Terry Hempleman and Greta Oglesby Photo by Rich Ryan
As a veteran Gin player my first thought as the characters began playing Gin was, what about the up deck? Is that just a variation that I grew up with or were they simplifying the game for the sake of the audience? Gin has always seemed to me like a game older people play. Maybe it’s because my Grandfather taught me the game and now about the only time I play it is with my Aged P once a year when we get together for a marathon Chex Mix baking and Gin Rummy Tournament. The Gin Game a Pulitzer Prize winning play by D.L. Coburn centers around two seniors, Weller played by Terry Hempleman and Fonsia played by Greta Oglesby, who are fairly new to a retirement home and begin playing Gin together. Weller teaches Fonsia the game as she had played a variation of it but when she was much younger. From the start Fonsia wins every hand which slowly makes Weller more and more frustrated. As they play they reveal little bits about their lives though in both cases, as in real life, they share their public version of themselves which isn’t always the truth. Throughout the four scenes the tone changes from that of two people getting to know each other and possibly becoming friends, to something darker.
I loved the performances by Hempleman and Oglesby they make it an enthralling show. I’m less enthusiastic about the script itself. I’m not sure if I see much in it other than as a showcase for two Actors. It gives both of these gifted performers a lot of emotional highs and lows to play. Frankly, it’s worth the price of admission to watch these two connect and spar. They find the humor in the script, they play the moments of heightened emotions perfectly, but the greatest thing they do, is to completely disappear into the roles. There was never a moment that didn’t feel true and honest, and believe me that is rarely the case. If you enjoy seeing two actors bring genuine truth to the stage, you must see this show. A couple of recommendations though. Get your seats in the center section, if that is full and you have to choose a side choose House Right. It really shouldn’t matter where your seats are, a show should be directed so that the blocking works for the entire house. That’s the one element that I would criticize Director Faye M. Price for. I was seated in the first seats on the second row of House Left and had Hempleman back to me for almost the entire first Act. The side wasn’t very full so we moved all the way to the end of the section at intermission, so almost level with where the stage begins and that was a much better view. The more I think about it, it’s an odd choice to stage a show that for most of it’s running time the characters sit across from each other in their basement thrust stage instead of their main proscenium stage.
The set design by Joseph Stanley is very well done. It’s a nice representation of the sun porch of the nursing home. For a play like this that really requires that we view these two as real people, a design that tries to emulate reality works to that end as well. Assisting to that end was Brandt Roberts’ Prop designs. I also want to point out the Lighting Designer Kurt Jung and Sound Designer Katharine Horowitz, particularly for their work in the scene when there is a thunderstorm. Their lighting flashes followed seconds later by thunder were perfectly timed to add a realism. Props as well to Stanley’s set in that scene when the roof begins to leak.
The Gin Game runs through February 23rd at Park Square Theatre in St. Paul. For more information and to purchase tickets go to https://parksquaretheatre.org/
Tired of missing reviews from The Stages of MN? Do you find yourself left out when all your friends are talking about that great new play that you didn’t even know about? Never fear, that need never happen again. Now you too can subscribe and have every post from The Stages of MN sent directly to your email box. No more hoping the algorithm works in your favor and you actually see a post on facebook or Instagram. No relying on so-called friends to tip you to the best shows in town. To subscribe on your computer: from the home page on the right, enter your email address and click subscribe. On your mobile device scroll to the bottom of the page and do the same. You can also follow me on Facebook, @thestagesofmn click follow and on Instagram thestagesofmn.
But that’s not all! You can also read some of my reviews syndicated on the MN Playlist website https://minnesotaplaylist.com/ from time to time. Think I may have steered you wrong on a show? Well, I am also a member of the Twin Cities Theater Bloggers (TCTB), where you can read roundups of shows by m’colleagues and I when you follow us on facebook @TwinCitiesTheaterBloggers.
Kasano Mwanza (Teen Angel) Katemarie Andrews (Frenchie) Ensemble Photo by Dan Norman 2025
Grease is a musical I’ve seemingly known all my life. I saw the famous film adaptation in the theater at age six, and watched it constantly on cable and VHS over the next decade. I was even in my high school production as a member of the ensemble. Grease and a healthy dose of being my father’s son contributed to my love of the sounds of the 1950’s and 60’s. Grease in the original nostalgia musical, on the surface it’s a love story between Danny and Sandy but it’s really a love story between the audience and the 1950’s. This isn’t Shakespeare in fact if I wasn’t so familiar with the plot I might be confused as to whether there really is a love story between Danny and Sandy. But you know what? That doesn’t matter, it’s all just an excuse to perform a bunch of 1950’s song pastiches. You had me at 1950’s songs. Grease is pure fun distilled into a idealized version of a simpler time. It’s the escapist entertainment that we all need right now. Do yourself a favor and take a trip to the past for a rockin’ good time.
Grease is jam packed with great songs, a couple of which are favorites that never made it to the film “Freddy My Love”, which I still find myself singing from time to time and “Mooning” which gets a great performance in this production. It also wisely imports three of the songs that were unique to the film version “Hopelessly Devoted to You“, “You’re the One That I Want“, and “Grease is the Word“. The latter is used as an encore after the cast has taken their bows and features Kasano Mwanza who plays Teen Angel. When asked who was their favorite, everyone in the theater would likely say Kasano Mwanza. His performance Of “Beauty School Dropout” is the showstopper! Mwanza holds the entire theater captive to his entrancing voice and magnetic stage presence. Always amazes me when five years in, I’m still coming across talents like this that have been around “but I never heard them singing” (The Music Man was another childhood favorite). The entire cast is solid, Sam Stoll makes a great Danny, but isn’t quite matched by Dayle Theisen’s Sandy. There are some real standouts in the Pink Ladies and the Burger Palace Boys. Anna Hashizume is spectacular in the role of Rizzo, she steals the spotlight in every scene she’s in, She plays Rizzo with a tough exterior taking no crap from anyone, making her vulnerability during “There Are Worse Things I could Do“, all the more effecting. She also has one of the best voices in the company. The last actor I want to single out is Evan Tyler Wilson, not just because he’s a magnificent singer and his performance as Roger, particularly in “Mooning” is a lot of fun. But also because my wife would kill me if I didn’t, she loooooves him!
As always the case at Chanhassen, the band sounds great under the direction of Andy Kust. Nayna Ramey’s set design feels like a 50’s inspired animation background and set the tone for this trip down memory lane. They even have a working Greased Lightning car that drives on and off stage a few times. Sue Ellen Berger’s lighting design deserves a shout out as there are several queues that help focus the audience where they need to be looking when there is a stage full of activity. Rich Hamson’s costumes perfectly represent the time period without solely relying of the standard jeans, white t-shirt, and leather jacket. His Teen Angel outfit is fantastic and works beautifully with the choruses pink outfits. Highest praise goes to Tamara Kangas Erickson’s choreography. Wow moments occur throughout, but especially during “Greased Lightnin“, “We Go Together“, and “Born to Hand-Jive“. Including a nice variation on the traditional kickline.
It wouldn’t feel right to end my review without noting the untimely loss of longtime Chanhassen Dinner Theatres Artistic Director and co-owner Michael Brindisi who passed away suddenly on February 5th. I had the honor to conduct a talkback with Michael and members of the cast after a production of The Prom in 2023. It was, and will always be a highlight of my life as a Theater Blogger. Before a production either of Jersey Boys or Beautiful, I stopped by Michaels table and we reminicesed about that event and I was touched to hear that it was a special memory for him as well. Michael has left us one final gift with his direction of Grease. It was a show that meant a lot to him, and that comes through in the pure fun and joy of this production. Michael didn’t know this would be his last show, but it seems like an appropriate bookend to his long and influental career. You’d be hard pressed to find anyone who’s been in the Twin Cities Theater Community for long who hasn’t felt the impact of Michael Brindisi. To many of us, Michael was synonymous with Chanhassen Dinner Theatres. Michael is gone, but his presence will be felt for years to come in the continued work at CDT and in the performances of the artists he directed and cheered for.
Grease runs through October fourth at Chanhassen Dinner Theatres. For more information and to purchase tickets go to https://chanhassendt.com/grease/
Tired of missing reviews from The Stages of MN? Do you find yourself left out when all your friends are talking about that great new play that you didn’t even know about? Never fear, that need never happen again. Now you too can subscribe and have every post from The Stages of MN sent directly to your email box. No more hoping the algorithm works in your favor and you actually see a post on facebook or Instagram. No relying on so-called friends to tip you to the best shows in town. To subscribe on your computer: from the home page on the right, enter your email address and click subscribe. On your mobile device scroll to the bottom of the page and do the same. You can also follow me on Facebook, @thestagesofmn click follow and on Instagram thestagesofmn.
But that’s not all! You can also read some of my reviews syndicated on the MN Playlist website https://minnesotaplaylist.com/ from time to time. Think I may have steered you wrong on a show? Well, I am also a member of the Twin Cities Theater Bloggers (TCTB), where you can read roundups of shows by m’colleagues and I when you follow us on facebook @TwinCitiesTheaterBloggers.
Justin Withers (Demetrius), John Catron (Oberon), Royer Bockus (Helena), Jimmy Kieffer (Puck), Jonathan Luke Stevens (Lysander). Photo by Dan Norman
Faithful readers will know that I’m very much a Shakespeare enthusiast. How then to explain that I’ve never seen a production of A Midsummer Night’s Dream? I can make no sense of it and am grateful to have finally corrected that shameful omittance. I saw the 1999 film version starring Michelle Pfeiffer and Kevin Kline, but to be honest, it made little impression as nearly everything that happened on stage opening night was a revelation to me. Of course everything about this production is a revelation thanks to an incredible cast and Joseph Haj’s brilliant direction. The contributions of Composer/Musician Jack Herrick, who performs onstage during the production, cannot be overstated. Herrick and Haj have transformed the play into something approaching a musical, the music is so integral to the show. It’s a production that is spectacularly creative and endlessly surprising. I feel like I can count on the fingers of my two hands the number of shows that I have found myself laughing out loud to for extended periods, this one goes on the list. It’s a perfect first Shakespeare play for the uninitiated or those who may have never found a production of the Bard’s work that connected with them. It’s universal in its appeal as laughter, love, and music speak to all of us. While nothing is likely to surpass the extraordinary experience that was The History plays last season, this is the best single Shakespeare production I’ve seen at the Guthrie, and perhaps ever.
Haj opens the play with Royer Bockus, who plays Helena, singing a little and then interacting directly with the audience. At first this seemed a little cute but unnecessary given the two and a half hour runtime, but as with everything in the show it proved to have been worth it in the end (there’s a double meaning in that). In some ways A Midsummer Night’s Dream is like many of Shakespeare’s comedies with lovers loving those who don’t love them, and a trick by which lovers are deceived. But no twins or shipwrecks this time. Theseus, a Duke of Athens, and Hippolyta, the Queen of the Amazons, are to be married in four days but the action of the play revolves mostly around other characters. As if the play itself is like the dream by which Hippolyta says the time will pass. Hermia is in love with Lysander, but Hermia’s Father demands she marry Demetrius whom she doesn’t love, but loves her. Helena, Hermia’s friend, loves Demetrius, but he doesn’t love her. It’s decreed by Athens law that if Hermia refuses to marry, per her father’s wishes, she must be either put to death or live a celibate life as a nun. Lysander and Hermia plan to meet in the forest and elope together, a plan they share with Helena. Helena tells Demetrius, hoping to gain his love. But as they search the forest for the lovers, he states over and over again that he does not and will not ever love her. This is overheard by Oberon, the King of the fairies, who looking to punish his queen Titania has concocted a juice which when applied to the eyelids of someone will make them fall in love with the first person they see. Oberon applies it to Titania and when she awakens she falls in love with Bottom, one of the Mechanicals, a group craftspeople who are rehearsing to perform a play for Theseus and Hippolyta’s wedding reception. Bottom has been transformed by Oberon’s sprite Puck into a donkeyman which frightens away his fellow performers and perfectly achieves the punishment Oberon intended for Titania. Oberon instructs Puck to apply the juice to the eyelids of Demetrius so that he will return Helena’s love. Puck mistakes Lysander for Demetrius and applies the juice to him causing him to fall in love with Helena. Oberon discovering the mistake doses Demetrius causing him to fall in love with Helena as well. Helena never having been loved by anyone, mistakes the sudden change of adoration as mockery. Will all be set right and lovers paired off by stories end? Of course they will, it’s not the destination but the journey that matters.
The Mechanicals cast of A Midsummer Night’s Dream. Photo by Dan Norman
The test of a great Shakespeare production is the Actors. The scripts are going to be good (it’s Shakespeare) but even with the best direction and production design in the world, if your Actors cannot convey the language to the audience in a way they can understand it, all is lost. This cast is amazing, every single member of the cast gets a moment to shine. At Intermission I was loving the show but was thinking to myself, not knowing the play, that it seemed like a phenomenally talented cast who were portraying the Mechanicals were being wasted on roles with very little to do. Well, the play closes out with a play within the play that illustrates the need to have cast Actors of their caliber. Aimee K. Bryant cracks everyone up with her portrayal of a wall and then wows us with a song. Dustin Bronson solution to reassuring his audience that he isn’t really a lion, just a man in costume and Kimberly Richardson’s performance as the moon, a branch, and a dog are played with as much physical humor as vocal, and it’s hard to imagine anyone else in either of those roles. Will Sturdivant’s Peter Quince, the Director of the Mechanicals decision to try and gesture the meaning behind every line of his prologue to the play should not be experienced while drinking liquids as it will result in you spraying the person in front of you with a mouthful of your beverage. Max Wojtanowicz’s character Flute, playing the female love interest in the play is at first brilliantly subtle in his self consciousness, then on a dime takes the play from a hilarious takedown of amatuer theatrics to a moment of esquisite beauty. Unleashing his none too secret weapon of an angelic voice and a moment of genuine grieve, that left most of the audience truly moved and a few unsure how to react and nervously tittering. Remy Auberjonois gets the meatiest role, that of Bottom, his comedic hamminess is perfectly played and sure to be an audience favorite.
The interplay between the four young lovers is joyously hilarious. Jonathan Luke Stevens as Lysander carries a guitar with him and once enchanted, tries to woo Helena musically. Just when Justin Withers as Demetrius enters also with Helena infatuated, things become more and more energetic. When Hermia, played by Ari Derambakhsh joins the fray, she’s angry with Helena for stealing Lysander’s love and Helena assumes she’s in on it with the men, and is mocking her. The scene plays out and when we return from intermission, they recap the last scene as if it were a silent film including a nice sound effect of a film projector from Sound Designer Darron L West. It’s an inspired choice by Director Haj and the cast are spot on in their parody of silent film acting raising the franticness of the scene even higher. John Catron and Regina Marie Williams have dual roles playing the two couples of Theseus and Hippolyta as well as Oberon and Titania. These are the grounded roles, despite one of the couples being fairies. They are the calm center around which the chaos swirls. Catron and Williams bring with them a presence that grounds the play in a tenuous but necessary reality. They don’t get to play up the humor or go big with their performances but I assure you the play would not work as it does if you didn’t have two performers of their abilities in those roles holding the center so the play doesn’t lose it’s form. Everyone else can shoot around like ludicrous satellites because they act as a gravitational force that ensures no one flies out of orbit. Finally, we come to Jimmy Kieffer who as Puck brings a sarcastic edge to the role that plays very well to a modern audience. From what I think I know of the part, it feels like he plays it less playfully and more relatable than the usual interpretation, and I think it works beautifully.
The Fairies Cast of A Midsummer Night’s Dream. Photo by Dan Norman
In the last year I’ve striven to write shorter more readable reviews mentioning a few key performers and the technical aspects that really stand out. And then you bump up against a play like this that you cannot help but mention every single one of the performers because they are all staggeringly good. Likewise, every member of the creative team does excellent work that needs to be at least touched on. Pulling double duty as Scenic and Costume Designer is Lex Liang whose set is magical and whose costumes clearly separate and distinguish between the fairies and the humans. Isabella Byrd’s lighting design adds to the magic of the forest and she creates an added flicker to silent film moment at the opening of the second half of the show that help sell the concept. Emily Michaels King’s movement direction and Annie Enneking’s Fight and Intimacy Direction enhance the performances with nice little touches throughout.
A show that succeeds on every level to the highest level imaginable. For Shakespeare fans and novices alike, I don’t know how anyone could not be completely enchanted by this production. One of the down sides of seeing so much theater and living in a city with so much theater is that one rarely has the time to take in a production more than once. This will be one of the exceptions to that rule, I’ll definitely be back for a second dream. A Midsummer Night’s Dream runs through March 23rd 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/a-midsummer-nights-dream/
Tired of missing reviews from The Stages of MN? Do you find yourself left out when all your friends are talking about that great new play that you didn’t even know about? Never fear, that need never happen again. Now you too can subscribe and have every post from The Stages of MN sent directly to your email box. No more hoping the algorithm works in your favor and you actually see a post on facebook or Instagram. No relying on so-called friends to tip you to the best shows in town. To subscribe on your computer: from the home page on the right, enter your email address and click subscribe. On your mobile device scroll to the bottom of the page and do the same. You can also follow me on Facebook, @thestagesofmn click follow and on Instagram thestagesofmn.
But that’s not all! You can also read some of my reviews syndicated on the MN Playlist website https://minnesotaplaylist.com/ from time to time. Think I may have steered you wrong on a show? Well, I am also a member of the Twin Cities Theater Bloggers (TCTB), where you can read roundups of shows by m’colleagues and I when you follow us on facebook @TwinCitiesTheaterBloggers.
Stephanie Anne Bertumen, Clay Man Soo, Keivin Vang Photo by Tony Nelson
Last year Ironbound produced by Frank Theatre and written by Martyna Majok wowed me and my fellow Twin Cities Theater Bloggers receiving five Twin City Theater Blogger Award nominations and winning one. Sanctuary City is this years first offering from the socially minded theater company and is also written by the Pulitzer Prize winning Majok. It’s another thought provoking and challenging play that explores the timely topic of immigration. Uniquely structured, the first act contains dozens of brief moments, memories over a course of a couple of years that establish the close friendship between two teenagers G and B, who live in the US illegally. During these scenes which last anywhere from 10 seconds to a couple of minutes each, we learn that one becomes a citizen and they hatch a plan to marry each other so that the other can legally stay in the country as well. Act two is one scene which explores what happens to that plan when a third person, Henry, enters the pictures as a romantic partner. Every reveal in the second act clarifies the situation while complicating the issue itself. As I sat in the audience I found myself constantly reconsidering what I thought moments earlier.
Majok’s script is brilliantly directed by Wendy Knox who always manages to obscure what should be from the audience while making what we should understand clear. When you see the play you will understand what a complex task that is. Joe Stanley’s set design helps to illustrate the differences between the two Acts of the show and make tangible the idea of the first Act as a series of memories. Act one is performed on a bare stage with a few simple boxes that take the place of a bed or a bench. Act Two is revealed as B’s apartment fully realized indicating that this is happening in real time. Majok’s script further distinguishes this fact by the simplistic, almost black and white aspect of the dialogue and emotions in Act one compared to the intricate and often amorphous reality of the present. Tony Stoeri’s lighting is also intricate to the telling of this story particularly in Act one in which the lights fade down and back up to indicate the jump to a new memory.
Stephanie Anne Bertumen who plays G is stunningly good conveying unspoken backstory and emotion through her performance. We not only get a sense of unexpressed emotions and life details but have a sense of what they are without the script actually dictating any of it. Clay Man Soo who plays B, takes as a cue to his character one of the lines his character says at the beginning of the show, “I don’t know what to do.” I’m not saying Soo doesn’t know what to do, I mean that is the key to portraying this character and Soo picks up on it and uses it. B spends his life in Limbo; as an illegal, his live options if he wants to stay in the US are limited, he can’t get aid for school and he needs to work jobs that don’t enforce certain regulations. Because of the introduction of Henry to the plot, he doesn’t know if he’s still going to be able to escape Limbo with G. If he can’t, should he continue to live this life or return to his birth country? Soo perfectly captures a sense of being lost, unsure what he should do, always looking to others for guidance. Henry is played by Keivin Vang and it’s a difficult, at least initially, unlikeable role. Vang does a good job of conveying the characters conceitedness. He enters the play at a point where a third is unwanted by the audience and first impressions are that he is just going to make everything fall apart. But he softens and as more is revealed, we find something to appreciate in the character for a time. It’s here that Majok’s script kicks into overdrive requiring the performers to manipulate the audience’s allegiances from moment to moment.
Sanctuary City runs around an hour and forty five minutes with no intermission. It is a drama, but also contains humor and while it will leave you with a lot to think about and does not end with a super sunny resolution, it’s creativity and performances will leave you feeling excited and engaged rather than depressed. Sanctuary City runs through February 23rd at Open Eye Theatre in Minneapolis. For more information and to purchase tickets go to https://franktheatre.org/events/sanctuary-city/
Nathan Cousins, Jeremiah Gamble, Damian Leverett, Anna Leverett, Vanessa Gamble, and Stephanie Cousins. Photo by Bonni Allen
‘Til Death: A Marriage Musical has been returning to the Twin Cities stages for 13 years but this was my first time taking it in. It was also my first time at it’s venue Art House North which is located in what used to be a church and has now become a quaint and cozy artists space. I loved the space and I love the show. I can see why people come back to it every February. No, not because it’s so romantic but because it’s about real love. In long term relationships romance fades, I wouldn’t say it disappears but it definitely takes some rather long naps. Romance isn’t synonymous with love anymore than sex is, they are aspects of a loving relationship, but love is more concrete than romance and less tangible than sex. Love is being together through thick and thin for better or worse. On my third marriage as I am, I don’t subscribe to the theory of one love and I don’t believe that true love never dies. Love changes, it grows and it withers, but the message of this show is that whether you are newlyweds or fifteen years into your marriage, love takes work, understanding, and forgiveness. ‘Til Death brings two such couples together, one on the verge of divorce and one on their wedding day. It’s a comedy that contains a lot of truths about what marriage really is, it’s completing each others sentences in Elvish but it’s also getting annoyed at your partner’s chewing.
Written by and starring Jeremiah and Vanessa Gamble who play Ethan and Olivia the couple who have been married for 15 years but are currently separated. The newlyweds Leslie and Freddie are played alternately by two other married couples. The night I attended Leslie and Freddie were played by Damian and Anna Leverett, at alternate performances the roles are played by Nathan and Stephanie Cousins. The cast is a lot of fun. I identified with Ethan and Olivia more, due to my age and personal history, but I have a son newly engaged and another in the throws of a year long relationship, and so there was a lot in Leslie and Freddie’s story that rang true to me as well. Plus to be honest, I do remember being young and in love and… sickening I’m sure. All of the cast does a tremendous job, the Gamble’s I’m sure draw on their more than a quarter of a century together to bring a grounding reality to what is essentially a fun and engaging musical. Special mention has to go to Vanessa Gamble who has a fantastic voice, all are great, but she is really something. I love that they cast the show with married couples, first of all what a great way to make sure you get to spend Valentine’s Day together doing something you love. Secondly, real couples bring a history and a comfort to the roles that can allow them to inhabit the roles in a unique way, not better necessarily, but in a different way.
The accompaniment on piano from Jill Dawe is immediate and perfectly balanced with the vocals which is kind of amazing given the space of the venue. The set which I don’t know whom to credit to, perhaps Dalen O’Connell who is listed in the program as T.D., and Carpenter, perfectly uses the allowed space giving us the appearance at least of a kitchen, a living room, a bathroom, and two bedrooms, which if you knew the dimensions of the stage you would appreciate what a feat of ingenuity that is. Craig Johnson who directs, stages the action in a way that helps us make sense of the space and make the characters movements feel natural, when they are nearly on top of each other. I also really like the touches of slow motion which are staged to hilarious effect and pulled off brilliantly by the cast. As an added treat, the audience is served free cupcakes and coffee at intermission from Brake Bread, those cupcakes melt in your mouth.
Tired of missing reviews from The Stages of MN? Do you find yourself left out when all your friends are talking about that great new play that you didn’t even know about? Never fear, that need never happen again. Now you too can subscribe and have every post from The Stages of MN sent directly to your email box. No more hoping the algorithm works in your favor and you actually see a post on facebook or Instagram. No relying on so-called friends to tip you to the best shows in town. To subscribe on your computer: from the home page on the right, enter your email address and click subscribe. On your mobile device scroll to the bottom of the page and do the same. You can also follow me on Facebook, @thestagesofmn click follow and on Instagram thestagesofmn. You can also read some of my reviews syndicated on the MN Playlist website https://minnesotaplaylist.com/ from time to time.
But that’s not all! Think I may have steered you wrong on a show? Well, I am also a member of the Twin Cities Theater Bloggers (TCTB), where you can read roundups of shows by m’colleagues and I when you follow us on facebook @TwinCitiesTheaterBloggers.
The Root Beer Lady returns to the History Theatre in St. Paul after it proved to be a hit with audiences in its initial 2023 run. That production which I also reviewed ended with a standing ovation, that continued for nearly a minute after it’s star and writer Kim Schultz left the stage. I’m not sure they needed to bring it back this soon but one thing’s for certain, Minnesotans love their Root Beer Lady and Kim Schultz once again brought her vividly to life for us on stage. Dorothy Molter, was a fascinating woman who made her own way in a mans world. She was a true trailblazer and the kind of person that becomes something of a folk hero around whom a mythology springs up. If you don’t know much or anything about Ms. Molter, do yourself a favor and don’t google her. Instead, get yourself some tickets and learn about her from Kim Schultz and her wonderful play. This was my second time and I think I may have enjoyed it even more this time. Schultz embodies Dorothy so completely that one comes away feeling you’ve just spent 90 minutes with the real Root Beer lady of the north.
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 person 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 moved 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. Leslie Ritenour’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, Katharine Horowitz sound design creates an aurel soundscape that engulfs the audience. The constant sound of the lake, the animals sounds and the wind that accompanies a blizzard are just a few of the touches that stand out and help create the illusion of being up north with Dorothy.
Tired of missing reviews from The Stages of MN? Do you find yourself left out when all your friends are talking about that great new play that you didn’t even know about? Never fear, that need never happen again. Now you too can subscribe and have every post from The Stages of MN sent directly to your email box. No more hoping the algorithm works in your favor and you actually see a post on facebook or Instagram. No relying on so-called friends to tip you to the best shows in town. To subscribe on your computer: from the home page on the right, enter your email address and click subscribe. On your mobile device scroll to the bottom of the page and do the same. You can also follow me on Facebook, @thestagesofmn click follow and on Instagram thestagesofmn. You can also read some of my reviews syndicated on the MN Playlist website https://minnesotaplaylist.com/ from time to time.
In the wake of the tragedy that was the closure of the newly relocated HUGE Improv Theater, the Jungle Theater has stepped up and provided a new home for some of HUGE’s resident shows. One such show is Off Book which I experienced last night for the first time, the next performance will be March 3rd. Off Book is unlike the other Improv I’ve reviewed, though to be honest most of the improv I have reviewed has its own unique angle like this does. Off Book divides its performers into two group. Group one is “Off book” which in theater terms means an Actor has learned his lines, so these artists have memorized a scene from a play. Group two is so far off book that they have never even seen the book. Not only do they have no lines memorized, but they don’t even know what play their fellow actors have memorized. The players take the stage together, one scripted, one unscripted and try to perform a scene from a play. Hilarity does indeed ensue. I think this may be the best Improv I’ve ever seen. Actually, Off Book hands down this is the best Improv show I’ve ever seen.
I’m going to list the lineup from the program and those who know some of the local Actors and Improv Performers will see why this was so fantastic.
ACT I The Cherry Orchard by Anton Chekhov Actor: Christina Baldwin Improviser: Alsa Bruno
The Great Nebula in Orion by Lanford Wilson Actor: Emily Grodzik Improviser: Molly Ritchie
Lemons Lemons Lemons Lemons Lemons by Sam Steiner Actor: Cheryl Willis Improviser: Tom Reed
ACT II The Motherfucker with the Hat by Stephen Adly Guirgis Actor: James Rodriguez Improviser: Chris Rodriguez
The Flick by Annie Baker Actor: Destiny Davison Improviser: Taj Ruler
Stage Kiss by Sarah Ruhl Actor: Michael Rogers Improviser: Jill Bernard
Each scene had the audience howling with laughter and it’s hard to single any out, but if I had to choose a scene that was most likely to make you wet your pants it would be the pairing of Destiny Davidson, who somehow mostly kept it together and didn’t start outright laughing, and the hurricane of hilarity that is Taj Ruler. There’s no point in going into details of what we saw beyond the format because the glorious thing about improv is also the terrible thing about improv, it’s a one time thing! Which is why I’ve decided, now that I’ve found this show, I’m never missing another one. Thank you to The Jungle Theater for giving this show a new home, hopefully a long term home!
Destiny Davison and Taj Ruler Photo by Evelyn Vocu
For more information about Off Book and other Improv at the Jungle shows and to purchase tickets for the March 3rd show and other Jungle events go to https://www.jungletheater.org/improv-at-the-jungle
Tired of missing reviews from The Stages of MN? Do you find yourself left out when all your friends are talking about that great new play that you didn’t even know about? Never fear, that need never happen again. Now you too can subscribe and have every post from The Stages of MN sent directly to your email box. No more hoping the algorithm works in your favor and you actually see a post on facebook or Instagram. No relying on so-called friends to tip you to the best shows in town. To subscribe on your computer: from the home page on the right, enter your email address and click subscribe. On your mobile device scroll to the bottom of the page and do the same. You can also follow me on Facebook, @thestagesofmn click follow and on Instagram thestagesofmn. You can also read some of my reviews syndicated on the MN Playlist website https://minnesotaplaylist.com/ from time to time.
But that’s not all! Think I may have steered you wrong on a show? Well, I am also a member of the Twin Cities Theater Bloggers (TCTB), where you can read roundups of shows by m’colleagues and I when you follow us on facebook @TwinCitiesTheaterBloggers.
The Stages of MN
Stay informed with curated content and the latest headlines, all delivered straight to your inbox. Subscribe now to stay ahead and never miss a beat!
You must be logged in to post a comment.