Minnesota Fringe Festival Day 2: “Hugo & Maeve Join a Cult!”, “PARTS”, “Yo-Ho-Hum: A Pirate’s Midlife Crisis” Winner of the Stages of MN Fringe of the Day Award, and “VILE”

Day 2

Hugo & Maeve Join a Cult! is the brainchild of some very talented Ones to watch Alex Stokes, Brendan Nelson Finn, and Abilene Olson. Hugo and Maeve played by Finn and Olson are two best friends who are hiding in a broom closet deep under the Mall of America when the play opens. On the run from cult members whom they just witnessed performing a human sacrifice. Sounds chilling doesn’t it? Well, this is Fringe so of course it’s an Oompa Loompa cult and Hugo and Maeve are completely entitled, clueless, and naive. For about 40 minutes we watch Finn and Olson banter and try not to break out laughing thanks to a wig malfunction and a flubbed line or two. which honestly for a Fringe show, as long as it’s not egregious, which it isn’t here, only adds to the fun. The script is sharp if a bit short, the show runs about 40 minutes with the ending feeling a bit rushed. There is an audio cameo that will delight local musical theater hounds towards the end of the show so watch out for that. Finn and Olson play off each other well and Finn in particular showcases the type of character work that earned in a Twin Cities Theater Blogger Award for Best Comedic Performance in 2023.

https://minnesotafringe.org/shows/2024/hugo-and-maeve-join-a-cult-

PARTS is a solo show starring Mikala Bierma who at 40 decided to re embrace her love of performance and let go of the things that keep her from being happy. Bierma knows she has sex appeal and isn’t afraid to use it to set up her eventual humorous undercutting of the idea. For example, a cake that she starts licking a taste of frosting off her finger turns into face fisting the entire cake. Like her seductive cake setup she likewise teases a musical talent that blossoms at the end only to be cut short to get a self effacing laugh seconds after actually wowing us with some very solid vocal skills. These are all positives, Bierma knows she’s putting on a comedic show but it also lends itself to her message that in order to be happy we have to love ourselves. She’s demonstrating that quality so familiar to many of us that when we think we are doing well, we feel like we need to show others that we don’t think we’re really that good. By showing that she illustrates the behavior we need to let go off and embrace our skills at whatever level they are. Her’s comedically, vocaling, and in every other way are of a very high level.

https://minnesotafringe.org/shows/2024/parts

Yo-Ho-Hum: A Pirate’s Midlife Crisis is today’s winner of The Stages of MN Fringe of the Day Award! It is the story of Stede Bonnet a Gentleman in old England who wanted to be a Pirate. If you’ve seen the TV series Our Flag Means Death that’s based on the same historical figure. Stages of MN favorite Joshua English Scrimshaw, of the Mysterious Old Radio Listening Society fame, plays Bonnet. Natalie Rae Wass is his put upon first officer Tristram Shanty, clearly a play on the name of the protagonist of Laurence Sterne’s classic novel of digressions. Both veteran Fringe performers, Scrimshaw and Wass commit fully to the accents and over the topness of their characters. Madhu Bangalore plays the role of the pirate Black Beard who forges a friendship with Bonnet as he always wanted to be a gentleman. Yo-Ho-Hum Is a fun show filled with flashbacks and other narrative devices executed in very silly and creative ways.

https://minnesotafringe.org/shows/2024/yo-ho-hum-a-pirate-s-midlife-crisis

VILE is a solo clowning show by Francesca Montanile Lyons that is rather far out there. I didn’t hate it, but if there was ever a show that isn’t for everyone, this is it. I have a feeling I’m too old to appreciate everything that Lyons has packed into her 60 minute show, though I believe I grasped the overall message. For some, this will be the best show of the festival, for me it was fine, the question is how will you know if it’s for you or not. Without giving away the message if I can help it I’ll give you some examples of the content. There is some audience participation, some chewing of food and spitting it out again, Lyon gets nearly naked then wrapped in clear plastic wrap and proceeds to move around on the stage like a slug. There is also actual pizza eating with her feet, a rape sprite, and the show ends with Lyons reading a letter she has written to her butthole, who is played by a member of the audience. It’s performance art meets clowning, with a serious message at its core that feels uncomfortable to be laughing about. It’s challenging, and if that description interests you than you are probably the audience it’s aimed at and I’m glad to point you towards it.

https://minnesotafringe.org/shows/2024/vile

That’s the reviews from Day Two of the Minnesota Fringe Festival. Be sure to check back daily for new reviews and if you are Fringing and you see me, be sure to stop and say hi! Also for reviews of shows I might not see or for another opinion on ones I have, follow M’ Colleague Jill Schafer at http://www.cherryandspoon.com/

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Minnesota Fringe Festival Day 1: “Secrets Under the Christmas Tree…”, “5 X 5″(The Stages of MN Fringe of the Day Award Winner!!), “The Brothers Dangus Vol. 3”, and “Minnesota Tonight”

Buckle up and hold onto your Hot-n-tots it’s that time of the year when I pretend I have no family or other obligations and devote myself solely to theater. The Minnesota Fringe Festival began July first and runs through July 11th. There are 105 productions and over the 11 days of the festival it is possible to see just over half of them. Last year I saw 50 of the 56 possible if you saw a show in every time slot, a feat I vowed never to attempt again. My tentative schedule for this years festival is a much more reasonable … 51 shows. Oops! I will likely drop a show or two based on feedback and add others for the same reason. The dilemma is always what to see and what to skip. That’s where I try and be of service by posting brief reviews after each days theatergoing. I’ll try and steer you clear of shows best skipped and make sure you know about the ones that are not to be missed. So if you are heading there this year hopefully these reviews will give you some sort of guide. Plus, every day I award The Stages of MN Fringe of the Day Award, to the best show I saw on any given day. If you’ve never Fringed before I highly recommend it. You can go to the Minnesota Fringe Festival website to get all the details here https://minnesotafringe.org/about.

Without further ado here are the reviews from day one of the Minnesota Fringe Festival.

Secrets Under the Christmas Tree: a Deedee Wallaby Mystery, as you may have guessed from the title, is a mystery play set at Christmas. Three couples have gathered to celebrate Christmas, when five mysterious presents turn up, Deedee Wallaby is on the case to determine who they are from and what they all mean. The mystery is surprisingly engaging and satisfactorily solved by the plays conclusion. There are clues sprinkled throughout so that when Deedee explains the solution it all holds water. There are some chuckles along the way as well mostly from Dylan Ward who plays Deedee’s boyfriend and provides most of the comic relief. Writer Brandon M. Prosek has created an enjoyable script and while it’s not the most polished show, fans of mystery’s will enjoy it. I’d definitely be up for another Deedee Wallaby mystery at future Fringe festivals, or perhaps an investigation into a haunted house for the Twin Cities Horror Festival.

https://minnesotafringe.org/shows/2024/secrets-under-the-christmas-tree-a-deedee-wallaby-mystery

The first The Stages of MN Fringe of the Day Award goes to 5 X 5 from Transatlantic Love Affair. This is without a doubt the “Must See Show of the Festival” and the one to beat for the Best in Fest Award. Five stories are told, one chosen by each of the five performers who are Mark Benzel, Cristina Castro, Derek Lee Miller, Allison Vincent, and stepping in as understudy for a Covid stricken Peyton McCandless is Leslie Vincent. The show will probably be as good once McCandless is able to return, but I doubt it could be any better, there were undoubtedly a couple of very funny bits that written in to take advantage of Vincent’s unplanned presence. The actors all stand together within a 5′ X 5′ square and act out the stories using only their bodies and voices, no props, no costumes, no set, though they do have some wonderful musical accompaniment by Mason Tacke. I don’t really want to divulge what stories they tell, but I will say that the way in which the first 4 are told is very creative, very physical, and very very funny. And then, with the final story, they completely change tactics and they break your heart, with the shortest of the tales, but perhaps the most sublime. It’s Castro’s story and her narration is imbued with such exquisitely crafted emotion. It was the perfect way to end a perfect show that at its heart is as much about the art of storytelling as it is about telling stories. *** Warning, the first performance sold out. So, I highly recommend getting your tickets early and reserving a spot. I would be shocked if this show doesn’t sell out every single time slot.

https://minnesotafringe.org/shows/2024/5-x-5

The Brothers Dangus Vol. 3: Wealth and Hellness tries to raise scatalogical humor to an artform and truth be told, they are more or less successful. But warning, when I say the show is full of toilet humor, I’m not implying the jokes are lowbrow. The show is literally about poo. Not metaphorically, literally. It’s nonstop and it’s beyond all limits of good taste. What it does have is extremely creative and witty wordplay, some political commentary, and yes laughs. The performers commit fully to the theme and their success at executing the furiously paced and tongue twisting script is nothing short of astonishing. But again, this is not for everyone, and probably not for anyone directly after a big meal. If you are someone who loves their humor the cruder the better, this is going to be one of your favorite shows. That’s what it is intending to be and it does so masterfully.

https://minnesotafringe.org/shows/2024/the-brothers-dangus-vol-3-wealth-and-hellness

Minnesota Tonight is local comedy God Denzel Belin’s late night style talk show. Each performance Belin will have different guests, so each show is different. Assuming there will be a mix of the same elements count on each performance consisting of a combination of stand up, guest interviews, sketch comedy, and a musical performance. The show I saw featured the very funny stand up comedian Rita Joy, and an interview with local writer, performer, and comedian Josh Carson. Belin has done an excellent job of booking his guests, a glance at the upcoming performances shows an impressive lineup including Rev. Matthew Kessen, Duck Washington, and Ariel Pinkerton to name a few. Belin also shows himself to be a natural for the format. In the interview he gives Carson room to answer the questions the whole exchange having a very natural and fluid flow to it. Carson is also a great subject for the interview, naturally funny with a Zach Braff story that is really entertaining. It’s the kind of show I wish they would have everynight in an 11:30 PM time slot so I could justify seeing each episode.

https://minnesotafringe.org/shows/2024/5-episodes-of-minnesota-tonight-4-minnesota-fring3-it-s-minnesota-2night-s-1st-time-at-minnesota-fringe-

That’s the reviews from Day one of the Minnesota Fringe Festival. Be sure to check back daily for new reviews and if you are Fringing and you see me, be sure to stop and say hi! Also for reviews of shows I might not see or for another opinion on ones I have, follow M’ Colleague Jill Schafer at http://www.cherryandspoon.com/

English Explores Language at the Guthrie Theater

Sahar Bibiyan (Roya) Photo by Liz Lauren

English by Iranian American playwright Sanaz Toossi won the 2023 Pulitzer Prize in Drama. Through little scenes it follows an Iranian class working on their English language skills over a six week period. The teacher Marjan played by Roxanna Hope Radja insists on her four students speaking only English in class. Each student has their own reason for trying to become fluent in English. Goli played by Shadee Vossoughi is a young student who tries hard but seems to lack confidence in her skills despite Marjan’s encouragement. Roya played by Sahar Bibiyan is a grandmother who is trying to learn english so she can go and live in Canada with her son and so her granddaughter will be able to understand her. Nikki Massoud plays the role of Elham who is trying to pass the Test of English as a Foreign Language (TOEFL) so that she can go to Australia for medical school. She is very competitive and at times struggles with the English only rule, she finds herself in conflict with Marjan at times and also with the final student Omid, played by Pej Vahdat. Omid is the most fluent in English, he’s invited by Marjan to watch English language films with him during office hours and it becomes clear that they enjoy spending time together. English isn’t really a plot based play, there are conflicts and threads that play out for the characters but it’s more about the idea of identity and the role language plays in who we are and how we identify ourselves. As such I think the play will resonate most for people who have learned another language and perhaps lived in another place where their native tongue is not spoken, regardless of where they are from and what languages they speak. The themes explored are not dependant on the setting in Iran.

I appreciated what the play was saying and exploring but it was hard for me to connect to it on an emotional level. I tried to learn both Spanish and French when I was younger all to no avail, I seem to lack the necessary oxygenation to the part of the brain responsible for learning new languages. I am also saddled with a cumbersome tongue which has difficulting rolling “r’s” and generally vocalizing any word I cannot sound out phonetically. I’m not proud of the fact that the only language I even have a rudimentary understanding of is English, and I do realize that if I dedicated myself heart and soul to learning another language I probably could manage it. But at this point in my life since I don’t intend to live anywhere but Minnesota, I can’t see myself making that the priority it would need to be in order to be successful. So I lack that understanding of thinking in one language and trying to speak in another. I can empathize with the struggle to learn a language that the characters display, and I can comprehend the ideological struggles that some of the characters are struggling with regarding their identity, feelings they have buried about it in regards to themselves, their families, their pasts and their futures. I think for anyone who has those experiences this may resonate more strongly than it does for me emotionally.

The performances are solid all around. There are moments of emotion, whether frustration, anger, or hurt but it’s a play more about small moments and realizations than about dramatic arcs. In fact it almost goes out of it’s way to not allow plot to become central. I’m thinking of the character of Roya, whose situation was one I found most engaging, she disappears about two thirds of the way through the play. We can draw our own conclusions from what we’ve seen as to why that is, but Toossi isn’t interested in given us a concrete explanation or resolution. In that way it is very true to life, as is it with Omid whose reasons for taking the class become totally obscure, though we comprehend how he feels about language and how he fits in or doesn’t in America and Iran. We then take a step back and ask ourselves so why did he take the class in the first place? One very clever technique that Toossi uses in the play is that when the characters are speaking English it is with an accent and somewhat stilted, as it is when you are trying to speak in a language you are not fluid in. When they are speaking their native tongue, Farsi, they speak fluid unaccented English. That the technique only takes a moment to grasp is thanks to the casts ability to convey it without needing to state it to us. Toossi’s script is filled with humor that is universal to anyone who has tried to learn another language or interacted with other humans in general. The last item I really admired about the production was the scenic design by Courtney O’Neill and the lighting design by Jason Lynch. The change in visuals though subtle throughout are surprisingly varied given it’s short 90 minute run time and one location setting.

English runs through August 18th at the Guthrie Theater in Minneapolis. For more information and to purchase tickets go to https://www.guthrietheater.org/shows-and-tickets/2023-2024-season/english/

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 never has to 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.

Disney’s Newsies at Artistry in Bloomington Features Some Very Fancy Footwork!

Surprisingly this is my first exposure to Disney’s Newsies. When the film came out in 1992 I was in college and it just didn’t interest me, and though it’s a frequently performed show of late, the stars had not aligned until now. It’s the story of Newsies (children who sell the newspapers on street corners) in 1899 New York who strike to protest the increased cost of papers and thus their lowered earnings. Led by Jack Kelly, who once rode in a carriage with Teddy Roosevelt, and with the counsel and guidance of newcomer Davey and his little brother Les, the newsies take on Newspaper titan Joseph Pulitzer. It’s a fictionalized telling of an actual historical event that is really rather fascinating. With music by Alan Menken who’s music contributed to the 1990’s Disney animation renaissance with among others The Little Mermaid, Beauty and the Beast, and Aladdin as well as the musical Little Shop of Horrors (which coincidentally is running at the Guthrie theater through August 18th) and lyrics by Jack Feldman. With Book by Harvey Fierstein who came to prominence in the early 1980’s starring in his own play Torch Song Trilogy which won him two Tony Awards, he also did the book for Kinky Boots (which coincidentally is running at Lyric Arts through August 11th). It’s a great team and they have created a solid musical, with several stand out numbers that Artistry has staged wonderfully under the direction of Ben Bakken.

What really wowed me with this production was the choreography by Renee Guittar, the entire cast executed with precision and a rowdy sense of energy. The cast is led by Will Dusek, who recently shone as Frankie Valli in Chanhassen Dinner Theatres production of Jersey Boys, as Jack Kelly. Here he gets to put that east coast street smart persona to use again, and while the songs are quite as iconic, his performance is just as impressive. His love interest is a young reporter named Katherine, played by Audrey Parker, who gets a chance to show of her dancing skills and wonderfully matches Dusek as they argue their way into an attraction for each other. Jack’s best friend Crutchie, nicknamed such because he needs a crutch to walk, is played by Tyson Insixiengmai who has a beautiful solo song “Letter From the Refuge” that’s one of the best moments in the show thanks to their performance. Also amazing in the roles of brothers are Pierce Brown as Davey and Maddox Tabalba as Les. Brown’s less street smart but idealistic while Davey is really the heart of the play and the audiences entrance into the world, as he is new to the world of newsies. Tabalba, who’s character is nine and I would guess he’s about the same age, is fantastic in his performance and especially his dancing, really getting to show of his skills in the song “King of New York“.

The music, as is always the case at Artistry, is simply top notch under the musical direction of Kate Mariana Brown. I was pleased to see a more robust set design than we’ve seen lately at Artistry. I liked the detail and feel of 1899 New York by Scenic Designer Michaela Lochen with the huge backdrop of the Brooklyn Bridge adding a real sense of scale to the production. Completing the look were the props designed by Katie Phillips and costumes by Meghan Kent all of which help to give the show a period feel. I had a great time with this show so much that I know have an interest in finally seeing the film version, and I’m immediately planning some googling to learn more about the actual historical events that inspired the show. It’s a great cast and along with some great songs, there is some really amazing dancing for fans who like some fancy footwork with their musicals.

Disney’s Newsies runs at Artistry in Bloomington through August 11th. For more information and to purchase tickets go to https://artistrymn.org/newsies

Rope, a Fantastic Suspense Thriller at Gremlin Theatre Featuring some Terrific Performances!

Jeffrey Nolan (RUPERT) and Jeremy Bode (GRANILLO) Photo by Alyssa Kristine Photography

Gremlin Theatre has a crackling thriller titled Rope running through August 4th. If this title rings a bell you may be thinking of the Alfred Hitchcock film which was based on this play by Patrick Hamilton. I am more than familiar with the film as Hitchcock is one of my top 10 film directors. Many of you may be saying to yourself, “I’m not sure I can name 10 directors”. In your circles that may be strange, but believe me for cineastes it’s difficult to narrow down to just 10. The film was one of Hitch’s experiments with form, he made the film with the appearance of one unbroken take. Of course in 1948, when the film was made, that was impossible as the camera could only hold 10 minutes worth of film in each cartridge. So he had to devise a way to make the cuts invisible, such as a close up on someone’s back for example. It was also Hitch’s first film to be shot in color and his first of four with James Stewart. It’s considered lesser Hitchcock by many, which means it’s better than most films, so if you enjoy the play I highly recommend it to you. There are enough changes to the script to keep even those who know the film by heart engaged. If you’ve never seen the film, the play will be a special treat. If you have there’s plenty here to recommend it, particularly two knockout performances, and very effective direction by Peter Christian Hansen.

But first an idea of what to expect. The play opens in darkness there is a faint light given off by a fireplace and we have the general lay of the land from seeing the set before the lights go down. Two characters just prior to the start of the play have murdered a man and stuffed the corpse in a trunk that sits center stage. They are Brandon and Granillo, in order to calm Granillo down, Brandon recounts what they have done and why, as well as what they have planned for the rest of the evening. The corpse’s father has been invited, along with his Aunt, for dinner and to look over some books that Brandon recently inherited. They have also invited a young woman whom they are friends with, as well as a young man, and lastly their old teacher Rupert. They have done all of this just to say they could, they kill their young friend to see what it felt like and because they feel superior to him. They invite his father and the others for the sick thrill it gives them. Rupert, they almost asked to join them in the killing based on conversations they had with him about murder and morals, but didn’t because they didn’t think he had the nerve to follow through with it. Their arrogance might be their undoing though that or the fact that Granillo isn’t quite the sociopath that Brandon is and starts to crack a little under the pressure. Only Rupert seems to be observant enough to start picking up clues, will he figure it out before it’s too late and if he does, will he join them or turn them in?

It’s a very strong cast, every role including the Servant Sabot, who is played by Matthew Saxe, has few lines and exits the play well before intermission is well cast. There are two that really stand out, the first is Coleson Eldredge as Brandon. He has the charm and charisma that are key to understanding how this character with such a lack of morality can be the popular host. When he goes toe to toe with Rupert in the final scene it’s believable that he may convince Rupert to join them. Secondly, but honestly firstly, is Jeffrey Nolan, who is the Gene Wilder or Peter Sellers of the Twin Cities stages, he plays Rupert in a turn so different from what James Stewart did with the role as to seemingly be from a different planet. It’s such a bold swing for the fences, that in the first minute or so I wondered if it was too out there, but it works, it really really works. This is the seventh performance I’ve seen Nolan give, plus I briefly chatted with him at Fringe last year, and I’ve never seen the same person twice. I know acting is becoming other people, but most actors find things within themselves to bring to a part. Nolan seems to create a distinct personality for every role and if he’s using any portion of himself between roles I’ve yet to see it. I don’t know if I was certain if he could “not” be funny, but there are moments when he is debating with Brandon at the end of the play that prove he can do anything. Maybe he can’t sing? I don’t know, but I’m curious to find out. Here’s the thing, It’s worth seeing this play just for Nolan’s performance. The great news is, even if he wasn’t in it, it’s still worth seeing.

Rope runs through August 4th at Gremlin Theatre for more information and to purchase tickets go to https://gremlintheatre.org/rope/

Romeo and Juliet, Shakespeare at the Pub From The Gray Mallard Theater Co.

Running through July 28th at Sociable Cider Werks is The Gray Mallard Theater Co.’s Shakespeare at the pub production of Romeo and Juliet. It’s free to all, best to bring your own chairs but if you get there early enough they have some provided. There is a food truck onsite and a wide range of beverages both with and without alcohol. I came to the show for two reasons, Shakespeare and Em Rosenberg, who is playing Romeo, in the production. Faithful readers will remember that Rosenberg has been on my ones to watch list for sometime now. Listeners to Twin Cities Theater Chat may remember hearing me interview them for one of our episodes around the Guthrie’s History plays in which they played multiple roles in each of the three plays. Once again Rosenberg doesn’t disappoint, headlining a very well paced production directed by Gray Mallard Artistic Director Amanda Fuller. It’s a little like a less controlled version of a Ten Thousand Things performance very bare bones in terms of costumes, props, and set, just what is needed to tell the story. It’s rough around the edges but also extremely fluid, giving it a dangerous and lively energy that works really well in this nontraditional performance space. The focus is on the performances and the language

The truest sign of a good Shakespearean actor is how well a modern audience can understand the language. A great performer will be able to communicate the text to the audience, whether we know the words or not, they will make the meaning clear. There is a lot of use of hand gestures and physical work being done to communicate the meaning of the lines and frequently bring added humor, some of it delightfully risque. There are a lot of wonderful performances starting of course with Em Rosenberg’s Romeo. I think this was my fifth Shakespeare play with Rosenberg in the cast but certainly the largest single role. They are as natural a communicator of Shakespeare’s work as I’ve ever seen, whether wooing Juliet, joking around with his friends, or shouting at the stars their performance is always captivating and precise. Caiti Fallon and Kamani Graham start the show off on the perfect note. Letting the audience know from their movements, costume, and tone of their line readings that while certainly this is a tragedy, we are still going to have some fun with this production. Alessandra Bongiardina as Juliet is a nice fit with Rosenberg’s Romeo, they have a chemistry that helps a modern audience accept some of their choices as natural responses given their connection and maturity. Davis Brinker as Benvolio comes across as one of the guys but the one with the cooler head on his shoulders, while Zach Lerner’s Tybalt and Cooper Lajeunesse’s Mercutio are entertainingly hot headed. I really enjoyed Tony Larkin and Cathleen Fuller as the lovers co conspirators Friar Laurence and the Nurse, being the two adult characters that seemed to have more than a little common sense when trying to temper Romeo and Juliet’s impulses.

A very enjoyable production of Romeo and Juliet, a fun way to spend a summer evening out of doors and you can’t beat the ticket prices. For more information about the show which runs through July 28th or to make a donation to The Gray Mallard Theater Co. go to https://bit.ly/TheGrayMallardTheaterCo

Penelope One Woman Show at Elision Playhouse

Christine Wade as Penelope. Photo by Jolie Morehouse Olson

Penelope is a a one person musical created by Alex Bechtel, Grace McLean, and Eva Steinmetz that gives us another perspective on Homer’s The Odyssey. Rather than follow Odysseus on his ten year return journey after ten years of war, we see the story from the point of view of his wife Penelope who has been left behind to wait for 20 years. It’s a short show with no intermission, the program says 80 minutes, but it seemed to me it was even a bit shorter, which is wise. There are songs that lay out the basic situation, and ones that address her feelings about being made to wait and dealing with the the hundred plus suitors who wont leave her alone. It all works, but as a one person show that really is just dealing with internal thoughts for the most part, 80 minutes feels perfect, anymore and it might have felt like treading water. There are a couple of well placed moments where Penelope interacts with with the Cello player, Rae Wasson, who plays the Goddess Athena and a Pilgrim which adds a little action, via interaction, to the show.

The music is really lovely played by five musicians under the musical direction of Harrison Wade who’s on keyboards. Are there any instruments more poignant or able to evoke such longing in your core than those of the string family? Christine Wade is wonderful as Penelope, as the songs grapple with the complexity of the character she runs the gamut of emotions. At times sorrowful at other times cunning, snarky, bitter, but always intelligent. And as should come as no surprise her vocal skills are perfectly suited for the show, it’s always a treat to hear Wade sing. Rae Wasson the Cellist must also be an actor, if not she might consider giving it a go. The interactions though brief between Wade and Wasson are so good, you are left wishing there were more of those moments. It’s not that the show needs them, just that Wasson’s line readings and response are so good that you want more.

Penelope runs through August 17th at the Elision Playhouse in Crystal. For more information and to purchase tickets go to https://www.elisionproductions.com/penelope