Violet From Ten Thousand Things Is a Bus Trip Worth Taking

Annika Isbell, Tom Reed in the background Photo by Tom Wallace

Violet is another tribute to the inventiveness and creativity of the artists that gravitate to Ten Thousand Things (TTT). This is the company whose modus operandi is that their entire set, props, and costumes have to fit in a U-haul trailer. They do this so they can travel with the shows making theater available to all. They travel all over from senior living homes to recovery centers and correctional facilities. They perform in the round with all the lights up and they rely on the actors to create most of the world in which the shows take place. It takes creativity to direct and skilled actors to help paint the world of the story on the canvas of the audiences minds. While they eschew the use of lighting they do, as you may suspect, utilize music, which is very handy when performing a musical. And here is where I issue the words of caution I have shared before, but failed to heed myself this time. Don’t sit next to Music Director Sanford Moore. I’m sure he’s a lovely man, it’s not that, it’s just that being right next to the music at a show performed in the round with no mics, some of the lyrics get drowned out. It’s my own fault, I know better, I just forgot, but I encourage you to sit on the opposite side of the room for a more balanced sound.

The story follows a young woman named Violet who is taking a Greyhound bus from Spruce Pine, NC to Tulsa, OK in 1964. She is going to see a healing televangelist in hopes that he will use the power of God to remove the large scar she has on her face that was caused by an axe head. On the bus she meets two soldiers one black and one white named Flick and Monty, they are dealing indirectly with their own issues concerning race and the Vietnam war. Those are not the focus of the show, they are just part of setting the place and time of the story. She befriends the soldiers and they form bonds and find solace in each other. The story is intercut with scenes of young Violet and her father, which help to inform the 1964 scenes. Violet feels like an outsider because of the disfigurement, but one of the things I liked about the show is it doesn’t paint her as a victim. There are scenes that could have been told in a way that would make her appear that she was taken advantage of, but the musical doesn’t go there. She gets what she needs from interactions and she knows how to take care of herself.

Annika Isbell plays Violet in her TTT debut, she has a nice voice and I was particularly captivated by her song “Lay Down Your Head“, which to my mind was much to short, as it’s a very beautiful bit of music. I’m not sure if other productions create a scar on Violet and if TTT doesn’t in keeping with their lean approach, but I don’t think seeing the scar would add anything to the production. Mitchell Douglas and Ryan London Levin play flick and Monty and both get moments to take the spotlight. Douglas’s big song is “Let it Sing” and boy does he, I also liked the movement that Director Kelli Foster Warder designed for that song having Douglas up on the seats of the bus in his uniform had a classic feel to it. Levin’s character seems like he’s going to be the typical jerk just out for a good time, but a turn to sincerity, when it comes, feels very authentic. Tom Reed who plays the Preacher, brought me right back to the one of the first times I saw him on stage in what I still consider one of the best musicals I’ve ever seen Interstate: The Musical by Melissa Li and Kit Yan. He’s so good at playing Preachers, and bus drivers, and… oh who am I kidding, he’s always great in everything and this is no exception. The cast is rounded out by very talented cast playing multiple roles including the divine Lynnea Doublette fantastic as a Gospel Singer. Sophina Saggau who plays Young Violet, Kate Beahen as an older woman who befriends Violet on the bus, and Charlie Clark as violet’s father.

Violet is creatively staged by Director Kelli Foster Warder with Music Direction by Sanford Moore, whom I will remind you again not to sit next to. The costumes by Samantha Fromm Haddow have a great period feel to them and the sets and props by Sarah Bahr while simple are extremely versatile and perfect for a TTT production. Violet runs through June 1st at various locations. To learn more and to purchase tickets go to https://tenthousandthings.org/violet/

Now more than ever in the wake of the most recent election and the hailstorm of stupidity and hate it has unleashed, theater companies need you and we need them. Buy tickets to shows, go out and support work that reflects diversity and inclusiveness. Donate to your favorite theater companies, don’t wait until they are on the brink of shutting down. We all need to stand up and fight for our theaters whose funding is under attack for promoting inclusion, equality and diversity. In short, theaters are being threatened for sharing stories that reflect our countries cultural and racial diversity.

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Three Sisters, Tremendously Entertaining First Night of a Very Unique Two Night Theatrical Event

Nissa Nordland and Sam Landman Photo by Alex Wohlhueter

Three Sisters by Anton Chekhov the famed Russian playwright, not to be confused with the character Pavel Chekov, most recently played by Anton Yelchin in the Star Trek franchise, is one of those plays I’ve been waiting eagerly to see. In today’s world of diminishing audiences the classics can feel like a tough sell. It’s dark days and people want to be entertained, they hear Chekhov and think Russian play almost a 125 years old, it’s got to be good for you and boring as hell. Well it turns out it’s entertaining as hell, laugh out loud funny, and honestly probably not all that good for you. At least not if you’re experiencing any sort of existential dread. My approach to life is more along the lines of the character in the play Fydor Kulygin, I just try and be happy, accept the bad things but focus on the good. So I nod knowingly at the philosophical masturbation engaged in by most of the characters and laugh wholeheartedly at the moments when their basic humanity shines through, whether it be their annoyance with each other as everyone is with the character of Natasha or the romantic yearnings of Masha and Alexander. One can’t help but wonder at realities tendency to imitate art, if there is in fact a reality, which Dr. Chebutykin has come to believe there isn’t

I know I’m throwing around a lot of names you don’t know, but this is a Russian play told in four acts. To try and get into a plot synopsis of any depth would equate to the review equivalent of War and Peace. Magnificent, but something neither of us have the time or patience for I’m sure. So I’d rather use whatever goodwill you bring to this review and share the experience with you rather than the plot. First off let me assure you that you can see Three Sisters on it’s own and leave the theater completely satisfied, in fact more than satisfied as my plus one for the evening, my son Alexander said, “That might be the best thing I’ve seen”. Thing of course being live theater performance. While I can’t make that claim, it is, as Dr. Chebutykin might say, really fucking good. What is unique about this production from Theatre Pro Rata is that while one audience is in the main stage at the Crane Theater enjoying Three Sisters another audience is in the lobby of the theater seeing a play by Aaron Posner titled No Sisters. The plays are designed so that actors from one play can exit a scene in one space in time to make their entrance in the other. The intermissions are even timed so that as the lights dimmed on Act II and we began to clap we could hear the the audience in the lobby doing the same. I’ll be seeing No Sisters on Saturday evening and while I was already looking forward to it, now, having seen Three Sisters, Saturday night feels like Christmas morning, it can’t get her soon enough. This is the sort of theatrical situation that doesn’t happen very often and so it’s important to jump on it while you can. I believe some performances are already close to or have sold out and since it requires two nights to get the full effect, you’ll want to make plans now.

This is the part of the review where I single out a couple of my favorite performances and also if necessary comment on some less effective ones. The problem with this, formula if you will, is it doesn’t make allowances for cases like this, where everyone in the play is so good you don’t know who to single out. That’s fine if it’s a cast of four or five but this show has fourteen actors. Even if I eliminate the the four that have fairly smallish roles that still leaves ten, far too many to cover in depth. And so let me say this, Nissa Nordland, Sam Landman, and Duck Washignton are already on my must see list, and they earn their spot on that list again without a doubt. Trust me they’re brilliant, moving on, Sean Dillon, whom I always erroneously just associate with Improv, is sincere and creates an extremely funny and likable character. Kayla Hambek and Brettina Davis who play the other two sisters along with Nordland are excellent. Davis as the youngest sister conveys the most optimistic outlook at the opening, making her coming to an understanding of reality all the more heartbreaking. Hambek’s finest moment is her silent indignation at her sister-in-law’s lack of compassion. David Coral, gives a very good performance as the Dr. especially well done was his drunk scene. Jeremy Motz, gives a wonderfully weird performance as Vasily Solyony who is a very odd soldier. Marci Lucht plays a character no one really seems to like, but she does it in such a hysterically funny way, that while we dislike her character we love every moment she’s on stage. Matt Wall plays Fyodor Kulygin, the ever optimist, he conveys the characters tedium in a way that allows us to laugh at him with the other characters without actually being tedious to us, and in fact gaining our sympathy. The cast is rounded out nicely by Jonathan Edwards, Phi Hamens Nelson, Meri Golden, and Margaux Daniel, their roles are fairly small here but I assume I’ll have more to say about them after Saturday’s performance of No Sisters.

So what puts this play in the running for “That might be the best thing I’ve seen” status? Well certainly it begins with Chekhov’s play. Wikipedia lists the play as a drama, but the Directors note in the program says that Chekhov insisted Three Sisters was a comedy. It’s so funny it’s hard to see how anyone could think otherwise. But that’s what makes Carin Bratlie Wethern’s direction so sublime. This could be directed and performed in a very serious manner, Wethern’s decision to honor Chekhov’s intentions makes for a richer theatrical experience. There are still lost dreams and the unhappiness of day to day life that many of the characters espouse, but they do it in a way that also reflects our own sense of sarcasm and defiance. Wethern understands that getting a laugh doesn’t mean you have to sacrifice ideas or emotional depth. It’s through humor that most of us learn to deal with the unpleasantness of life. She has also wisely put together a cast who know comedy and that the best comedy comes from character and the ways in which people respond to each other. I know this is already getting long and you are scanning ahead to see if you want to stop reading yet or not, but I have to mention a couple of the technical crew just briefly. MJ Leffler’s set design is really well imagined, I loved the windows that exist in space allowing us to see out into the garden through nonexistent walls. Also the Lighting and Sound Designers, Emmet Kowler and Jacob M. Davis if only so I can acknowledge the very effective work that occurs during intermission, look to the ceiling when you go and you’ll see what I mean.

Three Sisters and No Sisters runs through May 24th at the Crane Theater in North Minneapolis. For more information and to purchase tickets go to https://www.theatreprorata.org/2025-season

An Act of God Brings a Message and laughs From the Lord Via Sally Wingert at Six Points Theater

God visited Six Points Theater in the person of Twin Cities Actor Sally Wingert this weekend. If you missed it, fear not, the lord will be spreading the good word through May 18th. The purpose of this visit is to reveal the new and improved ten commandments. There are a few favorites making a return on the list such as “I am the Lord thy God, King of the Universe. Thou shalt have no other Gods before Me.” and “Thou shalt not take My name in vain.” but it’s the inclusion of others like “Thou shalt not tell others whom to fornicate” that promise to make this new big ten controversial and ensure it’s a best seller. It’s hard to imagine a modern day list ever gaining the popularity of the original in this day and age of niche culture, but if so desired, God obviously has the power to make it happen. One can see why God decided to use Sally Wingert as a vessel to share this message. Some of it like the one addition I revealed above might not go over so well with those who claim to be God’s most devoted fans. Wingert’s distinct delivery adds much humor and much like Mary Poppins’ spoonful of sugar, it is that which helps the medicine go down.

In order to present these new commandments in a way that will feel familiar to us, God has chosen what feels like a talk show approach. Assisted by two Angels Michael, in the corporal form of Kevin Brown Jr. and Gabriel inhabiting the body of Andrew Newman. Michael roams the theater taking questions from the minds of audience members for God while Gabriel runs sound effects and shares bible quotes. I must say that Brown and Newman are perfect little angels. Obviously, the chance to see God should not be missed and I really appreciated God’s decision to share this information in such an intimate and down to earth way. God really opens up and it’s surprising how funny our world is when you see it through God’s eyes. While I’m certainly going to miss such staples of morality as “though shalt not bear false witness (lie)”, I can certainly see why in todays climate that one had to go. I do look forward to the opportunity to covet my neighbors wive and ox going forward. I also appreciated that while going through the new ten commandments that God was willing to go off topic and discuss things that have always been stumbling blocks for me, like how all those animals fit in Noahs Ark. So even if you aren’t a big “rules” person there will be plenty of information God has to share and it’s guaranteed to but a smile on your face and have you laughing out loud.

An Act of God was written by David Javerbaum and Directed by Craig Johnson with great panache. It’s bold, confident and wildly funny, deftly performed with the unique comedic voice of Sally Wingert. Who, if not an actual God, is certainly a God-like figure in the Twin Cities theater scene. Six Points Theater’s production of An Act of God runs through May 18th at the Highland Park Community Center. For more information and to purchase tickets go to https://www.sixpointstheater.org/an-act-of-god

The Barber of Seville is a Comedic Delight at the Minnesota Opera

MN Opera’s production of The Barber of Seville Photo credit: Cory Weaver

The Barber of Seville closes out the Minnesota Opera’s 2024-25 season and it turns out to be my favorite of their productions. As the lights dimmed in the theater and the audience cheered as the conductor took his place and began the Overture my mind conjured up visions of a talking grey rabbit and a hunter with a speech impediment. The music by Gioachino Rossini is one of probably two or three operas that someone who has never seen an opera will immediately recognize. There was a moment during the Overture when I swear I heard Bugs Bunny singing “Can’t you see that I’m much sweeter, I’m your little senoriter. For a moment, I worried that the night might be plagued by intrusive thoughts of wascally wabbits. But to my delight the action on stage pushed all such images from my mind and I was extremely engaged with the production. My opera experience has been growing since I began The Stages of MN, from having seen one in my pre-blog days to I would guesstimate about twenty now. It’s never going to be my favorite performance art, but my appreciation is steadily growing. This production in particular I found to be very accessible and charmingly funny.

The plot feels like something out of a Gilbert and Sullivan opera. Count Almaviva is in love with Rosina, who loves him as well though she knows him by the disguise he has assumed as that of a poor student named Lindoro. At two points in the story, as Lindoro, he will assume a third disguise, first as a drunken soldier and later as a substitute teacher named Don Alonso. He must do this to try and get into the house of Dr Bartolo who is Rosina’s guardian and intends to marry him herself. The Count is assisted in his schemes to gain access to Rosina by his friend Figaro, the Barber of the title. Dr Bartolo is aware of the Count’s intentions and is making his own schemes to thwart him with Rosina’s music teacher Don Basilio. It sounds rather confusing but it isn’t partly due to one of the downsides of Opera’s, which is the belief on the part of the writers of operas, if something is worth singing, it’s worth singing five times, in a row. I’m used to that at this point and accept it, but what this production did surprise me with is how funny, fresh, and modern it felt. I wouldn’t be surprised to learn that Stage Director Chuck Hudson was acknowledging the cultural impact of The Rabbit of Seville with a wink to the audience in a couple of places where the humor was delightfully cartoonish.

The cast was very good all around standouts included Takaoki Onishi as Figaro, Kathgerine Beck as Rosina, Lunga Eric Hallam as Count Almaviva and Stefan Egerstrom as the surprisingly deep voiced Don Basilio. Matthew Anchel gave a very good performance as Dr. Bartolo, but there were several instances when he was singing that I couldn’t hear a single sound from him. The really delightful thing about all the performances was not the vocals (which of course were tremendous) but the acting. The reality is that first and foremost at the Opera, the voice reins supreme, a great singer can stand on stage and sing and carry off the role brilliantly without even doing much in the way of acting. But in this case, all of the performances where as strong as the vocals, it’s a comic opera so there isn’t necessarily a lot of rich character building expected. But as any actor with tell you comedy is hard, and they all pull of the comedic performances superbly.

As is always the case with the Minnesota Opera Orchestra they sounded elegant under Principal Conductor Christopher Franklin. Usually the Overture is something I wish they would cut, but tonight I was thoroughly enjoying it. One of the things that keeps me coming back to at least a couple productions of the Minnesota Opera a year are the design elements and this was no different. The Scenic Design by Allen Moyer relied heavily on painted backdrops but they were accented so well by set pieces that I rather enjoyed the overall aesthetic. There were no corners cut in the costume department, the designs by Mathew J. Lefebvre were richly textured and striking to behold. I do also want to credit Lighting Designer Eric Watkins along with Moyer for a scene that acts as a little ballet during Act II of people with umbrellas navigating their way through a thunderstorm, it’s very effectively done and while disposable to the plot, I’m sure glad it was there.

The MN Opera’s production of The Barber of Seville runs through May 18th at the Ordway Center for Performing Arts in downtown St. Paul. For more information and to purchase tickets go to https://mnopera.org/season/2024-2025/the-barber-of-seville/

The Nacirema Society is a Comedy Powered by a Powerhouse Cast at the Guthrie Theater

Dedra D. Woods, Joy Dolo, Nubia Monks, Greta Oglesby, & Regina Marie Williams Photo by Dan Norman

The Nacirema Society is a play about differences, differences between generations and class, between the educated and undereducated, and between those who serve and those who are served. But above all of those it is a comedy that is meant to entertain us, which it does in no uncertain terms. Featuring a wonderfully detailed set design by Takeshi Kata and gorgeous costumes designed by Trevor Bowen, which you can get some sense of in the photo above. But as wonderful as the show is visually and technically, it’s the performances of this marvelous cast that I relished the most. The cast is stacked with powerhouses that get to play light comedy, showing us how great actors bring strong characterizations to every role. This is a play that would work wonderfully with very broad characterizations, but it becomes so much better when you have actors of this calibre who bring fully dimensional characters to bear upon the material.

The Nacirema Society is a social tradition of the affluent and wealthy black families in Montgomery Alabama. It’s 1964 and they are celebrating their 100th anniversary, and the matriarch’s of the Dunbar and Green families are organizing the event which will feature their Grandchildren Gracie and Bobby, whom they hope will marry. Gracie and Bobby don’t love each other but think of each other almost as siblings. Bobby is in love with someone else, but his Grandmother Catherine threatens to cut him off, if he doesn’t do as she wishes. Gracie’s grandmother Grace, expects her to go to the college that women in their family have always gone to, but she wants to go to New York to become a writer. I think from that description you probably think you know what kind of play this is and where things will go. Well, you’re probably wrong. Did I mention the Blackmail scheme, the girl who thinks she’s been thrown over for her rich rival, the long hushed up family secret, and the reporter from the New York Times who is staying in the Dunbar’s house to do a story on the Nacirema Society. The matriarchs try to keep up appearances and keep the skeletons in the closet, while the young people try and follow their hearts. It begins very straightforwardly and then the situation becomes more and more loaded, each scene adds another complication, another ball to try and keep in the air.

Greta Oglesby plays Grace Dunbar as refined and completely unflappable, she never loses her composure, especially when she pretends she has. It’s a skillful and beautifully controlled performance, she appears to be completely devoted to tradition and propriety, but she is also a realist and when she’s most despised by a character who has every right to despise her, she shows that she values more than just her good family name, she wants things a certain way but accepts that the world is changing and she will bend with it. Regina Marie Williams plays Catherine Green, it was such a change from the usually powerful and commanding characters she usually plays. It’s so fun to see her play the one one who gets flustered and faints. Aimee K. Bryant plays Alpha Campbell Jackson, the daughter of the Dunbar’s former maid and mother of Lillie, who is the girl Bobby loves. Bryant is terrific in the role and gets a particularly memorable moment when she gets to tell Grace what she thinks of her and her whole family. The entire cast is great but those three are the the engine behind the whole show and they couldn’t be stronger. What’s so wonderful about this show are is that all the roles are filled with great performers, many favorites including Joy Dolo, Nubia Monks, and Darrick Mosley just to name a few.

The Nacirema Society runs through May 25th at the Guthrie Theater in Minneapolis. For more information and to purchase tickets go to https://www.guthrietheater.org/shows-and-tickets/2024-2025-season/the-nacirema-society/

Anything Goes at Lakeshore Players

Anything Goes is an enjoyable enough show, the plot is lightweight but it features some great Cole Porter songs. The production is directed and choreographed by Kyle Weiler and I expected to be wowed by the dancing in this one. I kept expecting it throughout the first Act and had just about given up when the show stopping title song came to close out Act I. All of the pent up desire was consummated in one fell swoop. The performance of “Anything Goes” is probably worth attending the show for that alone. Thankfully, while not a must see, there are still plenty of other elements that contribute to an all around good time at the theater. Weiler’s choreography is brilliant and there is more of it on display in Act II, though nothing does or probably could top the ending of Act I. I’m not as high on Weiler’s direction which is only serviceable. I suspect trying to direct and choreograph a show that was very dance heavy spread him a little thin and he wasn’t able to put as much thought into the direction. It feels like there is a lack of connection comedically between the outlandishness of some of the story elements and its staging. The original book for the musical included P.G. Wodehouse among its authors, though this production is based on the 1987 revival, with a new book by Timothy Crouse & John Weidman. I can’t speak to the changes but I’m sure they were allowed more moral latitude in the update.

There are several standouts in the cast, first and foremost is Hope Nordquist as Reno Sweeney a Night Club singer who is performing the entertainment on an ocean liner heading from New York to London. Nordquist gets several great numbers to shine in, the aforementioned “Anything Goes” as well as “Blow, Gabriel, Blow” and “The Dancer in Me” which she goes toe to toe with Lewis Youngren’s Lord Evelyn Oakleigh. Its a fun number that has some nice footwork but also inspired comical moves as well. You may have noticed the absence of a plot synopsis, that’s because it doesn’t really matter, at least in this production. There are multiple sets of romances, none of which we actually care a thing about, there are gangsters and bosses and hiding out and pretending to be someone else. The reason to see this show is for the songs, the dancing, and while we care very little for any of the characters, we still have fun with some of the performances. Other enjoyable portrayals come from Marley Ritchie as the tough talkin’ Erma, who’s full of sass and attitude. Another crowd favorite was Adam Bloom as Moonface Martin, a gangster who is public enemy number 12.

The set design by Justin Hooper is well conceived and constructed with large staircases on either side of the stage leading to an upper platform. I expected Weiler to take more advantage of this Busby Burkeleyesque structure, but there is probably only so much you can safely do on those decently steep stairs, and I’d rather everyone was safe. The toilet in the brig of the ship was an inspired touch. Meghan Kent’s costumes for the most part where well done, though there was a dinner jacket that was hard to ignore that was coming apart at the seems, but that may have been the result of some strenuous dancing. Overall the production ran well technically, with each department adding value to the whole. I enjoyed the show, but I do think that it would be improved if we came to care about the characters a bit more.

Anything Goes runs through May 18th at Lakeshore Players Theatre in White Bear Lake. For more information go to https://www.lakeshoreplayers.org/anythinggoes-season-72-1-1

Scarecrow on Fire is a Charmingly Askew Take on the Further Adventures of the Characters of Oz

Dan Chouinard, Kevin Kling, Simone Perrin, and Stephen Yoakam Photo by Lauren B Photography

I didn’t expect when I headed to the Center for Performing Arts in South Minneapolis for Illusion Theater’s production of Scarecrow on Fire to find quite such a confluence of my personal interests. The play written by Kevin Kling is performed as an old time radio show, faithful readers will know of my love for this genre by my frequent praise of shows from The Mysterious Old Radio Listening Society. The show features musical performances from the House of Mercy Band, which are often accompanied projected on the back of the stage clips from silent film versions of The Wizard of Oz, silent film is another passion of mine. The play itself begins in the land of Oz and is narrated by the Scarecrow played by the playwright Kevin Kling. After receiving a troubling response from a Crow, the Scarecrow sneaks a look into the Wicked Witches crystal ball and sees a vision of Dorothy seeming distressed and saying the phrase Scarecrow on Fire! The Scarecrow gathers the Tin Man and the Lion and they agree to use the ruby slippers, which are a doorway to Kansas to journey from Oz and find and help Dorothy. In Kansas, the trio all arrive separately and have their own odd adventures in the mysterious land of Kansas.

There isn’t anything that doesn’t work in this production, the live music performances from House of Mercy Band are terrific beginning with a terrific version of “If I Only Had a Brain“. But to forewarn you, almost all of the rest of the music and songs do not come from the famous 1939 film. That isn’t a bad thing, I just don’t want to leave you with the wrong impression. The play is however filled with little Easter eggs and winks to our collective cultural consciousness of the film. It’s part absurdist fish out of water tale and part exploration of the mind itself. Much like Dorothy’s experience in the film, where everything could be explained by her mind taking parts of her reality and molding them into a fever dream fantasy. The script is smart, funny, and knows its audience has this shared knowledge of The Wizard of Oz, which we do, it’s like it’s part of our genetic makeup. Though I wonder now, if I’m among the last generations that will contain that film within our DNA.

Along with Kling as the Scarecrow the cast contains Dan Chouinard as The Tin Man, Stephen Yoakam as the Lion, and as Dorothy Gale, Simone Perrin, who wonderfully sings a couple of songs during the show with a real 1930’s feel to her style. Both Chouinard and Yoakam along with their primary roles fill in as other side characters as needed. All four members of the cast are excellent vocal performers perfectly suited to the requirements to play multiple characters within a scene. Yoakam particularly has fun conversing with himself, swapping hats as he changes his voice as a visual gag for us, the studio audience. Along with the House of Mercy Band, Chouinard tinkles the piano keys occasionally and other background music is performed by Cellist Michelle Kinney. There is so much happening in the intimate black box theater space that you sort of forget it is being performed as a radio play. I don’t think anything would be gained and a lot might be lost if this were performed as a fully mounted stage play. This is the ideal format for this story it’s such an original and delightful piece that is built upon all of these artifacts from years gone by.

Scarecrow on Fire runs through May 4th at Center for Performing Arts in South Minneapolis as part of Illusion Theater’s 50th Anniversary season. For more information, to purchase tickets or to make a donation to Illusion Theater go to https://www.illusiontheater.org/scarecrow-on-fire