently Owned,” a number that feels closest to traditional musical theater while still delivering sharp, funny commentary on self-reliance and empowerment. Mike Nappi provides pure comic joy as Peanut, the lovable idiot brother, very much in the spirit of those old Hee Haw cutaway jokes. Our narrators are played by Maya Lagerstam, a graduate of the UMN/Guthrie BFA program and Joe Moeller. Their engaging presence guides us through the narrative with wit, and knowing nods to the audience.

Local audiences are going to recognize and appreciate every layer of the humor here: the rural jokes, the meta commentary, and the sly nods to modern politics and culture. With a top-notch cast delivering big laughs, strong vocals, and genuinely smart silliness, SHUCKED proves that being corny can be a virtue.

SHUCKED runs through January 11th at the Orpheum Theatre in Minneapolis. For more information and to purchase tickets go to https://hennepinarts.org/events/shucked

Watch for the 2025 TCTB Awards to be announced on the next episode of The Stages of MN YouTube Show!!

The Stages of MN: Looking Back at the Year That Was 2025!

2025 has been a very eventful year for The Stages of MN. I want to thank you, faithful readers and now viewers, for being here. Knowing you’re out there reading and watching is what keeps me doing this. I especially want to thank those of you who come up to me at shows, introduce yourselves, and share your thoughts on what I’m putting out there. I love getting those photos together too, let’s try to ramp that up even more in 2026.

Of course, the biggest thing that happened in the world in 2025 was the launch of The Stages of MN YouTube Show and Podcast. On June 18, the first episode premiered, featuring an interview with Austene Van, Artistic Director of Yellow Tree Theatre. Since launching, I’ve released 24 full episodes as well as four mini-episodes covering the Minnesota Fringe Festival.

When I launched the show, I was unemployed and able to devote a lot of time to its creation. Even so, with the addition of the YouTube show, adjustments had to be made to accommodate the increased workload. After my application for more hours in the day was rejected, I determined that two things needed to happen: first, I needed to cut back on the number of shows I saw, and second, I needed to tighten things up. That became even more true once I acquired full-time employment. Easier said than done.

In 2024, I posted 147 blog entries, compared to 168 in 2025, though some of those were tied to episodes. The average word count per post in 2024 was 1,001 words, while 2025 saw a decrease to an average of 903, progress! Blog views grew from 72,200 in 2024 to 74,500 in 2025. Episodes of the YouTube show received 4,364 views in 2025, and the channel currently has 140 subscribers. The blog has 375 subscribers, up 160 from 2024.

Subscribers are wonderful, and we love them, but the vast majority of views come from social media. The site continues to grow steadily, which means more people are seeing the reviews, and hopefully more people are getting out to see live theater. Readers can help the site grow by following The Stages of MN on Facebook and Instagram. Like, share, and, why not subscribe? When you see a review you like, like it. When you see one you love, share it. Encourage friends to follow as well. The more visibility we have, the further the reach, and the more likely it is that someone who isn’t a regular theatergoer will stumble across a post and be inspired to check out a show.

Creating new audiences for live theater needs to be the objective of anyone in theater or anyone who loves theater. The second objective is to create or promote great theater, which hopefully leads to goal three: turning occasional theatergoers into regular theatergoers. I’m trying to do my part. I saw over 190 shows in 2025 and wrote reviews of 189 separate productions.

Now comes the moment where I share my Top Fives for 2025 in three categories: Touring Productions, Locally Produced Plays, and Locally Produced Musicals. These lists are not ranked; they are listed alphabetically.

The Stages of MN Top 5 Touring Productions:

& Juliet
Kimberly Akimbo
Life of Pi
Phantom of the Opera
The Wiz

The Stages of MN Top 5 Locally Produced Plays:

A Midsummer Night’s Dream (Guthrie)
Pride & Prejudice (Theatre in the Round)
Primary Trust (Guthrie)
Somewhere (Guthrie)
Three Sisters / No Sisters (Theatre Pro Rata)

The Stages of MN Top 5 Locally Produced Musicals:

Endometriosis: The Musical (Theatre in the Round)
Lizzie: The Rock Musical (Open Eye Theatre)
Natasha, Pierre and the Great Comet of 1812 (Elision Playhouse)
Once on This Island (Artistry)
Whoa, Nellie! The Outlaw King of the Wild Middle West (History Theatre)

Every year I add a few performers to my personal “Must-See” list, actors, dancers, and singers who stood out over the course of the year. Sometimes they’re artists I’ve never seen before; other times they’ve moved from “I really like what they’re doing” to “I need to see everything they do.” A few of the names that already adorn that list: Tyler Michaels King, Max Wojtanowicz, Joy Dolo, Shanan Custer, Daniel Petzold, Em Adam Rosenberg, Jeffrey Nolan, Allison Vincent, Brendan Nelson Finn, Grace Hillmyer, and Noah Hynick, to name just a few.

Here are the additions to The Stages of MN Must-See List for 2025:

Tara Borman (Endometriosis: The Musical at Theatre in the Round; Rollicking! A Winter Carnival Musical at History Theatre)
Dustin Bronson (A Midsummer Night’s Dream at the Guthrie; Love and Baseball at Artistry; Misery at Yellow Tree Theatre)
Antonisia Collins (Robin Hood at Zephyr Theatre; Once on This Island at Artistry)
Anna Hashizume (Grease at Chanhassen Dinner Theatres; My Fair Lady at Theater Latté Da)
Stephanie Kahle (The Crucible at Night Fire Theatre; Breach at MN Fringe; Pride & Prejudice at Theatre in the Round)
Nubia Monks (Paradise Blue at Penumbra Theatre; The Nacirema Society at the Guthrie; Primary Trust at the Guthrie)
Hawken Paul (Legacy of Light at Theatre in the Round; Bart and Arnie from Melancholics Anonymous; Natasha, Pierre and the Great Comet of 1812 at Elision Playhouse; multiple MN Fringe shows)

It was another great year for theater, and I’m very much looking forward to 2026. I hope you are as well. I write about theater and love it, but I’m not an extrovert. That said, I genuinely enjoy meeting readers and artists, so if you see me at a show, please stop over and say hi. Ask for a picture, and I’ll put you in the “At a Show With…” montage in future YouTube episodes.

The Stages of MN is always open to partnering with theaters to participate in or help facilitate pre- and post-show discussions or events. If that’s of interest, reach out. We’re also always looking for sponsors for the YouTube show. If you’re interested in sponsoring an episode, email me at robdunkelberger@thestagesofmn.com. You don’t have to be theater related, if you’re a reader or viewer with a business to promote, reach out and we’ll figure something out.

This year I also launched The Stages of MN +1 Club. I usually get two tickets to shows, but when a plus-one cancels or everyone’s busy, I text the +1 Club. Want in? Send me your name and phone number. When I have an extra ticket, I’ll text the group, and the first person to reply directly gets to come see a show with me for free. No group-text chaos allowed.

Thank you, as always, for your continued support, faithful readers and viewers. And now, in the immortal words of Carol Jackson:

“Go see a show!”

Showdown at the Kar-a-OK-e Corral, One Final Murder to Solve Before The Mystery Cafe Closes.

It was my fifth case with The Mystery Café, and the writing was on the email: this would be my last. After its 38th season, the Café is closing down. The head of the agency, Brian Kelly, cites rising food costs as one of the motives, though I just heard President Trump say grocery prices are lower than they’ve ever been since the Great Depression, so who knows what to believe. One thing was certain: a crime was going to be committed at the Kar-a-OK-e Corral, and I needed to be there to help find the murderer.

The problem? It was the worst weather of the season in Minnesota. The roads were slicker than the cap of an olive oil bottle after the kids have “helped” you cook dinner. I made it to the venue, though it was a white-knuckler if I’ve ever seen one. Mother Nature was angrier than a TSA agent without a paycheck, and I knew this crime needed to be solved quickly before the roads became completely impassable.

When I arrived, I was met at the entrance by Mama Myrna Shamwow herself, owner of the Kar-a-OK-e Corral. Mama was full of life, though her sense of fashion direction had clearly taken a turn down bargain basement alley. It was immediately clear that she might be a little down on her luck, but that didn’t affect her confidence. This was her place, and she was firmly in charge. Rumors of karaoke fixing had swirled around Mama like bees around a little black rain cloud for years, but so far she’d never been stung. This year, however, the Ham Lake City Council announced that things would be watched closely to ensure everything was above board.

The news that there would be no fix this year ran through the contestants like COVID through a senior center on grandkids’ day. They were elated, unlike the residents of a senior center four to seven days after grandkids’ day. All of them, that is, except Tiffany Shamwow, Mama’s daughter and six-time winner of the annual singing competition. Tiffany was none too pleased to learn she wouldn’t be handed the championship on a golden platter this time.

Not yet knowing what crime would be committed, I began making a mental list of potential victims and suspects. First up were Sully and Shar, a couple who saw this as their first real chance to win. Shar was so desperate for victory that she prevented Sully from singing, which clearly upset Sully, and seemed to relieve the audience. Next was Colt Yokum, Mama’s accountant and a man with friends in low places. Then there was Iris Vox, Tiffany’s perpetual second fiddle, who she played like a harp from hell. It wasn’t hard to imagine Iris getting as tired of Tiffany plucking her strings, as this metaphor is. Also in the mix was last-minute entrant Jimi Wylde, as gifted vocally as he was clueless about everything else. Finally, there was Bernie Love, the DJ, who opened with a musical number that left me wondering why he wasn’t competing.

As for the crime itself? I’ll leave that to you, faithful readers, to discover when you make your final journey to The Mystery Café.

This show gives audience members the opportunity to sign up and perform a karaoke song during the evening, for those so inclined. I attended a Sunday brunch performance, when the weather, and therefore the roads, were particularly terrible. I don’t drink, and I’m therefore unlikely to summon the courage to sing karaoke under any circumstances. Add in the time of day and the icy roads, and participation was understandably low. We did have two audience performances, both so good that they effectively shut down the rest of us who lack confidence in our vocal abilities. I’m told evening performances inspire much higher levels of participation, and that it’s a judgment free, just have fun space.

The food, as always, was enjoyable, and I loved seeing some of my favorite local performers. Josh Carson plays Sully and does finally get to sing, once the waitstaff had collected their tips. I’m not saying there’s a correlation, but I’m also not not saying it. Also performing are Twin Cities power couple Nissa Nordland and Sam “the Man” Landman as Tiffany Shamwow and Bernie Love.

This may not be the funniest Mystery Café show I’ve seen, and the mystery itself is no Agatha Christie or Conan Doyle puzzle. Though it’s fair to say it stumped me. But like all their productions, it’s an enjoyable outing with friends or family, but never both, don’t cross the streams. I gave tickets as a Christmas gift to the Aged P’s and my brother and sister-in-law; it’s been a bit of a tradition for us, and I’m genuinely sad to have to find something new next year.

The addition of karaoke is an inspired one and likely adds a lot to the fun. I happened to see it under less than ideal circumstances, but I’m confident that anyone who sings, or drinks enough to think they can, will enjoy it even more.

Showdown at the Kar-a-OK-e Corral runs through February 15 at Majestic Oaks Golf Club in Ham Lake. The show includes dinner (or brunch at matinees) and a crime. If karaoke isn’t your thing, there are two other shows in this final season: A Cruise-mas Carol, running through January 9 at the Sheraton Bloomington, and ’Til Death Do Us Die, playing January 16–31, also at the Sheraton Bloomington.

You can read my reviews of previous years’ productions here:
https://bit.ly/TSOMNCruismasCarol
https://bit.ly/41TqaJh

For performance dates and reservations, visit:
https://www.themysterycafe.com/