The Unexpected Guest Keeps the Audience Guessing Right till the End at Theatre in the Round

Corinne Nobili and Sam Sweere Photo by Aaron Mark Photo Film

The Unexpected Guest is this years annual Agatha Christie play at Theatre in the Round Players in Minneapolis. Faithful readers will know that I’m a bit of an Agatha Christie devotee and as such, I always catch these productions. Usually because I am such a fan, I know the solution to the mystery either before it begins or after a few minutes it comes back to me. What I loved about this production is that because it is a play and not an adaptation of one of her novels, and a play I haven’t seen, I didn’t have the fore knowledge that I usually do. The play starts off after the murder has occured. An unexpected stranger named Michael Starkwedder who has run his car into the ditch due to the extreme fog of the night enters a house in the country in search of a telephone and discovers the body of Richard Warwick. He also discovers the victims beautiful wife Laura standing in the dark holding a gun and ready to confess to the murder. Taken in by her beauty he decides to try and help her cover up the crime and throw suspicion on another man who has a motive. But if it were that simple it would be a episode of Columbo where we know who the killer is and the suspense will be if he gets away with it or not. To be honest that’s more or less what I thought we were getting. The first Act does feel like it’s moving a little slowly. But then, not only does the other shoe drop, a whole shoe rack falls and at least half of the cast at one point or another you’re certain is the killer. When the final curtain falls you can’t even be certain you really knew whodunnit, but in a very satisfying way.

Director Dr. Mary Cutler does a nice job of staging the show, she never allows the cast to telegraph too far in advance the next twist and turn in the plot. I especially appreciated a scene between Laura played by Corinne Nobili and family friend Julian Farrar played by Mark A. McCarthy that Cutler orchestrates so that the penny drops just a few beats for the audience before the characters catch on. It’s a moment well played by Nobili and McCarthy and it changes everything for the audience and the characters, who up until that moment, think they know what has happened. There is also a great scene between Kathleen Winters as Miss Bennett who has been with the family for years and seems to care for her scene partner Pharaoh Jones’ character, Jan the younger brother of the victim, and who is not playing with a full deck. Winters conveys Miss Bennett’s bravery and fear in equal measure as she tries to calm but also draw out the excitable Jan, it’s a very tense and effective scene with Jones playing unstable very convincingly. Sam Sweere is very charming as Michael Starkwedder, that classic Christie character type, the outsider who stumbles into something that is none of his affair but feels compelled to try and help (see Murder is Easy and Ordeal by Innocence).

The Unexpected Guest isn’t as iconic as The Mouse Trap or Murder on the Orient Express, but what it has over those is that many of us don’t know the story or the solution and that is great fun and a rare thing for an Agatha Christie fan. I had a great time with it and debating the end with my fellow theatergoers afterwards. If you like a good twisty mystery this will not disappoint. The Unexpected Guest runs through December 22nd at Theatre in the Round Players. For more information and to purchase tickets go to https://www.theatreintheround.org/the-unexpected-guest/

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.

Georgiana & Kitty: Christmas at Pemberley at Lyric Arts is Like They Caught Joy in a Bottle and Sprayed the Audience With it.

Morgan Kempton and the cast of Georgiana & Kitty: Christmas at Pemberley Photo by Molly Weibel

Georgiana & Kitty: Christmas at Pemberley by Lauren Gunderson & Margot Melcon is the third and final entry in the Christmas at Pemberley cycle of plays that revisits the Bennet family from Jane Austen’s Pride and Prejudice. The other two plays Miss Bennet: Christmas at Pemberley and The Wickhams: Christmas at Pemberley were performed in 2022 and 2023 at Lyric Arts. Now if you didn’t see the previous plays I can assure you that you will not be lost. They are designed to be seen as individual plays, seeing the others allows you to see how they all fit together, but is entirely unnecessary. That said if you can see the others anywhere now or in the future do so! I love all three of these plays and will see them again and again. When you see as many plays as I do in a year the ones you saw last Christmas become fairly hazy. I saw Georgiana & Kitty: Christmas at Pemberley at the Jungle Theater in 2022 and loved it loved the cast, this production just obliterated any memory I had of it. The cast of this production is astonishingly great. There isn’t a look or a line reading, whether it be comedic or heartfelt, that isn’t done to perfection! Whatever magic Jane Austen had, she has passed on to Lauren Gunderson & Margot Melcon because I get the same tears of boundless joy whether I’m experiencing Austen’s works or theirs. They capture the exact same emotional response, which is a swell of overwhelming happiness.

This story focuses on Georgiana Darcy, Mr. Darcy’s younger sister, and Kitty Bennet, Lizzy Darcy’s youngest sister. It’s their turn to find and possibly lose love. The two girls have become the best of friends and spend much of their time together. For Georgiana, love comes in the person of Henry Grey whom she has only met once after a piano recital but has been corresponding with via letters for almost a year and has invited him to visit on Christmas. They both have fallen in love with each other through their letters and a shared passion for music. When they finally meet again at Pemberley, they are both so shy it will require their friends and family to get them to come out and tell each other how they feel. Accompanying Henry is his friend Thomas O’Brien who is instantly smitten with Kitty. So now we have the two pairs of lovers and in true Austen form, there will be letters that reveal secrets, arranged engagements, and meddlesome siblings. The hazards are many, not the least of which is Mr. Darcy who by the end of Act I will have seemingly torpedoed the match between Henry and Georgiana. Act II takes place about six years later on another Christmas and I’ll be damned if I didn’t want to stand up and shout “It’s a Christmas Miracle!” at the end. There was always a message in the script about gender equality and the reality of the lives of women at that time in history, but it feels even more timely and urgent than it did just two years ago.

I know what a third of you are saying, “it’s a chick play”. First of all, I don’t think you should say that, I know what you mean, but it sounds kinda derogatory. Secondly, no it isn’t. Steel Magnolias is a chick play, a very good one by the way. But Georgiana & Kitty: Christmas at Pemberley is a universal play, it is concerned with love, that is an emotion that all genders have experience of. So mothers, girlfriends, and wives don’t be afraid to take the men in your lives to this, and men don’t be put off by Jane Austen or showing an emotion now and then. I promise you will laugh, you may cry, and in the end you will not regret the two hours you spent in the theater. In fact this is the kind of show that will have you asking next year “So is anyone doing one of those Christmas at Pemberley again this year? I’d go with you if you wanted to go.” While we are on the topic of next year, though maybe this is a two year away thing. Some theater company, the Jungle Theater or Park Square perhaps needs to make the bold decision to produce the entire trilogy in Rep. That would be amazing, let’s get to work on that shall we? While we are planning that I’d like to suggest that you sign up Marci Lucht to direct it as she did and absolutely phenomenal job with this production at Lyric Arts. There is an interlude at the opening of Act II that acts as a dialogue free exploration into the minds of the characters, showing through movement a combination of what is in the characters hearts and the passage of those six years. It’s inspired bit that I don’t think is scripted, but that was beautiful in execution, like the set had come alive and we are watching a ballet of pillars.

I’ve already praised the entire cast so I’ll try not to go on too long and mention everyone, but I have to make a few remarks. Morgan Kempton and Waverly Ann McCollum play Georgiana and Kitty respectively and you couldn’t ask for better leads. Kempton, uses her characters quiet demeanor in the first act to express her uncertainty and then modifies the same quality in Act II to show an inner strength determination. McCollum shows Kitty to be insightful and energetic, her leaps over the bench in Act I showcase her energy and youthfulness and get a nice laugh. Grace Klapak who is returning to the role of Lydia perfectly plays the least endearing character Austen ever created. Klapak is spot on in her portrayal, she carries herself perfectly, slouching when bored pumping herself up when she wants to be noticed. She knows exactly how far to take it so we understand everyone’s annoyance with her, without actually becoming annoying to us, but rather coaxing laughs from us with her characters unpleasant characteristics. Noah Hynick, frankly I don’t think I’ve ever seen Hynick be anything but perfect in a role. I’m not sure how Lyric Arts seems to have him under exclusive contract, after a performance like this I ask myself again, why isn’t this guy cast in everything at the Guthrie. He is as gifted in his gestures and reactions as he is in his line reading choices. The first time I can remember coming across Mr. Hynick was in 2022 when he appeared in Miss Bennet: Christmas at Pemberley at Lyric Arts and since it feels like he’s been in most of Lyric Arts productions, his timing is unerring, and it’s time to officially add him to the must see list, though he was already there to be honest. William Edson plays Mr. Grey which was the one role I can clearly remember from the Jungle Theater production. It was the first time I really took note of Dustin Bronson because he was amazing, I can’t say that Edson was better, but I can say he was as good! Lastly, I loved seeing Faith Winship as Elizabeth Darcy, she made a strong impression last year in a couple of shows, The Marvelous Wonderettes and She Loves Me, I hope to see more of her soon.

Georgiana & Kitty: Christmas at Pemberley runs through December 22nd at Lyric Arts in Anoka. For more information and to purchase tickets go to https://www.lyricarts.org/georgiana-and-kitty

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.

Les Misérables Returns With it’s Stunningly Beautiful Production to the Orpheum Theatre

Mya Rena Hunter as Eponine Photo by Matthew Murphy

This is my third time experiencing Les Misérables, in fact it’s my third time seeing this touring production at the Orpheum Theatre. The first was pre The Stages of MN in 2018 and the second was almost two years ago in 2022. When it comes through town next, you can bet I’ll be there to review it again. As with the 2022 performance I was completely swept up and amazed by the overwhelming beauty of Les Misérables. A jaw droppingly gifted cast and production and lighting design that makes every scene look like a Rembrandt painting come to life. Inarguably one of the greatest musicals of the late 20th century, every note of music, every lyric is perfection. A powerful story, the message of which seems especially pertinent given the ever-increasing inequity in the distribution of wealth and the dispensation of Justice. For a show nearly three hours in length there is not a single moment that doesn’t drive the story forward or feel completely necessary. It doesn’t seem to matter how many times I see it I’m still stunned by this production. Even though I knew what I was getting into, somehow It still managed to surprise me with the power and artistry that unfolded before me.

Les Misérables for the unfamiliar is a musical based on the novel by Victor Hugo with music by Claude-Michel Schonberg, lyrics by Herbert Kretzmer. Set in France in the first half of the 19th century, Les Misérables tells the story Jean Valjean who after spending 19 years on the Chain Gang for stealing a loaf of bread is finally paroled. Finding himself free only to discover that no one will give him a chance at a fresh start. Beaten down and starving, he’s taken in by a Bishop, given food and a place to rest, but out of desperation he steals some silver. When he is caught and brought before the Bishop by the police, the Bishop lies to the police saying that the silver cups were gifts. Given this reprieve from being sent back to the Chain Gang, Jean Valjean breaks his parole and changes his name in order to start a new life. The story then moves eight years into the future where Jean Valjean has become a factory owner and the Mayor. In his factory we meet Fantine, who is soon dismissed unfairly, beginning the downward spiral which results in her having to sell everything she can including her hair and her body to stay alive and to send money for her daughter Cosette’s care. When she fights back against a wealthy man who is abusing her, she is on the verge being taken to prison by Javert when Jean Valjean comes to a rescue and has her taken to the hospital instead. A chance accident with a cart causes Jean Valjean to rescue a man. His act of strength reminds the policeman Javert of his former prisoner Jean Valjean he tells the Mayor of the similarity and comments that Jean Valjean has just been arrested. Jean Valjean realizing if he doesn’t say something then an innocent man will pay for his crimes goes to the court and confesses. Before he is taken back into custody Jean Valjean promises Fantine on her deathbed that he will look after Cosette. Overpowering Javert, he escapes again. He goes and finds Cosette, who is living with the unscrupulous Thenardiers, an innkeeper, his wife, and their young daughter Eponine. After paying them off he and Cosette head out to make a new start. The story picks up nine years later in Paris where all of these characters along with a few new ones converge. Cosette falls in love with young student Marius whose in turn loved without his knowledge by Eponine. It’s a time of unrest in the city and a group of students seeing themselves as revolutionaries build a barricade to have a standoff with the authorities. All the key players come together and their fates are all intertwined. It all seems terribly complicated but somehow the story is quite easy to follow. It also all sounds terribly depressing but it isn’t, it’s uplifting, it’s powerful, it is wonderous.

Nick Cartell as Jean Valjean Photo by Matthew Murphy

The cast is nothing short of amazing Nick Cartell, who has played the role over 1,200 times including in 2022 plays Jean Valjean with a vocal range equally astonishing in the deeper registers as he is in the upper. Powerful and passionate in the song “Who Am I?” where he contemplates whether to let the innocent man be tried in his place for his supposed crimes. Then, angelic in the higher pitched “Bring Him Home” where he sings to God to spare the life of Marius. I expected him to be pushing his voice to the limits but surprisingly it seemed perfectly within his range resulting in a tremendous round of applause from the audience. Everyone is of that quality in the cast. Lindsay Heather Pearce as Fantine delivers one of the shows signature songs “I Dreamed a Dream” with all the tragedy and heartbreak of her character seeping into every line. Another stand out was Mya Rena Hunter as Eponine for whom the applause after her solo song “On My Own” threatened to turn into a midshow standing ovation. It’s not hard to see why, if the character of Jean Valjean is the conscience of the show, Eponine is the heart. When she sings “On My Own” it veers towards a misstep as we genuinely find ourselves hoping that she will get together with Marius as opposed to Cosette. Nick Rehberger plays Javert and gets one of the biggest moments of audience amazement in his final scene, which I will not spoil. Rehberger is the strongest Javert I’ve yet seen his singing is powerful and clear and we sense his inner turmoil at the end more palpably than I have during other productions. Matt Crowle another performer who was in the 2022 performance and Victoria Huston-Elem play the scheming M. and Mme Thenardier adding some well timed and much appreciated comic relief.

The production design including everything from the sets, the lighting, projections, and costumes creates one of the most beautiful looking shows I’ve ever seen. On one side of the stage there’s a doorway, on the other side there’s an a Stone Archway, those elements remain constant. Throughout the play those sides Push out to varying degrees and somehow, these two openings, come to look like completely new structures. It is a fascinatingly versatile set. It’s large and impressive solid-looking and yet, it seems to flow and change and reconfigure fluidly. Set and image design is by Matt Kinley they’re inspired by the paintings of Victor Hugo. Paule Constable is the lighting designer and he doesn’t just direct and point lights he seems to paint with light. There’s such a melding of physical set design and lighting in this show and it is through the marriage of these two art forms that this painterly aesthetic is achieved. And yes, when the set and the lighting design look this good it is absolutely an art form. The projection in this show is realized by Finn Ross and Fifty-Nine Productions. I’m not a fan of the overuse of projection in shows and this was a reminder how well it can be used. This is a judicious use a projection that effectively enhances the environment and created some breathtaking illusions.

Les Misérables runs through December 1st at Hennepin Arts Orpheum Theatre in downtown Minneapolis. Fro more information and to purchase tickets go to https://hennepinarts.org/events/les-miserables-2024

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.

A Christmas Carol Continues to Enchant as it Celebrates 50 Years at the Guthrie Theater

Cast of A Christmas Carol Photo by Dan Norman

Every year come November and December we are exposed to multiple version of of A Christmas Carol. From films to episodes of TV series that use it’s plot to stage productions. I’ll likely see at least three stage productions this season that are based off of it. This was the fourth production of the Guthrie’s latest adaptation of Charles Dickens’ classic A Christmas Carol and also marks it’s 50th Production overall. I’ve seen all four years of this current incarnation which was adapted by Lavina Jadhwani and first performed in the 2021 season. This years production is directed by Addie Gorlin-Han based on the original direction by Guthrie Artistic Director Joseph Haj. After spending time with so many versions of this story year after year I’m amazed at it’s capacity to captivate me each time. There is something so enduring about Dickens tale of reflection and redemption, and its familiarity to audiences, which accounts for its adaptability. It’s core plot and themes can be seen in so many different works. Even that other mainstay of the holiday season It’s a Wonderful Life shares DNA with it. In it, we see George Bailey’s past, then his present, and then an alternate reality which is what the Ghost of Christmas Future shows Scrooge, a possible future, but one that may not come to pass. Like Scrooge who changes his ways and embraces life, George changes his mind deciding it’s better to live and we get a happy ending for all.

What struck me this year is how fresh the production felt and a lot of details or moments that I either didn’t remember or are new. Being the fourth year in a row, knowing it was the same adaptation with the same sets, I admit I did entertain the idea of giving it a skip this year. So glad I didn’t. Now I’ve reviewed nearly 200 productions since I last saw A Christmas Carol at the Guthrie last fall, so I struggle to remember last years in detail. Are the things I noticed this year new or have they just slipped my memory? This year it felt like there were some different songs and more choreography between scenes, but that may not be the case at all. There is a scene before the Ghost of Christmas Past visits when the ensemble is forming the hands of the clock on stage as the hour between Midnight and one A.M. passes. This struck me as a really creative touch from Choreographer Regina Peluso, but was it new this year? I don’t know. The only change I am certain of are those of casting. There are a lot of the same actors but many of them have changed roles this year. After years in the role of Bob Cratchit, John Catron has been promoted to Fred, Scrooge’s nephew. This was due to former Fred, Eric Sharp moving into the role of the Ghost of Christmas Past. It also led to Tyler Michaels King taking on the role of Bob Cratchit leaving his role as Collector 1 and Dick Wilkins. That in turn leads to the addition this year of Max Wojtanowicz to the cast in those vacated roles. It’s very interesting to notice the changes that each performer brings to the roles and how that subtle changes the play as a whole and giving it a breath of fresh air. The biggest cast change this year is the replacement of Matthew Saldivar, who was very good in the role, but always struck me as a little too young, with David Beach who feels very age appropriate, is fantastic.

The things that wowed me in previous production continue to do so now. The Ghost of Christmas Future portrayed by Nathan Huberty in a costume created by Toni-Leslie James is still effectively nightmarish and might give the very wee ones in the audience a genuine fright. The moment when the Ghost comes out of the darkness engulfed in fog to tower over a cowering Scrooge is truly a heart pounding moment. The set design by Matt Saunders in conjunction with the Lighting design by Yi Zhao manages to be both detailed and expressionistic. Sound Designer Mikaal Sulaiman and Musical Director Jason hansen also contribute greatly to the tone and atmosphere of the work whether through Composer Jane Shaw’s score, traditional Christmas carols, or well times sound effects. The one scene that has always been a head scratcher for me is when Scrooge and the Ghost of Christmas Present observe the ship out at sea. I know it’s from the book, I know many adaptations include it, I understand there is a point to it. But it’s so short and requires elaborate, and very effective projection, a separate set piece that has to be built and wheeled on and off the stage. I wonder if what it brings to the show ultimately justifies that build out and expense.

If you’ve never seen A Christmas Carol at the Guthrie it’s something you are required by the State Constitution to do at least once if you’ve lived her more than five years. If you’ve seen it before, even this very adaptation, I promise you it rewards on multiple viewings. I think the cast changes do shift the whole piece enough that you are going to find it remarkably fresh and entertaining. A Christmas Carol runs through December 29th at The Guthrie Theater in Minneapolis. For more information and to purchase tickets go to https://www.guthrietheater.org/shows-and-tickets/a-christmas-carol/

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.

Steel Magnolias Moved Me to Laughter and Tears at Yellow Tree Theatre

Maggie Cramer, Jane Froiland, Tara Borman, and Tolu Ekisola Photos by Alex Clark

Steel Magnolias is the kind of play women will want to go to with their girlfriends, daughter, mothers and in a pinch drag their husbands and boyfriends to. And they are going to love every second of it, with the possible exception of the husbands and boyfriends. Am I saying men will not like it, no I am not, I loved it. If your husband or boyfriend has ever cried at a movie, or as in my case every movie and the odd very special episode of iCarly, those are the ones to bring with you and they will likely thank you for it. Know your man, and then plan accordingly, if he’s emotionally available to the arts, bring him. If he isn’t, then only bring him if he’s been bad. For those without available girlfriends/sisters/daughters etc. call my wife she’ll go again, in fact so would I but I think I’m scheduled to see other shows every single night of my life. This is my second production of Steel Magnolias, still haven’t seen the film, but that will be rectified sooner or later. My take away this time is much the same as when I saw it at the Guthrie in 2019 just after starting The Stages of MN, damn this is a well written play! Also, as with that production I am blown away by the cast. Six actors that know how to pull out every ounce of humor and tug every heartstring without pandering to the audience. The emotions we feel whether laughter or tears come freely and honestly based on the connection we have formed with these characters. That only happens when you have actors of quality investing their roles with truth.

The story centers around the hair salon run out of her home by Truvy, who keeps Saturday just for the neighborhood woman. As the play opens, she’s just hired a nervous young woman named Annelle to help out in the Salon. It’s a big day as one of the regulars, M’lynn’s daughter Shelby is getting married. The Saturday regulars also include Clairee, who was recently widowed when her husband of almost 50 years died, and Ouiser who comes off as the old grump of the group. These women are not just the regular Saturday morning customers, they are a group of true and caring friends. Shelby’s wedding is a celebration for all of them, as are all the moments that happen throughout the four scenes that comprise the play. Each scene jumps ahead in time and follows important times in Shelby’s life starting with her wedding day and continuing to her pregnancy and on. Though it’s not just Shelby’s story, it’s the story of all of these woman and the community and support they provide one another. It’s beautiful, it’s very funny, it’s very truthful, and at times very very emotional.

We usually play a game on the ride home after a play called who was your favorite? It gets the ball rolling, when there is a consensus it tells me my instinct is right and so and so did something special, when we have a disagreement it sparks me to think about what an actor did that worked for me. Tonight, the consensus, all of them were our favorites. I went in knowing most of the cast from previous work so I knew there was talent on stage. Some like Tara Borman, who plays Shelby, has been making a strong impression over the last couple of years, having become one of those performers whose name alone puts a show on my calendar. Tolu Ekisola, who plays Truvy, just earned her place on that list as well with this performance combined with her recent roles in Once Upon a Time…Josephine Baker! and The Most Spectacularly Lamentable Trial of Miz Martha Washington. Laura Esping’s performance as Ouiser is a perfectly modulated balance between loveable crumudgen and dry wit. Maggie Cramer’s turn as Annelle captures the characters growth from timid and lost newcomer to one of the group of close knit woman, with each scene change we see her come bit by bit into her own. Jane Froiland as M’lynn, Shelby’s mother is always calm, always even keeled, making her final moments of the play all the more powerful. Nora Targonski-O’Brien who plays Clairee embodies the Southern Woman who has lived and learned and grown wise and compassionate, there is such a spark in her that one wishes she were their Aunt.

I want to say a word here about Yellow Tree Theatre and it’s Artistic Director and Director of this play Austene Van. Yellow Tree provides a vital role in today’s theater scene. In a world of shrinking audiences Yellow Tree brings Professional Theater to an area outside of the Cities. For folk who don’t want to travel into Minneapolis or St. Paul, come on, we all know those people who just hate to drive in the city, it provides exposure to the magic and power of theater. This is a key link in the chain that leads to what needs to be the prime objective of all theaters today, creating new audiences. That is done by producing work that moves people, whether it be to laugh, cry, or think and to do so in a way that makes them want to repeat that experience. Yellow Tree does that time and time again. Austene Van’s name can be found in programs all over the Twin cities and nationally. She directs and acts at the Guthrie as well as other theaters besides Yellow Tree, she choreographs, she writes, she sells concessions, she probably sews costumes and vacuums up the lobby at the end of the night as well. She makes a living doing theater, but she also dedicates herself to running Yellow Tree to keeping it going through sound system failures and those aforementioned shrinking audiences. She is tirelessly working towards that prime objective of creating new audiences while creating great theater. You don’t get six favorites performances in one show without a hell of a Director at the helm guiding all that talent to create a singular vision.

So there are two things I’d like to ask you to do aside from attending Steel Magnolias, which I already know you’ll do because it’s such a rewarding show. Please bring a friend who doesn’t often or hasn’t gone to the theater before with you. Expose someone new or remind someone of how thrilling and moving life theater can be. Secondly, give to the Max day is almost here please consider donating to Yellow Tree Theatre to help keep quality theater in the outer ring cities. There are a lot of theaters that can use your support and I encourage you to donate to all of your favorites, but maybe an extra $5 to Yellow Tree for fighting the fight out in the sticks away from the draw of the bright lights of the big city. Let’s keep the porch lights on for these smaller theaters who are catering to less frequent theatergoers and hopefully moving them to come back again and again. Here is the link to donate to Yellow Tree https://ci.ovationtix.com/35626/store/donations/39012

Steel Magnolias runs through December 22nd at Yellow Tree Theatre for more information and to purchase tickets go to https://yellowtreetheatre.com/steel-magnolias .

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.

McAdo a Hilarious New Adaptation of The Mikado From Gilbert & Sullivan Very Light Opera Company

Mary Kettlewell, Brandt Roberts, and Graham Remple Photo by Stephen Hage

McAdo is the fourth Gilbert & Sullivan Very Light Opera Company (GSVLO) production I have reviewed and it is my favorite. I’ve written before about the accessibility of Gilbert and Sullivan, how it seems like the bridge between traditional opera and musical theater. All of that is true here, if you like musicals, you’ll enjoy this. Yes, there will be some lyrics you will not catch, this is particularly true when a large portion of the cast all sings at once. But it’s in English and for the most part if you tune your ears in you catch more than enough. What you don’t catch you simply enjoy the beauty of the voices singing and the wonderful full orchestra performing Arthur Sullivan’s music. There are two completely different casts for the main roles for the show that alternate nights. I saw the Sullivan cast, I’m sure the Gilbert cast is great as well, but for myself, if I had time in my schedule to see it again, and I wish I did, I’d see the Sullivan cast again. There are Performers in roles that I cannot imagine anyone replacing them.

The Gilbert Cast and the Sullivan Cast Performance Schedule:

The Gilbert CastThe Sullivan Cast
Friday, November 1st, 7:30 pmSaturday, November 2nd, 7:30 pm
Sunday, November 3rd, 2:00 pmSaturday, November 9th, 2:00 pm
Friday, November 8th, 7:30 pmSunday, November 10th, 2:00 pm
Saturday, November 9th, 7:30 pmFriday, November 15th, 7:30 pm
Saturday, November 16th, 2:00 pmSaturday, November 16th, 7:30 pm
Sunday, November 17th, 2:00 pmFriday, November 22nd, 7:30 pm
Saturday, November 23rd, 7:30 pmSunday, November 24th, 2:00 pm

McAdo is Gilbert & Sullivan’s The Mikado transplanted from Japan to Scotland thus removing a lot of troublesome and dated material. The adaption actually began with Gilbert and Sullivan Austin, as in Texas. Director Joe Andrews added some of his own tweaks including a hilarious prologue that was pure genius. This isn’t pure G&S, it’s possibly better, certainly for our times. The program contains a synopsis which I highly recommend you read before the play, it allows you to relax and enjoy the proceedings without worrying if you are catching everything. I’m not going to go into the plot here, it’s absurd, imagine Monty Python wrote an opera, well it’s not quite that silly, but it’s pretty damn silly. What is really great about it, is the two people you assume are the villains of the piece really aren’t. They play against the stereotypes of the Government official and the young lovers rival.

If you have never seen a Gilbert and Sullivan show, this is the one to see, it is so much fun and that is due to the wonderful direction of Joe Andrews, musical direction of Randal A. Buikema, and an energetic and playful cast. I can’t mention them all so I’m going to just give a nod to a couple of favorites. First off is Brandt Roberts as Coco, who is the guardian and fiance of Wynn Somme, the young love interest, we assume he’s going to be a villain, considering he’s also the town’s high Executioner. But no, he’s harmless and fairly good intentioned. Roberts is magnificent, his body language in itself creates a fully formed comedic character. He has the tone, the exact level of absurdity down, but he also has a great singing voice, that adds a sweetness to the character. Joe Allen plays Pubagh a town official…actually the only town official, he holds every office except that of the High Executioner. Here again is a character that we assume will be a villain, but by the end you really like him. I’m not sure we are really supposed to have that reaction, I think we are supposed to be indifferent at best, but I think this works better. Allen plays up the comic elements of the character his ambition and snobbery, but when the going gets rough and heads might roll, he’s in there with the rest of the characters trying to find the happy ending. Other performers that caught my eye and that were doing something special to draw the audience in or give us that extra laugh or surprised us with another dimension to their characters were Mallory Rabehl, Therese Kulas, Deb Haas, and Scott A.Gorman.

McAdo is a show I cannot recommend more highly, it’s such an enjoyable night at the theater, when I wasn’t laughing I was sitting there with a grin all over my face. The prologue really sets the tone on this one and I think will perfectly key those new to G&S into the vibe of the show. McAdo runs through November 24th at The Conn Theater in Minneapolis. For more information and to purchase tickets go to https://gsvloc.org/

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The Turn of the Screw Prolongs That Halloween Atmosphere at Gremlin Theatre

Peter Christian Hansen and Julia Valen Photo by Alyssa Kristine

The Turn of the Screw by Henry James is one of the great classic ghost stories, it was most famously adapted into the film The Innocents (1961) starring Deborah Kerr and most recently as the second season of Mike Flanagan’s Netflix horror anthology as The Haunting of Bly Manor. Jeffrey Hatcher who seems to have a play being produced at every theater in town this year, has fairly faithfully adapted the story into a play for two actors. Julia Valen plays The Woman while Gremlin Theatre Artistic Director Peter Christian Hansen plays The Man. Following the plot of James’ story, Valen primarily plays the role of narrator and Governess of two children Flora and Miles at Bly Manor. She has been hired by the children’s Uncle and guardian to take charge of them and under the strictest instructions never ever to bother him for anything. Hansen plays the Uncle and then every other character that comes into the play, mainly the housekeeper Mrs. Grose and Miles. Flora in this play is very timid and completely silent. Not long after assuming her post at Bly Manor, she begins to see what she comes to believe are the Ghosts of the former Governess and the Caretaker. She believes these ghosts are attempting to influence the children and that she must do everything in her power to severe any connection between the ghosts and her charges.

Carl Schoenborn is listed as both the Set and Lighting Designer which makes perfect sense as the lighting seems to act as part of the set. What does exist in a physical sense is a staircase towards the back of the stage, there are no other elements aside from the performers and the lighting and sound designs. This minimalist approach works well when you have two actors playing all of the characters but are not going the comedic route. We are already suspending our disbelief to the extent of accepting Hansen as multiple characters of different genders and ages the idea of a detailed set that tries to emulate some semblance of reality feels out of place. This lies somewhere between physical theater and theater of the mind and the design perfectly reflects that. I responded strongly to this shadowy production, which builds mystery and tension throughout and ends with an unexpected revelation, that works really well within the framework of James’ story. Both Valen and Hansen are well cast, with Hansen successfully navigating the difficult task of performing as a 10 year old boy without being childish or annoying.

I love a good ghost story and Gremlin Theatre’s production is a great way to extend Monster Month. The Turn of the Screw runs through December 1st at Gremlin Theatre for more information and to purchase tickets go to https://gremlintheatre.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. You can also read some of my reviews syndicated on the MN Playlist website https://minnesotaplaylist.com/ from time to time.