Noises Off at Lakeshore Players in White Bear Lake

This is the third production of Noises Off that I have seen, not including the 1992 film version, and it never ceases to amaze me. It’s a highwire act of a show requiring the actors to perfect the timing of everything down to the split-second. I was excited to see the show again as it’s a favorite, but I wasn’t sure how a community theater would pull off the elaborate set requirements and frankly, that timing. I’m happy to confirm this production is as good as any I’ve ever seen. This spectacular cast doesn’t miss a beat even when those beats begin to come at three beats per second. The New York Post wrote that Noises Off is “The funniest farce ever written” and they may be right. The only show that gives it a run for it’s money that I’ve seen is The Play That Goes Wrong. Interesting that each is center on a theatre production. Laugh for laugh, and for sheer entertainment you cannot top Noises Off at Lakeshore Players. If you aren’t laughing, check your pulse, I’m afraid you may be dead.

The play was written by Michael Frayn in 1982 inspired, according to Wikipedia, by watching a production of one of his earlier farces from the wings. He observed that it was even funnier backstage and resolved that at some point he should write a farce from behind the scenes. What is interesting and what makes the play work so well is that we see the first act of the play three times. The first is the Tech/dress rehearsal, where we see the play from the point of view of the audience. Frayn sets the first Act during rehearsal so that they can start and stop the play within a play. This serves two purposes, first we get to know the actors and their little idiosyncrasies and what their relationships are to each other. We have the usual humor about theatrical types and the frustration of the director trying to corral all of the elements to get through the show once before it actually opens to the public. The second reason is that by stopping and redoing lines of dialogue and discussing what is happening and why within the play, the plot and each characters blocking is cemented in the audience’s mind. It’s important that we have a clear understanding of what is happening onstage in Act 1, because during the intermission the set is completely rotated and we now see the performance four weeks in into the run from backstage. We have to know what is supposed to be happening onstage to really appreciate the humor of the shenanigans backstage where relationship dramas have much of the cast at each other’s throats. Finally after a second intermission in which the set is again rotated so we are seeing it from the audience’s point of view, we see an actual performance of the play three months into, and thankfully, near the end of it’s run. Again, if we didn’t have a clear understanding of what was supposed to be happening in the play within the play, we would be as lost as the poor fictional audience who is experiencing the play for the first time.

With a true ensemble cast such as this you have to choose who was good and who was bad and leave not mention those in the middle or you’d have a ten page review. The problem with this cast is, nobody is bad, in fact nobody is even in the middle, they are all fantastic. So I’m just going to say something about a couple of the performers that did something a little unique from what I’d seen before. Jeffrey Nolan, who plays Tim the Stage Manager, is also the understudy for the male roles in the play brought a different kind of energy to the role. He gets some neat bits that are like silent comedy routines between acts and he plays the roles constant exhaustion in such a way that you feel the character will be scarred for life after this production. Waverly McCollum, plays Brooke the bombshell but inexperienced actress. McCollum plays her to great comic effect as if she’d been cashing in lobotomy coupons. She’s hilarious when just standing still, partly because she’s standing still eating her costume. All of the performers demonstrate a knack for physical comedy and comedic timing, but both Nolan and McCollum get a chance to raise it to another level. Watching Nolan try and set the stage with his last ounces of energy at the beginning of Act 3, or McCollum descend the stairs in Act 1 trying to avoid stepping on her lost contact lens, are moments of comedic brilliance.

Director Greta Grosch puts her comedic sensibilities as a member of Dudley Riggs Brave New Workshop to good use. The staging is fairly well laid out in the script for Noises Off, but it’s her sure sense of what will work character wise that makes this familiar show seem fresh and vibrant. Hats off to Dave Pust for his Set Design. Again, the set is fairly well set by the needs of the script, it varies very little from production to production so it’s in the execution that Pust’s talents shine through. The entire set breaks away into three sections so that it can be pulled apart turned around and reassembled facing the other way, which it does very smoothly and in full view of the audience. Grosch wisely has the actors stay in character whenever they can been seen between acts adding to the feel of a behind the scenes story. Alyssa Kraft’s Lighting Design complete with intentional miscues is spot on as are the props by Brandt Roberts, Costumes by Bronson Talcott, and Sound Design by Nathaniel Glewwe.

Noises Off runs through February 12th at Lakeshore Players Theatre for more information and to purchase tickets go to https://www.lakeshoreplayers.org/noises-off-2022

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I am also a member of the Twin Cities Theater Bloggers, you can read roundups of shows by my colleagues and I on facebook @TwinCitiesTheaterBloggers. Follow that group, It’s a great way to see reviews for shows I don’t get to or to get another bloggers take on one. We have some exciting things in the works for 2023 for the TCTB and our readers, follows us to be the first to know about those happenings. Including our Prom Date with the TCTB!! see below for details. Click on this link and select the March 4th matinee performance https://bit.ly/PromDateWithTCTB

These Old Shoes is Simply Beautiful At Illusion Theater

Now, nearly through my fiftieth year, I am very aware that there are more years behind then there are ahead. As such my mind turns more and more frequently to the past and things that might have been. I also think about the future and what that holds for me, for my wife, for my remaining parents. Transatlantic Love Affair’s These Old Shoes is a stirring and creative exploration of memory and aging, of love and life. Transatlantic Love Affair the theatre company is billed as a Physical Theatre Ensemble, as such there is an emphasis on the body as the primary instrument in the production of this theatre piece. There are no sets, no props, no costumes to speak of, just the actors bodies and voices to create their characters. I was under the mistaken impression that this was a musical. There is music composed and played on guitar by Jeff A. Miller throughout the play and there is one song that the cast sings called “Echoes and Memories” which was created by The Champagne Drops. It’s a stripped down performance that has done away with much of the usual theatrical conventions to discover that what remains is all that is needed to create a very moving and beautiful work of art.

The show was conceived and Directed by Diogo Lopes and created by the Transatlantic Love Affair ensemble who perform the piece. The show has a central storyline that takes place in the present and in flashback. In the present Jim is preparing, with the help of his Granddaughter, to move out of his home and into a retirement community. In the past we see his first love and how their story played out. That is the main narrative thrust but it is filled with little moments about the other residents at the retirement home. We see them in their daily routines, and we also get glimpses into their pasts as well. This is an opportunity to reflect on the way we change throughout our lives. This reminds us that while they may seem like eccentric old characters steeped in comic relief, they, and in fact we, were young once. No person is the simply what you see at the end of their lifetime, we all have pasts, we all have things that would surprise our grandchildren as much as they surprise us. What’s amazing is how fully we feel we get to know these different characters in a show that runs only 75 minutes.

The characters of Jim and his first love Marjorie are played by Derek Lee Miller and Peytie McCandless. Their transformations from young to old and back again in a matter of seconds are so perfectly subtle, when they are older they get just that little bit smaller, they walk a little slower, it’s simple but effective. This night Jim’s granddaughter was played by the understudy Leslie Vincent. She unlike most played two completely different characters and they moved and sounded completely different. If they actually went off stage, changed costumes and put a wig on, you’d never guess they were the same performer. The entire ensemble is clearly very in tune and in control of their bodies, illustrating what they mean by Physical Theatre Ensemble. They are Heather Bunch, Chasya Hill, and Eric Nelson. And my favorite of the group Allison Vincent, who actually gets to play a lot of different characters, most of them wonderful bits of comic relief that lighten the mood and provide a laugh just when you need it. The final member of the group is Jeff A. Miller who as noted composed and performs the music during the show. He perfectly scores everything that is taking place, making the opening sequence as we see the various characters getting ready in the morning play like scenes from a silent movie.

These Old Shoes is not a show that I think my kids would get much out of. I suspect you need to be at least in your mid 30’s and probably at 40 for it to connect in all the ways it did for me. I don’t think anyone would leave not feeling that their time was well spent, I’m just saying if you are 40 or older you’ll likely fall in love with this show, I certainly have. For more information about the show and to purchase tickets go to https://www.illusiontheater.org/transatlantic-love-affairs-these-old-shoes.

Locomotion at The Children’s Theatre Company

The Children’s Theatre Company latest production Locomotion is something of a gut wrenching story that thankfully is told in a rather positive manner. The two children I was with were 9 and 10 and it was a little too sophisticated for them. The recommended age is 9 and up, but I think a better guideline would be 12 and up. The story is told in a manner that’s a little on the complex side for younger children. They can follow the plot more or less, but it’s a show that contains a lot of flashbacks and poetry which I think lost some of the younger members of the audience. Paradoxically, that’s probably what makes it a more interesting narrative for those of us on the other end of the age spectrum. I appreciated the way information was revealed slowly, filling in the missing pieces of the plot. I also enjoyed the way poetry was used as a way for the characters to connect with their emotions. There are some difficult themes and incidents but they are handled in the way that kids sometimes onboard that kind of stuff, matter of factly. In this way, it avoids feeling manipulative, we are allowed to go along on the characters journey rather than being directed when and how to feel. All of this is accomplished through sensitive direction and some strong performances.

Locomotion takes the audience into the life of 11-year-old Lonnie Motion, as he finds new tools – the
result of a school poetry assignment – which help him to process the tumult of life in foster care. As
Lonnie discovers the power of poetry, he experiences deeper connections to his new foster mother,
his school friend Enrique, his teacher Ms. Marcus, and his beloved younger sister Lili.
Children’s Theatre Company

The show was adapted by Jacqueline Woodson from her book and it’s a script that doesn’t waste a scene. The show runs about 75 minutes and it covers a lot of ground in that short running time. Nothing feels rushed, and nothing feels superfluous. That’s kind of a rare thing, when you leave a show thinking that was just right. Woodson is a gifted writer ass every aspect works. The poetry, the non-linear narrative, the relationships between the characters, the voices with which they all speak are unique to their age and experience, and it lends an authenticity to each of the characters. The use of music within the play is wonderfully utilized, whether it be the classic song “Locomotion“, Church songs, or Rap as an example of one characters entry point to poetry.

The cast is led by Junie Edwards as Lonnie in their first lead role ever and I very much doubt it will be their last. Edwards is the through line that connects each of the plays characters and they transition between insecure new foster son, big brother, friend, student, and even eight and eleven years of age effortlessly. The transitions between the “now” and the “past” could very easily have been unclear, but Edwards guides us through them seamlessly. In one aspect, they were almost too good. At one point the entire cast is singing, Lonnie’s friend Enrique played by Ellis Dossavi is supposed to have an amazing singing voice, and Dossavi has a nice voice, but Edwards’ is fantastic. In fact, it’s in that moment when Edwards voice takes center stage when I sensed I was seeing someone who I’ll be following for many years to come. Dossavi and Edwards banter as friends feels real, they have a playful give and take. Doing some heavy lifting are the two adult cast members, Charla Marie Bailey and Darrick Mosley, who each play multiple roles. Each one unique and fully realized, my favorite of Bailey’s is Ms Edna Lonnie’s new foster Mother. Mosley seems to be having a lot of fun with the role of Lonnie’s Dad in the flashbacks, and it’s the playfulness of that performance that really lends a sense of loss to the story.

Director Talvin Wilks really gets Woodson’s script and finds interesting ways visually and through staging to take us into the minds of the characters. Whether it’s the flashbacks or the characters inner voice it’s always clear what is happening and it’s always accompanied by something visual that feels complementary rather than unnecessary. When I first walked into the theater I had to wonder if the set was repurposed from their production last year of Diary of a Wimpy Kid. I felt like I’d seen those ruled notebook pages before. Maybe they were, but once the show was in full swing I found the Set Design by Maruti Evans to be inspired. Thematically, it tied in perfectly and combined with Projection Designs by Kathy Maxwell the versatility of the set in terms of locations and representing the frame of minds was unexpected and effective. It’s a strong show in every sense and it’s bold visual style works beautifully.

Locomotion runs through March 5th at Children’s Theatre Company in Minneapolis for more information and to purchase tickets go to https://childrenstheatre.org/whats-on/locomotion-22-23/

The Root Beer Lady Blazes Her Own Trail at the History Theatre

The Root Beer Lady at History Theatre in St. Paul ended with a standing ovation, that continued for nearly a minute after it’s star and writer Kim Schultz left the stage. I don’t remember ever experiencing that before. One thing’s for certain, Minnesotans love their Root Beer Lady and Kim Schultz brought her vividly to life for us on stage tonight. You rarely leave the History Theatre without a little curiosity stoked to learn more about the subject of the evening’s entertainment and for me, that has never been truer. As soon as this review is posted I’ll be googling the hell out of Dorothy Molter, of that you can be sure. If you don’t know much or anything about Ms. Molter, do yourself a favor and don’t google her. Instead, click on this link RootBeer and get yourself some tickets and hear about her from Kim Schultz.

Schultz heard about Molter during a stay in Tofte, MN. Fascinated by what she’d heard, she found a book written about her in the Tofte library. After reading that and doing some more research she began writing this one woman show. I really don’t want to say much about her story as I knew little going in, and not knowing all the details was a wonderful gift. Molter permanently to Knife Lake in the Boundary Waters area of Northern MN after spending three summers working at the Isle of Pines Resort for her friend Bill. She never left, becoming the last resident of what became the Boundary Waters Canoe Area Wilderness. Her story is about the love she had for the area and her determination to live her life the way she wanted to, where she wanted to, in a time when that wasn’t really done. The story is full of humor and emotion, astonishing facts, and moments that will leave you in awe of what Molter was capable of. It’s an inspirational true life tale of real Minnesota original, and I found my eyes got a little watery by the end. She is an example of the ways in which people touch each others lives. When the going gets rough, the woman the Saturday Evening Post dubbed, the “Loneliest woman in America” always found that she had many, many, many friends.

It’s clear that Kim Schultz connected with Molter as her portrayal is so affectionate. She embraces the wonder of a young Molter experiencing the majesty of the wilderness, and gradually over the course of 80 minutes imperceptibly changes into the mature woman who spent 56 years living in the place she fell in love with. From a wonderstruck young woman to a full blown wilderness character, effortlessly and believably. While it’s definitely Schultz’s show, she gets some wonderful assistance with the production. Chelsea M. Warren’s set is a wonderful combination of Molter’s cabin and the outdoors with large tree trunks towering into the rafters and a canoe beached on the shoreline. Kathy Maxwell’s video design creates a background that changes the season, shows us the beautiful blue skies of a sunny day and the millions of stars in the night sky. Finally, Katherine Horowitz sound design needs to be mentioned for, if nothing else, the sound of the birds that come and eat food from Molter’s hands.

The Root Beer Lady runs through February 19th at the History Theatre for more information and to purchase tickets go to https://www.historytheatre.com/2022-2023/root-beer-lady

The Book Club Play is a Delight at Theatre in the Round

Theatre in the Round Players (TRP) is having one hell of a season, perhaps their best since I’ve been a regular attendee. The Book Club Play is definitely in the conversation for the best production I’ve seen by the company. The position is currently held by Red Herring way back in 2017, but this is giving that show a run for its money. Containing all the elements you might look for in a good book; drama, comedy, social commentary, romance, The Book Club Play touches on all the qualities of the books it’s characters read. But above all, it’s a comedy, one that draws much of it’s humor from the best possible well that of character. The play is written by Karen Zacarias, whose ability to create characters that can be summed up as a type, but then refuse to be simply that character tagline. This is my first exposure to Zacharias’s work, and excited that another of her plays Native Gardens is going to be produced next month at DalekoArts in New Prague. This is the sort of play that I like to recommend for couples who don’t get out to the theater often or as a great night out with a group of friends. TRP tickets are very affordable and there is no way you’re not going to leave the theatre saying “we should go to the theater more often that was really fun!”

The basic plot is, “Ana is a Type A personality who lives in a letter-perfect world with an adoring husband, the perfect job, and her greatest passion: Book Club. But when her cherished group becomes the focus of a documentary film, their intimate discussions about life and literature take a turn for the hilarious in front of the inescapable camera lens. Add a provocative new member along with some surprising new book titles, and these six friends are bound for pandemonium.”
From the Theatre in the Round Website

That’s basically all you need to know of the plot because the humor and heart of the play comes from the characters and their relationships. TRP has gathered a very talented group of actors who know how to bring Zacarias complex characters to life, always avoiding making them into caricatures. Probably the easiest example to illustrate what I mean is Ben Tallen as Rob, Ana’s husband. He plays what in the shortest description would read like a dumb jock trophy husband. But he isn’t written that way, but the aspects that are, Tallen plays against making his character more real by subverting the expectation. Siri Hellerman plays Ana, the most uptight character, she has to fall apart as the others find themselves. She could have come across as a very unlikeable character but again, Hellerman plays the unattractive elements in a way that we empathize way more than we think we would. Rachel Postle gives a very naturalistic performance as Jennifer, an old friend and longtime member of the book club, who isn’t too thrilled with having cameras recording her book club nights. Eni Ogundipe is not someone we’ve seen before, she plays Lily, the young new to town, and recent addition to the book club. Ogundipe is a little green performance wise, but she definitely has a quality that captures the audience’s attention. She’s the young, hip, but very smart woman who tries to shake up the book club a little bit with her off message book choice. Tony Burton plays Will, who is Rob’s best friend, Ana’s first love and whom Lily assumes is gay. He plays Will perfectly so that we have made the same assumption Lily has, but he doesn’t overplay it so much that we can’t believe his denials. It’s a tricky line to walk, for the humor and the character to work, you have to play with some stereotypes, but you don’t want to overplay it and end up playing a stereotype but Burton masters the balancing act. Finally, in between each meeting of the Book Club we get Bailey J. Hess, playing different characters doing a little comedic bit about books. It’s the kind of fun character work we used to see at TRP from Mark L. Mattison. It’s a little palate cleanser between scenes and they all work really well.

The Production is directed by Shanan Custer, a Twin Cities favorite who stopped needing to prove anything long ago. A gifted performer she is also a sure hand at the helm of a production. The timing and staging of the play has her wit written all over it. Not content with a fantastic script, it’s her influence I suspect that guided the actors to making those choices that expand the reality of their characters. One flaw of the show was some of the sound design work by Scott Gilbert. As scenes begin there is an audio announcement of the book and author for that weeks meeting. Frequently, they are too soft to be heard or come on too soon and are drowned out by the audience applause for the previous bit by Hess in one of her unique character creations. Perhaps that will smooth out as the run continues and they have a better sense of the audience reactions. Greg Vanselow’s Set Design is basically some living room furniture, the one neat creation are the four large camera boxes stationed in the four corners of the living room which the actors have fun either talking to or trying to avoid looking into.

The Book Club Play runs through February 19th at Theatre in the Round Players in Minneapolis, for more information and to purchase tickets go to https://www.theatreintheround.org/home/season-placeholder/current_season/book-club/ . This one comes very highly recommended!

Maybe Has its World Premiere at Stages Theatre Company in Hopkins

Maybe is a new musical having it’s world premiere at Stages Theatre Company in Hopkins. It’s based on the book written by Kobi Yamada, adapted by Christina Pippa, and music and lyrics by Sharon Kenny. It’s message is to encourage its audience to always see the possibilities, to think of what they want, then figure out how to achieve it. That’s not just good advice for the young people in the theater but for everyone. The way to achieve anything is to set a goal and figure out the steps to accomplish it. Maybe is a wonderful way to try and instill that idea into children at an early age so that they can get the most use from it. The production was produced in collaboration with Escalate Theatre & Dance Studio, and the dancing is definitely one of the highlights.

A simple story about a human child named Birdy who is gifted at seeing the possibilities. She is surrounded by the Possibility Posse, a group led by Posse Bull and Posse Blee who cannot be seen or heard but act as an inspiration to Birdy. Posse Blee leaves a bunch of leafs in Birdy’s path and as usual she takes something ordinary and makes it extraordinary creating a headpiece of a bird with the leafs as feathers. Birdy meets Orville a pig and they go along together trying to determine what Orville’s possibility is. Orville wants to fly. Along the way they meet several other creatures who have found their possibility and share their stories, and help inspire Birdy and Orville. Eventually, Birdy and Orville decide that maybe they need to look on the water for their answer and board a sailboat.

Birdy is played by Caidance Kue, who’s only in the sixth grade, and was up to the task of headlining the show. She has stage presence and voice that should she continue to perform and work on her craft, could have a career in theater if that is what she desires. Zola Jo Renfroe as Orville is also delightful and the pair have a nice chemistry. I love Stages because they are doing the good work of creating the next generation of theatermakers and theatergoers. The reality is sometimes the intentions are better than the execution where we end up with performers who know their lines but haven’t learned to put any meaning behind them. I’m happy to say that didn’t come across as the case this time, we weren’t just watching young people recite their lines, there was an element of character and emotion in all the roles.

The dancing by the cast is incredibly tight, especially given the age of many of the performers. There are four credited Choreographers; Katie Barron, Anna Esposito, Tammi LeMire, and Megan Torbert and they’ve done a wonderful job. The moves may not be extremely complex or difficult, but the precision and synchronization was impressive and the relative simplicity of the individual movements could inspire kids in the audience to think, maybe I can do that. The production is co-directed by the Artistic Directors of Stages and Escalate Sandy Boren-Barrett and Ann Marie Omeish. They keep a nice flow and balance between the acting, singing and dancing, it’s definitely a successful collaboration between the two companies. I’ve not read the book by Yamada so I cannot speak to how faithfully or how well it’s adapted for the stage, but I liked the storyline and script by Pippa. The music was upbeat and catchy but the weak link in the show was probably the lyrics. Too often it felt as if the words were being made to fit the music or the music was just written and underlying notes for the words to be sung too. Not the case with every song, but many had that element if not throughout, at times. The marriage between music and lyric just didn’t always seem to develop, leaving parts of songs feeling clunky.

Maybe runs through February 12th at Stages Theatre Company in Hopkins. For more information and to purchase tickets go to https://www.stagestheatre.org/maybe/

The Girl on the Train at Lyric Arts in Anoka is a Thriller Worth the Commute

Lyric Arts in anoka has long been one of my favorite of the smaller local theaters. Nestled in amongst small shops and churches on the picturesque main street of Anoka, it’s a small town theatre that frequently delivers big city level productions. The Girl on the Train is one of those productions. Lyric Arts brings this regional premiere to vivid life with a great cast and a truly impressive production design. The play is based on the bestselling novel by Paula Hawkins and the DreamWorks film, which I have never read nor seen. It’s rare to see a contemporary thriller on stage, we usually get older plays such as Wait Until Dark or a period Agatha Christie. I love those but they always suffer slightly from the fact that I usually know the ending. That’s what I loved about going into this blind. The more productions I see the rarer it is that I can just be present in the moment not knowing where the story is going. It’s a refreshing treat that given the popularity of the novel and film few may be able to share. Luckily, the staging is so inventive and the performances so good that I feel sure those familiar with the plot and resolution with still have a thoroughly entertaining night at the Theater.

“The Girl on the Train follows Rachel Watson, a London woman who longs for a different life. Her only escape is in the glimpse of the perfectly happy suburban couple she views through the train window on her daily London commute. Their life–as
she sees it–is perfect. Not unlike the life she so recently lost… When Rachel learns that the woman she’s been
secretly watching has suddenly disappeared, she finds herself as first a witness and then a suspect. Soon she is
deeply entangled in not only the investigation, but a mystery that will force her to face revelations she never could
have anticipated.”
Lyric Arts Press release

The play was adapted by Rachel Wagstaff and Duncan Abel who co wrote a stage adaptation of Dan Brown’s The Da Vinci Code in 2021 and have a new Stage version of Sherlock Holmes in development. Not having been exposed to either of the earlier versions of the story it’s difficult to judge their talent for adaptation, but I certainly like their taste in source materials. The script does a nice job of weaving clues to the psychology of the denouement throughout the story. Dealing with some real world issues such as alcohol abuse, guilt, and domestic abuse that function twofold as pieces of the puzzle but also obstacles to its solution.

Laura Baker stars as Rachel, the girl on the train, she has a tough role in that we have to be rooting for her even as we observe her troubling behavior and watch her earn her own way onto the list of suspects with her lies. On the surface she is a character who drinks until she can’t remember what she did or saw, stalks and harrasses her ex-husband and his new family, insinuates herself into the life of the missing girl’s husband, and tries to get the missing girl’s therapist to divulge confidential information, and it isn’t really out of some high minded effort to solve the mystery, but to fill holes in her own life. That despite all of this behavior we are still rooting for Rachel is a testament to the way Baker shows us the vulnerability underneath all of these actions. She’s supported by a solid cast. Standouts for me were Jack Bonko as Scott Hipwell, the missing girl’s husband who like all of the performers outside of the Detective in charge of the case have to play the part so that we can read their behavior as innocent or guilty. Bonko walked that line perfectly, always keeping you guessing if he was menacing or messed up. In one of the smaller roles Grace Hillmyer as Anna, the new wife of Rachel’s ex Tom, does a lot with little stage time. Doc Woods makes for a great detective, he baits Rachel expertly, and also delivers with droll logic the ways in which she keeps making herself more and more a person of interest to the police. Rounding out the cast are Jonathan Feld as the ex husband and Austin Moores as the missing girl’s therapist. They are all suspects and all give us reason to suspect them, but also reason to dismiss them via their performances. Finally the missing girl Megan is played by Ninchai Nok-Chiclana, who is seen through a very effective use of video projection onto the flats of the set design.

The show is directed by Anna J. Crace making her Lyric Arts debut. Hopefully this will be the first of many. Crace’s staging of the play is quite innovative. The projections are used as a sort of flashback whenever one of the characters is telling about an interaction they had with Megan and also as a look inside Rachel’s thought process. At one point when she’s trying to remember things she talks to the projection of Megan. It’s a visually effective way of giving us those moments from the past that’s different from having the missing performer step out into the scene. Not only is it a great idea it’s very well executed by lighting and projection designer Jim Eischen. Eischen’s other lighting effects, particularly those that border each of the set pieces is equally inspired, aiding in the conveyance of different ideas, from the movement of a train to Rachel’s struggle within her mind to remember what she has seen. Chad Van Kekerix’s set design is the perfect backdrop for these effects, and his use of various levels help to immediately transition from one location to another by shifting the action to another area.

The Girl on the Train runs through February 5th at Lyric Arts. For more information and to purchase tickets go to https://www.lyricarts.org/girl-on-the-train

I am also a member of the Twin Cities Theater Bloggers, you can read roundups of shows by my colleagues and I on facebook @TwinCitiesTheaterBloggers. Follow that group, It’s a great way to see reviews for shows I don’t get to. We have some exciting things in the works for 2023 for the TCTB and our readers follows us to be the first to know about those happenings. Including our Prom Date with the TCTB!! see below for details. Click on this link and select the March 4th matinee performance https://bit.ly/PromDateWithTCTB