Pretty Guardian Sailor Moon the Super Live Coming to the Orpheum Theatre April 6th!

The cast of Pretty Guardian Sailor Moon Super Live in London. February 2025. Photo by: © DavidJensen

Pretty Guardian Sailor Moon The Super Live is a stage show based on the original manga (japanese comic book) of Pretty Guardian Sailor Moon. For those not in the know, Sailor Moon was introduced in 1991 in what is now one of the most popular mangas series of all time. The characters popularity can be measured by the sheer volume of formats into which the world of Sailor Moon has been adapted. Everything from Anime series and films to video and collectible card games. For decades there have been Sailor Moon Stage shows as well, produced in Japan. Now for the first time ever they are bringing one of those shows on a 21 city North American tour which launched in Austin Texas and plays here in Minneapolis on April 6th at Hennepin Arts’ historic Orpheum Theatre, before ending the tour in NYC. Tickets for the Minneapolis show can be purchased at https://hennepinarts.org/events/pretty-guardian-sailor-moon-the-super-live-2025.

Described by its producer Makoto Matsuda as “a unique genre of ‘2.5 dimensional musicals’ rather than a category such as Broadway musicals, etc.”. Expanding on that Matsuda says “it has, you know, the regular song, music, dance, technology, visuals, projections, so much more than a normal conventional musical. So we wanted to kind of honor the situation by naming it and giving it a new category name. And it’s almost kind of like a manifesto to call it a new thing. And that is our intention of calling it something, not a musical, but the super live”, explaining the impetus to create this new genre Matsuda says “I think musicals in Japan was something where the audience wasn’t necessarily young. It was more geared towards a certain demographic that was stable, but not necessarily all encompassing. But once we started doing 2.5 and we incorporated more comics and animation as an original story, their fan base came to see it much more. So we now have a robust group of young audiences that many have never been to a musical before that have been starting to come see the productions, and it has grown so much.” There may be a lesson here for American theaters to study on ways of attracting new and younger audiences by appealing to their tastes and sensibilities.

Riko Tanaka who plays Sailor Moon in the North American tour also commented on the format saying “The format of the production is actually that they have the Super Live musical, and then at the end, there is a second part, which is almost like a concert, and they play all the super classic hits from Sailor Moon. So it’s kind of a different setup and that part when you switch to the concert is really exciting. Because, you know, up to that point, they’re doing all this storytelling, which is great, but then once you switch to the concert, the beloved characters come out and do their known music.” “There’s characters like Tuxedo Mask and Queen Beryl and they have their number where they’re belting it out, and the characters, Sailor Moon and everybody are in the back enjoying it and cheering on as well. So it’s like a really fun part and I think that kind of resonates with the audience as well.”

Tanaka also talked about the what it is about the character that make fans love her so much. “The main character, Usagi, is a really charming, kind of a little clumsy, fun character that people want to just kind of reach out and help almost. And then there’s this other, Sailor Moon, which is like the fighting, really powerful, strong, enigmatic character that is like unbeatable. And that contrast between the two makes it very interesting and attractive, I think. And I feel like keeping that gap is something that makes it very interesting to people.” I asked Tanaka what it was like to take on such an iconic role? “definitely it’s been incredible to be selected and of course all my family, my relatives, everybody was like, oh my God, that’s amazing and they were very happy about it and they were celebrating it. But of course, this is a role that has been very important within this industry. So my fellow actors who understand the significance of the role have been so encouraging and they have been celebrating with me this achievement. Not only just to portray the role, the beloved Sailor Moon, for the people all over the world who love Sailor Moon, but I do it also as me, as an actor. This is going to be my main rise to fame role. So it is something that I take with such honor, and the responsibility is felt, but I’m very excited about it too.” Producer Matsuda added “So actually in Japan There is very few auditions, not as much as you think. But, that being said, every young actress in Japan wants to play Sailor Moon, so there’s a lot of people who apply. So she [Riko] is very casual about it, but this is a really big deal though that she won the Sailor Moon position”.

Tanaka remembers that her first exposure to Sailor Moon was the anime series when she was three or four years old. “It was at that age when you kind of played the character with your friends and stuff. And, actually my favorite character was Sailor Jupiter.” Choreographer for the show Satomi Toma talked about going back to the original manga’s for inspiration “Once I got involved in this production, I had the opportunity to reread the original manga. And I was so moved and impressed by like this elegant line, the beauty of how it’s being portrayed. Talking about choreography, how her hair moves, how her skirt flitters and like that sense is something that I really wanted, that sense of awe. I do want to keep in the production as well that impression that it had on me, it was very strong. There’s a color version as well, but especially the black and white version, I feel like that line is something that left an impression on me when I was looking at the original comic for the first time.”

Matsuda hopes that audiences take away three things from Pretty Guardian Sailor Moon the Super Live “The first message is this is also a message about peace and how there’s a lot of fighting and action, but it is about how that is a sad thing and how important it is to know how precious peace is. The second thing is the message of love. Sailor Moon is loved by generations of people. We see people, mother and daughter that come together and enjoy. Different generations that come together and they go and are very happy about it. And we want people to, you know, after seeing it, feel the sense of love doesn’t have to be certain partners or anything. It could be, I want to just call my mom and say hello, that kind of love as well. A message of love is something that is really compassion and love is something that’s important. And this is probably the most important thing. I want people to feel energized. We get energized from the feedback from the audience, the love that we receive is something that’s so contagious and we will hope that the audience feels that love and excitement and feel really fresh and energized through seeing our production as well. So those are the three things that I hope the audience could feel when they come see the super live.”

If you have someone in your life that is into mangas and anime there’s a good chance they are a fan of Sailor Moon. For me it’s my daughter Savannah who has even dressed as Sailor Moon for Halloween. A show like this is for the fans. It’s an opportunity to go experience something you love in a new way and to gather with others who share your love. I’m hoping she pulls out the costume and wears it when we attend Pretty Guardian Sailor Moon the Super Live on April 6th, my birthday at the Orpheum Theatre. The link again to purchase tickets is https://hennepinarts.org/events/pretty-guardian-sailor-moon-the-super-live-2025

Trailer for the North American Tour of Pretty Guardian Sailor Moon the Super Live

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Future Reference is a Father/Son Act Worth Checking Out at Bryant Lake Bowl & Theater

Future Reference is a short program of about 80 minutes with no intermission that presents two short plays, one by Joshua English Scrimshaw (JES) and the other by his son Aaron English Scrimshaw (AES). Faithful readers will know of my love of The Mysterious Old Radio Listening Society (MORLS) of which JES is a member, but he was also the recipient of the first ever The Stages of MN Fringe of the Day Award for the 2022 MN Fringe show Bob & Reggie Go to Bed. The first play is by AES entitled End of the Line in which a higher being named Rob (no relation), played by JES must pass his final exam by helping a recently deceased young man named Jim, played by AES, accept his death and move forward. It is clear that AES shares his father’s gifts for writing and performing. His script shares a similar stylistic blending of humor and philosophical ideas. Its entertaining, funny, and warmly touching in its final thoughts. JES is very funny as the unconfident Rob who seems to be out of his element and makes things worse more often than better for Jim. Directed smoothly by Bianca Rose, who also plays Jim’s best friend Charley in an end scene that attempts to answer the question that we all ask at some point, what matters?

JES’s script is entitled Watchbird and is based on a story by science fiction author Robert Sheckley and is directed by JES and Adrienne English Scrimshaw (AES….2?). Originally adapted for and performed by the MORLS, JES made further adjustments to the script in order for it to be a fully staged play. This very much has an old radio show feel to it. The tone is that of a 50’s sci-fi film which matches the original stories publication date of 1953. It’s a interesting little story that feels very portentous in the age of AI. The plot is about a fleet of robotic birds that can predict when someone will murder someone and prevent the crime before it happens, very Minority Report. The issue becomes the learning circuit of the Watchbirds, which is designed to gather data with which to access new information in order to determine murderous intentions. The problem comes when the watchbirds begin to learn and adjust the definition of murder to include a living organism harmed by another living organism. Eventually it is murder to even step on grass which begins a series of events that leads to further and further escalations. JES again gives a nice performance here, this is totally in his MORLS wheelhouse and the kind of role he can do standing on his head. I really want to call out the really fun performance of Natalie Rae Wass who plays Mac, the designer of the watchbirds. I loved how Wass instilled Mac with this complete confidence, Mac is always coming late to the logical conclusion. I also loved the costume design for Mac which reminded me instantly of the Iconic Rosie the Riveter illustration from the 1940’s.

Future Reference Runs through March 30th at Bryant Lake Bowl & Theater in Uptown. The shows begin at 7:00 PM but the doors open at 6:00 PM, that’s when I like to get there to get a good seat and order some dinner and drinks before the show begins. For more information and to purchase tickets go to https://www.bryantlakebowl.com/theater/future-reference-2

Triassic Parq! Minneapolis Musical Theatre’s Regional Premiere at Lush in Minneapolis

Triassic Parq! is a great idea for an outrageous musical. Jurassic Park told from the point of view of the dinosaurs. If you remember the film, the line “life finds a way” refers to how the dinosaurs manage to procreate even though they are all genetically engineered to be female. The gene sequencing of the dino DNA was incomplete and the scientists filled in the gaps with frog DNA. Some frogs can change their gender if needed and thus one of the dinosaurs becomes male. There is an interesting theme there that could be a wonderful allegory for the Transgender community. But like most nuggets of potential in this show, with book and lyrics by Marshall Pailet, Bryce Norbitz, and Steve Wargo with music by Pailet, it never amounts to much of anything. It’s a show full of potential written by people without the wit or vision to capitalize on an idea brimming with possibilities.

The show doesn’t know what it wants to be and thus doesn’t commit to anything. Does it want to be a parody of Jurassic Park following the films plot but with a perspective change and comedy? Then it needs to be funnier. Does it want to be an LGBTQ+ anthem? Then it needs to embrace those aspects much more. Does it want to be a raunchy adults only show full of risque humor? Then it needs to go a lot further. Before seeing the show I enjoyed a lovely brunch in Lush’s bar area with some fellow Twin Cities Theater Bloggers and one said he’d be surprised if there wasn’t a joke about a Triceratops and Tricerabottoms, which is far better than anything in this script. As for the songs, in general they were much too loud and bombastic for my taste. There were a couple of songs that were alright, but again nothing that proclaimed itself as particularly clever or moving. This is not a reflection on the cast or the theater company, Minneapolis Musical Theatre, the issue is completely with the material, not the execution.

As for the execution let me first say that Minneapolis Musical Theatre whose motto is “Rare Musicals, Well Done” holds a special place in my heart. They produced one of the shows, Be More Chill, that led directly to me starting The Stages of MN. They produce the kinds of musicals that don’t get produced by other theaters and that’s a valuable thing, and I’ve seen a lot of really fun and interesting shows produced by them. When that is your mission, occasionally you are gonna hit on something that just doesn’t work. For the most part, I enjoyed the cast; they were doing everything they could with the material as was director Kjer Whiting. A couple of the performers were pushing outside their vocal range but others were really strong. The band led by Musical Director and Pianosaurus Amanda Weis were excellent, again unfortunate that they didn’t have something more memorable to perform. Unfortunately it’s hard to make a lump of coal sparkle no matter how much you try.

Perhaps my expectations were too high going into this as I saw all the possibilities and felt the end result squandered the majority of them. It isn’t without its charms mainly a cast and crew that give it their all. While I can’t recommend the show very highly, I know that some I was with found it more enjoyable than I did. But whether you decide to take in Triassic Parq! or not, I encourage you to make a donation to Minneapolis Musical Theatre, the work they do in bringing us rare musicals is important and needs to be supported. Triassic Parq! runs through April 13th at LUSH Lounge & Theater, 990 Central Avenue NE in Minneapolis. For more information and to purchase tickets go to https://www.aboutmmt.org/tickets/

The Crucible From Night Fire Theatre is a Powerful Production That Broadcasts a Warning for Today

Looking around the sanctuary at the Living Spirit Methodist Church where Night Fire Theatre has mounted its production of Arthur Miller’s classic play The Crucible, I had one thought. This play is criminally under attended. Which puts me into full The Stages of MN action. This is why I started this, to share with people great shows they might not know were running. This is a great production, this is one you need to get to. I know what you are thinking, isn’t that a slow old timey play? No, it isn’t. It is a riveting production that, though written in the 50’s as an allegory for McCarthyism, feels frighteningly relevant today. How does a play written about events that occurred in the late 1600’s to shine a light on events in the 1950’s feel like it was written for today? Because as the play itself proclaims, “we are what we always were”. There will always be those among us that will use fear to stoke hatred in order to obscure their own faults. The Crucible tells the story of a group of young women led by Abigail Williams, whom it’s interesting to note that by the views of her society is guilty of sexual misdeeds, who prey upon the superstitions of a community whose critical thinking skills have been removed through religious indoctrination, at first to distract from the rules they broke and avoid punishment, and later as revenge against anyone that displeases them. Remind you of a certain President, convicted of sexual abuse and linked to child sex offender Jeffrey Epstein, who stokes fear among the religious right and Fox News cult to distract from his 34 felony convictions and other crimes against Immigrants, Transgender people, and anyone who disagrees with him?

Arthur Miller’s script stands on it’s own as a masterpiece of the American theater. It is perhaps the supreme example of the allegory as a technique to comment on society. Director Penelope Parsons-Lord has staged a compelling production against Scenic Designer Keven Lock’s simplified set constructed of wooden pallets. Parsons-Lord isn’t content to let the script speak for itself and present it straightforwardly on stage she takes advantage of the space having actors enter from every possible route, even using the balcony briefly. There are Directorial flourishes that help to create an emotional understanding of what is happening in the play. Such as the use of the Janis Joplin song “Piece of My Heart” in an early scene to convey to the audience that the young girls are simply being teenagers, dancing in the woods with their friends in a small display of private rebellion against their elders. Or the black ash that falls upon Salem in the final act, it has no explanation in reality, but it’s a striking visual to convey the sense that the soul of the city has been destroyed and what remains are the ashes of a once vibrant community.

There is nothing quite as thrilling as seeing great performances in an intimate space and this play gives us that. Derek Dirlam conveys an intensity and power as John Proctor, the everyman who must battle the irrationality of the court’s reasoning and blindness. Lizzie Esposito as Reverend Hale and Aaron Ruder as Deputy Governor Danforth are both fantastic at portraying their characters logic and beliefs whether accurate or misheld, their performances keep the tension mounting, giving glimmers of hope, and pangs of frustrated hope. Patti Gage as Reverend Parris seemed to be stumbling with her lines in the opening scenes, but soon overcame that and by the end her near hysterical performance was extremely effective at conveying her characters encroaching sense of doom and damnation. Isabelle Hopewell successfully gets us to despise her conniving and malignant Abigail Williams. Penelope Parsons-Lord along with directing and designing the costumes plays John Proctor’s wife Elizabeth broadcasting fear, intelligence, and finally a quiet air of nobility and bravery in the face of madness. Stephanie Kahle plays Mary Warren, The Proctors servant girl who is initially with Abigail but repents and tries to do the right thing. Her performance in the scene where she must face the Deputy Governor, Abigail and the other girls is heartbreaking. She vividly captures the emotional rollercoaster of fear battling conscience, her final act is made sympathetic by the emotional reality of her performance.

The Crucible is a must see show! Those who took in the recent production of The Messenger at Six Points Theater will find this to be a great companion piece. Night Fire Theatre’s production of The Crucible runs through April 12th at Living Spirit United Methodist Church in South Minneapolis. For more information and to purchase tickets go to https://www.nightfiretheatre.com/the-crucible

The Mousetrap Will Keep You Guessing Until the Very End at the Guthrie Theater

The cast of The Mousetrap Photo by Dan Norman

The Guthrie Theater’s production of The Mousetrap by Agatha Christie is a luxuriant, thrilling, and witty production of one of the greatest mystery plays of all time. I’m a huge Christie fan, so I try and see any adaptation or play of hers that comes along. That usually ends up meaning that I just see the annual Christie adaptation at Theatre In the Round. But, lately there seems to have been an upswing in Christie productions including a wonderful adaptation of Murder on the Orient Express two years ago at the Guthrie, but also productions at Park Square Theatre and Yellow Tree Theatre. The Mousetrap has been playing in London’s West End for over 70 years since it opened in 1952, making it the longest running play in history. I have seen the play twice before, first when my college mounted it about 30 years ago, and then more recently when Lyric Arts staged a production in 2022. In 2022 I couldn’t remember the solution of who the killer is, but my memory isn’t so poor that it has faded from my mind in just three years. The plus for audiences to this production is, that unless you’ve seen the play performed before, read the play or had some rotter spoil it for you, you’ll be going in blind. You see part of the original contract for the play states that no film adaptation can be produced until at least six months after the West End production has closed. One begins to suspect there will never be a film of The Mousetrap. Given that, I’m going to give very little detail of the plot as I do not want to inadvertently tip anyone to the solution. The Mousetrap is a well plotted mystery full of red herrings and plot twists. It’s a great whodunnit with a nice amount of character driven humor along for the ride.

The setting is an English Manor which a newlywed couple is converting into a guesthouse, this would be what we would consider a boarding house I suppose, as bedrooms and common rooms are provided along with all of the meals. They have four guests arriving for their first week in business. Those four will be joined by a mysterious guest who is seeking shelter after his car is stranded in the blizzard that will soon cut off the residents of Monkswell Manor from the outside world. They will be joined by a police Sergeant who makes an heroic attempt to reach them via skis as the police believe that one of the people now at Monkswell Manor is a murderer!!!! Each of the guests seems to have something to hide making it near impossible to guess who’s in danger and who is a danger.

The Guthrie’s cast is superb and Director Tracy Brigden stages the action very effectively. Monette Magrath making her Guthrie Debut joins local favorite Peter Christian Hansen as Mollie and Giles Ralston, the proprietors who have their hands full running a new and unfamiliar business as well as dealing with difficult and eccentric customers. For instance, Mo Perry who plays Mrs. Boyle, possibly the most contrary and judgemental old biddy in England, plays it so perfectly that you get a little thrill everytime someone upsets her. My favorite is the over the top in just the right way, Greg Cuellar as Christopher Wren the architect, but not that architect, Christopher Wren. He’s a bundle of affectations that endears him to the audience and Mollie, but rubs the manly Giles the wrong way. Cuellar is the most out there character of the group and he doesn’t hold back in his performance, and as such brings the most humor to the show. Matthew Saldivar plays Mr. Paravicini, a mysterious foreigner seeking shelter from the storm. Another very stylized performance but one that belies an intelligence rather than eccentricity, he is also a source of much comic relief, but of a more sophisticated and witty type. Matthew Amendt plays Detective Sergeant Trotter who arrives to save the day only to find a house full of people who refuse to be up front with him, putting their lives at risk by keeping secrets. Amendt, plays the Detective with mounting exasperation, he is trying his best to root out the killer before he or she can strike again, but continually discovers that secrets are being kept from him.

The scenic design by Walt Spangler is stunning in every detail. If it’s one thing the Guthrie Theater has over most others in the Twin Cities area, the space and resources to really wow us from a production standpoint. It has to be seen to be believed, the photo above looks great, but doesn’t do it justice. I sat in the front row, a location I highly recommend, and the vastness of the set, the ceiling that seems to be four stories above the stage was an awesome visual. But it’s success was also in the details, such as the snow falling outside the Great Hall windows, the light and smoke from the fireplace. Every technical element was superbly realized including John Gromada’s sound designs and musical compositions. The lighting design by Rui Rita and the wonderful period costumes by Susan Tsu. I especially loved Tsu’s various costumes for the flamboyant Christopher Wren.

If you’ve never seen The Mousetrap it would be hard to imagine a better introduction to it than this. The stunning set populated by this wonderful cast brings the classic whodunit to life in a very rewarding way. Fans of Mysteries and thrillers will find this ingenious script keeps them guessing right up until the end. Just remember, once you learn the truth, you must keep it to yourself just as audiences have been doing for 70 years! The Mousetrap runs through May 18th at the Guthrie Theater in Downtown Minneapolis. For more information and to purchase tickets go to https://www.guthrietheater.org/shows-and-tickets/2024-2025-season/the-mousetrap/

The Book Club Play is a Literary Blast at Lakeshore Players

The Cast of The Book Club Play at Lakeshore Players 2025 Photo by Kara Salava

The Book Club Play contains all the elements you might look for in a good book; drama, comedy, social commentary, romance. It 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’s tagline. This is my second exposure to this play by Zacharias. The first was a couple of years back at Theater in the Round and it was a favorite, in fact my wife loved it so much she went back with a group of friends to see it again. This production was just as enjoyable and I’m thrilled to highly recommend it! 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. The type of show where 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!”

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.”
plot summary 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. Lakeshore players has gathered a very talented group of actors who know how to bring Zacarias complex characters to life, always avoiding making them into caricatures. With 7 actors appearing on stage and all of them so good it’s hard to choose who to highlight. What I noticed most about the ensemble was the way they genuinely seemed to be listening to each other. They were exceptionally good at showing us their character’s thoughts and feelings when the attention wasn’t on them. A great example is Mitch Kiecker’s portrayal of Rob, Ana’s husband. Ana played by Laura Knobel is frequently seeking the spotlight or the one holding court. It was fascinating to watch Kiecker at these times and how natural and in the moment he appeared at those times. If I had to choose a favorite it would either be Lewis Youngren who plays William or Katie Rowles-Perich who plays Alex. William co founded the Book Club and was Ana’s first romance and Rob’s roommate back in college. William plays him humorously immaculate, and his line reading when he makes a revelation in the second Act is uproariously funny. Rowles-Perich plays an interloper to the book club that Ana sees as a threat to her perfectly curated group of people. Rowles-Perich blows through the book club like a breath of fresh air and full of intelligent insites. Her reactions to the group in many ways mirror our own.

One of the little touches that I love about this script is these inter scenes between book club meetings where Erika Soukup performs as different characters giving testimonials. Director Jess Yates stages these brief little bits cleverly, even having one of them off to the side on a wall above some of the audience. Sarah Brandner’s set design is perfectly suited to the play with the audience placed where the Documentary’s camera would be. The Book Club Play runs through March 23rd at Lakeshore Players in White Bear Lake. For more information and to purchase tickets go to https://www.lakeshoreplayers.org/bookclubplay-season-72-1

*Portions of this review come from my previous review of the play.

The World is Burning So I Made Smores One of the Funniest Shows Yet at The Brave New Workshop

Photo Courtesy of Hennepin Arts and The Brave New Workshop

If you’ve never been to the Brave New Workshop (BNW) for one of their sketch comedy shows, The World is Burning So I Made Smores is the perfect show to take the plunge with. The humor is topical but perfectly MAGA friendly; no seriously, if you are a Trump supporter don’t have any qualms about attending this show, none of your wrongly held believes will be questioned or joked about even in the slightest, sincerely. In fact, what a perfect way for liberals to extend an olive branch to their former MAGA friends, invite them to this light comedy show that looks for the silver lining in today’s overcast days. I can’t think of a more enjoyable way to thank all those who voted for Trump than to take them to this show and watch their responses. You know that uncle of yours who’s always going on about the transgender mafia’s attempts to take over the WMBA? You know the one you faked having Covid so you wouldn’t have to see him at Thanksgiving and Christmas? Yeah, bring him and Aunt Karen to this show, they’ll just eat it up, trust me.

Like all of the BNW shows telling much about it can only lessen your enjoyment. I will say that there seemed to be more musical numbers than usual, all of which are very funny. The cast is great as always, missing from this show is longtime performer Doug Neithercott, but who we do get are fantastic. Without saying too much, here are some favorite bits. Dora the Explorer played by Isabella Dunsieth. Katy McEwen as a sportscaster interviewing Donald Trump, played by Jeffrey Nolan, about his draft day cabinet picks. Lauren Anderson as a mother explaining to her daughter that grown ups don’t know what to do either. Denzel Belin as Captain America and his run in with Captin’ Merica. And one of my favorite portions of the night was Act III which was all improv, which of course means it will be different every night based on audience suggestions.

The World is Burning So I Made Smores runs through May 17th at The Brave New Workshop in Minneapolis. For more information and to purchase tickets go to https://hennepinarts.org/events/the-world-is-burning-so-i-made-smores-2025