Protest, A Revolutionary Rock Opus, Something to Watch For

So I wouldn’t ordinarily take the time to write up a post for a show that you faithful readers cannot see, but Protest, A Revolutionary Rock Opus is kind of a unique beast. Also, it was so damned good that I wanted to do a little more than a facebook post about the fact that I enjoyed it. Performed in concert last weekend at Chanhassen Dinner Theatres (CDT) Protest, A Revolutionary Rock Opus is a tribute to women activists throughout the 20th and into the 21st century. The program consisted of 16 new songs by fourteen composers and lyricists as well as six existing protest songs. What was astonishing about the songs is if you were not familiar with the existing songs and if the performers didn’t tip you by way of introductions, you’d be hard pressed to tell the difference. The new songs run a wide range some sounding as if they were created in the late 60’s early 70’s while others feeling very modern, the unifying aspect of all being the quality of the compositions.

I had listened to a download of the concept album once around the time of it’s release last fall. But I listen to music only in the car so it was broken up over several car rides while driving. I remember enjoying it all, but not really getting the opportunity to wrap my head around it entirely. Now sitting in CDT’s intimate Fireside Theatre almost close enough to touch the performers, I was completely caught up in the songs and their messages. There is a plan in the works for a performance at The Parkway Theater in September, and one can only hope that the musicians and performers remain the same. The singers, several of whom also played instruments and wrote or co-wrote some of the songs, were Janely Rodriguez, Ashley DuBose, Linnea Mohn, Barbara Cohen, and Kymani Kahlil. Each performer was given their moments to shine and then provided backup and support for the others. Whether pastiches of songs from bygone times or hip hop influenced cries for change the entire evenings worth of songs share a unity not only of theme but in the emotional response of the audience. The songs touch a place within our cores that decry the inequities and human tragedies that are the subject matters of the compositions. The performers voices full with meaning and soul carry these messages beyond our minds and into our hearts.

I could write a paragraph on each song but I want and hope you will get the opportunity to experience them for yourself. So I will content myself to comment briefly on one song “How Can We Win” written by Timothy Levy which explicitly illustrates the impact of the entire program. The song is inspired by the viral Youtube speech that Kimberly Jones recorded while standing in front of a burnt-down Minneapolis bank in the wake of the communities response to the murder of George Floyd. Everyone who lives in or near Minneapolis will forever remember that day and the days that followed. As a white man I cannot ever fully comprehend what that moment felt like for the black community, but the song reminded me of my emotions at the time. I spent much of that time at Children’s Minnesota in the Abbott Northwestern Hospital with my son, not far from the riots. The hospital was surrounded by the National Guard, it was a surreal moment. I was angry and outraged at the police. I felt helpless in the shadow of the overwhelming immensity of institutional racism. I was frightened for the safety of myself and my family. I was disheartened by the destruction I was seeing, but I also understood it. The song addresses all of those aspects of an event that clarified the disparity that has always existed in our country. It brought back all of those feelings and it brought back some of the tears as well.

I don’t know what the future holds in store for Protest, A Revolutionary Rock Opus but I assure you, I’ll be covering whatever it does. Whether you are socially conscious minded or not, you’ll be impressed by the songs and performances. Watch for a heads up for upcoming performances and developments and listen to the album containing all 16 tracks created for this work at the following link https://www.buffalogalproductions.com/protest

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Once Upon a Time… Josephine Baker! World Premiere of a Brilliant New Work By Austene Van at Yellow Tree Theatre

Tolu Ekisola, JoeNathan Thomas, and Austene Van Photo by Alex Clark

Delayed from opening by a week, due to a medical issue with the artistic team, Once Upon a Time… Josephine Baker! faces is a shortened run which is a shame. This new work written by and starring the hardest working woman in Twin Cities Theater, Austene Van as Josephine Baker is a bold unflinching look at a legend. There is a line from the film The Man Who Shot Liberty Valance that goes “When the legend becomes fact, print the legend”. As portrayed in Van’s new play, or is this a musical? (more on that later) Josephine Baker takes the Orson Welles approach to personal history. Take an anecdote from your life and embellish to your heart’s content, repeat often, until even those who know better begin to believe it and thus the legend becomes fact. Deciphering what is true and what is fiction is one of the themes explored in Once Upon a Time… Josephine Baker!. Whatever the reality is, when it comes to the details, Baker led a fascinating life making her an ideal subject matter. The story is told through the conceit that Baker is writing another autobiography and that the publishers has sent a young woman named Mac to assist her. Through their conversations we learn many things about Baker’s story (including the discrepancies), along with her temperament. Through the interactions with her band member Douglas, we get clarifications that we assume are closer to the true story. A few of the remembrances are played out for us, usually with the assistance of local legend Jim Lichtscheidl playing Baker’s Manager, lovers, husbands, and even Walter Winchell.

This show began and ends with Austene Van whose script is complex yet clear in it’s exploration of this legendary woman. The question of whether this is a musical or not is a difficult yet also irrelevant one. There doesn’t seem to be enough songs to be considered a musical, the songs that are performed are sometimes instances of Baker performing for an audience, and other times the characters singing to each other. The reality is, I’d guesstimate that less than 20% of the shows running time is spent musically. Ultimately it doesn’t really fit cleanly into either category but it succeeds because it is it’s own thing. Van understands exactly how much music it needs and doesn’t try and add music unnecessarily. I’d say Van’s performance was a revelation but did anyone ever seriously have a doubt that she would be amazing? I didn’t and of course she is, with her background as a Choreographer as well as Actor, Director, Artistic Director of Yellow Tree, Writer, Time Manipulator, (I am speculating on that last one, it’s either that or insomniac) it feels like a role she was born to play. Dramatically, vocally, and movement wise she is flawless, she allows Baker to be difficult and unsympathetic at times but earns our empathy as the facades begin to fall away. The script is peppered with generous amounts of humor, that come from the characters naturally, not feeling like quick one liners. Director Maija García understands the script and how it functions creating transitions between the scenes and indeed times and places seamlessly. Staging everything on Sarah Brandners well designed two-level set with Baker’s living quarters above the club in which she performs.

Mac, the young journalist assigned to assist Baker with her book is played by Tolu Ekisola who nails the balancing act that Mac has to perform of humoring Baker and giving into her own “let’s cut the bullshit” world view. Ekisola is becoming one to watch having caught our attention this spring in The Most Spectacularly Lamentable Trial of Miz Martha Washington at Mixed Blood. She can next be seen as Motormouth Mabel in Hairspray at the Burnsville Community Summer Theatre, given her vocals here, I’ll likely try and fit in this production if I can. JoeNathan Thomas as Douglas utilizes his deep rich voice to emphasize the comedic effect of his combative exchanges with both Mac and Baker. There is something about his low vocalization combined with the booming power he puts behind it in contrast to the others that draws the audience immediately to him. It adds a sense of authority and wisdom to his dialogue that leads us to assume what he says is based on fact, whether it is or not, that is certainly what the character believes and thus so does the audience. It’s the kind of voice that can sway you to believe anything and Thomas utilizes it skillfully almost surgically to cut through the chaos of Baker and Mac’s arguments. Lastly, I do want to point out the wonderfully realized costumes by Samantha Fromm Haddow. From Baker’s Classic performance outfits, the banana dance costume and her feathered dance costume to the 1970’s period outfit worn by Mac, they are all beautifully realized.

Once Upon a Time… Josephine Baker! runs through June 30th at Yellow Tree Theatre in Osseo for more information and to purchase tickets go to https://yellowtreetheatre.com/onceuponatimejosephinebaker . And I don’t usually do this but if you’ve seen a show at Yellow Tree Theatre you probably know the quality work they produce. It’s a small theater in the suburbs that produces top-notch shows, and I believe they’re an important step on the path to creating new theater audiences. If you care about the future of live theater please consider a donation to Yellow Tree Theatre so they can continue their mission. https://yellowtreetheatre.com/support-us-2

Eleemosynary the Premiere Offering From Spacetime Theatre

August Chaffin, Tara Borman, and Katie Tuminelly Photo by Rich Fleischman

Eleemosynary is the first offering from a new theatre company Spacetime Theatre and it is an auspicious beginning to be sure. Written by Lee Blessing in 1985 nearly 40 years ago, it was new to me and felt as timely and relevant as anything I’ve seen written in the last five years. The big question is whether this is a comedy or a drama or the all encompassing “dramedy”? I laughed quite a bit, but there were also moments that were very powerful and not meant to be laughed about. It’s a story told across decades in the life of three women in the Wesbrook family, the grandmother Dorothea, her daughter Artie, and Artie’s daughter Echo. Dorothea is intentionally eccentric, so much so that her daughter Artie wants nothing to do with her, she is however raising Artie’s daughter Echo who has won the National Spelling Bee and is something of a genius. The truth is all of these women are very intelligent though some lack an emotional intelligence to rather their intellect. It’s a story about the relationships between mothers, daughters, and grandmothers and the ways in which they can sometimes hurt each other deeper than they could every have guessed. Their intelligence, part of which is reflected in they way in which Artie and Echo’s memories work account for why the wounds of past injuries never heal. It’s a very well written script that leaps forwards and backwards in time without ever leaving the audience untethered to the characters timeline. It reveals itself at the perfect pace always giving us the next piece of their story, the next explanation just when we are ready to receive it.

Directed by Spacetime Theatre’s Executive Artistic Director Christopher Kehoe against a scenic design by M Curtis Grittner which is abstract and gives us a sense of flowing in and out of the narrative stream. Kehoe has the actors coming on and off stage constantly from all corners of the theater as their characters come in and out of moments from their memories. The cast is really something special and look as if they really were from the same family. As Dorothea, Katie Tuminelly times her more outrageous lines perfectly to catch the audience off guard and forcing spontaneous guffaws. Tara Borman, whom I keep seeing playing young women who have unplanned pregnancies, has the most grounded role, but also the most closed off emotionally, while simultaneously being the most fragile of the three. It’s a tricky role, at times unsympathetic, but by the end she has shown us under the surface of the character and we have come to understand her issues. Last, but by no means least, August Chaffin as Echo proves to be an actor to keep an eye on. I love coming across young actors for the first time knowing that I’ll get to see them take on new roles over the coming years. Chaffin, is fantastic as Echo and I can’t wait to see what they do next.

Eleemosynary runs through June 23rd at the Gremlin Theatre for more information and to purchase tickets go to https://www.spacetimetheatre.com/shows/eleemosynary/

Come From Away Returns to Bleary the Eyes and Sniffle the Noses of the Twin Cities Theatergoers

Touring Cast Photo by Matthew Murphy for MurphyMade

Full disclosure portions of this review are adapted from my review from the January 2022 tour that ran at the Orpheum Theater. Because, as I read through it I found that it said everything I want to say about this show, better than I thought I could ever say it. That review opened thus “It was approximately 7:38 PM on opening night of Come From Away at the Orpheum Theatre. Eight minutes into the show and I began to cry.” Tonight on opening night at the Ordway I felt the first tear well up in my eye and glanced at my watch it read 7:38 PM, don’t believe me? Ask my wife, I showed her my watch so that I could explain to her after the show why the time was important. Don’t take that wrong, this is not a dark show, though it deals with one of the darkest hours in my lifetime. It isn’t a sad show, though many of the tears are of loss. Most of the tears are happy tears. The tears that come to us when we recognize the inherent good in our fellow man. When we see people at their best, pulling together to help one another. The tears that well up and overflow when we are overcome by the coming together of a community. The show runs around one hour and 40 minutes and you are going to spend much of it either laughing or crying…or both. You expect to be wiped out after an evening like that. But it’s the kind of emotion that uplifts you rather than drains you. Come From Away is simply one of the most emotionally invigorating musicals I’ve ever experienced. I should feel drained, but I feel renewed.

Come From Away is the musical written by Irene Sankoff & David Hein based on the true events of Sept 11th 2001 and the days following. After two airplanes crashed into the World Trade Center in New York City and another crashed into the Pentagon, all air travel was grounded and the airspace above the US was closed. All airplanes inbound were diverted to the nearest airfield outside the US. Thus 38 airplanes carrying about 7,000 passengers found themselves stranded in the small town of Gander on the Island of Newfoundland. This small town and its neighboring towns took in these 7,000 passengers from all over the world, fed them, gave them shelter, clothed them, and made them honorary Newfoundlanders. The show does what must always be done with stories about something as large as 9/11, it focuses on a specific aspect and a smaller group of people. This approach allows us to comprehend the incomprehensible, by taking a huge event and bringing it down to a personal level. We get to know key members of the community, passengers, and the pilot of one of the planes and through them we see this moment in history from a new perspective. The overall focus of the play is on the community coming together and caring for these stranded people. Relying heavily on humor that seems very Newfoundlandish but also very Minnesotan. While the play doesn’t dwell on the tragedy of 9/11 and the negative reactions that came from it, it also doesn’t ignore them. And those aspects are definitely responsible for their fair share of those ever present teardrops.

Come From Away is an important work of art, but it doesn’t feel like it should be. A lighter more energetic musical would be hard to find. The show moves with a pace and humor of a broad comedy. It’s a testament not only to the writing but the direction by Christopher Ashley that while the show barrels ahead from one witty lyric to the next, that with all the joy we are feeling, we are also constantly aware of 9/11. In some ways it reopens a wound that I felt had long ago healed over. But in doing so it also begins to heal that wound again at the same time. This is a tightrope walk I can’t really wrap my head around. It’s at once life affirming, joyous, funny, and moving while also reminding us of a tragedy that changed our world, that shocked and saddened us to our very cores. Yet these disparate elements are not at war with each other, they live organically intertwined, as if the one wouldn’t work without the other.

It’s hard to single out the cast, they are all fantastic. It’s refreshing to see a cast filled with such talent, that look like they could really be the characters they are portraying rather than impossibly perfect looking people playing regular folks. They all take on multiple characters between the townsfolk and the passengers on the planes I’m sure every cast member plays at least four different roles. Yet, I was never confused at who anyone was playing on stage at anytime. The set is simple, a little more than chairs that become everything from rows of seat on a plane or a bus, to seats in the local Tim Hortons, and a scenic overlook. Character changes are accomplished by the removal of a jacket or the donning of a hat. Simple, clean, perfect. In terms of the songs, it’s odd, I loved the music, though many of the songs seem to be very similar to each other. Most of them seem to just be musical accompaniment to the singing of the dialogue. There are several songs that do stand out in a more traditional sense such as the opening “Welcome to the Rock” and “Me and the Sky” which is beautifully performed by Addison Garner who plays Beverly one of the Captains of the stranded aircraft. I also really like “Stop the World” which is a love song duet performed by Stanton Morales and Molly Samson. And before we leave the music, it must be noted that the musicians and the instruments they utilize are perfectly minimal. After the cast curtain call, the musicians get their own and it was great to see them so into it and to get a little moment to highlight their talents. There is a nice celtic aspect to some of the music and the mandolin, Whistle, Fiddle, and Bodhran are perfect to bring that out.

Come From Away runs through June 16th at the Ordway Center for Performing Arts in Downtown St. Paul For more information and to purchase tickets go to https://ordway.org/events/come-from-away/ . While it does deal inherently with a very real world tragedy, ultimately it’s about people helping each other and being their best selves. This is a theme we could do with more of. I think the more people who see this show the more of that we’ll see out in the world. Don’t let the subject matter put you off this or limit who attends, this show is appropriate for anyone 12 and up. I think it’s a great show for a family to go together to see as it can lead to some very good conversations afterwards and it’s modeling excellent citizenship.

Johnny Skeeky; or, The Remedy for Everything a Very Funny New Take on Puccini’s Gianni Schicchi

Steven Epp and Bradley Greenwald Photo by Dan Norman

Johnny Skeeky; or, The Remedy for Everything closes out the 2023/2024 season at Theater Latté Da. The reimagining of Puccini’s comic opera Gianni Schicchi using Puccini’s music but with a new Libretto by Steven Epp and Bradley Greenwald is set in the present day on a luxury yacht. Epp and Greenwald not only wrote but direct and star in it as well and they are dead brilliant in each and every one of those duties. Is it opera? Technically it is, but if you brought someone in off the street and didn’t give them a program, they might not come away thinking they saw an Opera, they may think it was a musical parodying operas. As I’ve come to appreciate opera more and more over the last four years, having one on the schedule has come to excite me whereas in the beginning it was more likely to be a sense of foreboding. This is the kind of opera that helped me conquer my opera anxiety, because it isn’t anything to fear. It’s in English, it’s easy to understand, it’s very funny, and well frankly there is about 80% more dialogue than I’ve ever seen in another opera. You can take your teenagers to this, you can take your Grandma to this, one content warning though, there is some adult language.

What Epp and Greenwald have done is written themselves a little gem of a modern comic opera building on the original work by Giacomo Puccini and original Librettist Giovacchino Forzano. They take a lot of liberties with the plot aside from just updating the setting, but the core message and story ideas are there. I’ve never seen a comic opera outside of Gilbert and Sullivan that actually made me laugh, something to do probably with having to read the subtitles and try and match what is being said to the very stylized singing. This Libretto is funny and in a very modern way, that speaks to Epp and Greenwald’s writing as well as their direction of the cast and their own, delicious performances. It’s a 10 person cast filled with Twin Cities favorites such as Jay Albright, Benjamin Dutcher, Anna Hashizume and James Ramlet, they all have their moments as does the entire cast. But, this is without a doubt Epp and Greenwald’s show. Their notes in the program talk about Epp’s wife commenting on overhearing them as they collaborated just laughing and laughing. That laughter represents the joy of creation, when it comes from a sense of play as opposed to blood, sweat, and tears, though I’m sure there was some of that as well. That playfulness, that sense of silliness translates to the stage and then out into the audience. Johnny Skeeky; or, The Remedy for Everything is truly just that if as they say laughter is the best medicine.

The Music Director is Sonja Thompson working from the orchestration by Robert Elhai makes a 5 piece band sound much fuller and richer than one would think possible. The music is very good and one can see why Peter Rothstein wanted to commision Epp and Greenwald to make something new and fun with Puccini’s music. Benjamin Olsen’s set design is impression, we have a suite on a luxury yacht but through the windows we can see the deck of the ship and the horizon. There are also some useful tricks built in that are hidden from sight but allow for some surprises in the staging. Karin Olson’s lighting design is very effective, especially during a scene in which a hurricane is coming and another when the boat is set on fire. Every aspect of this production sings, except for when they do a lot of talking of course. I don’t know what Epp and Greenwald did best, I think it’s a three way tie, they just nailed everything.

Johnny Skeeky; or, The Remedy for Everything runs through July 7th at Theater Latté Da for more information and to purchase tickets go to https://www.latteda.org/johnny-skeeky

The Servant of Two Masters Dishes Out the Absurdity to a Dizzying Degree at Lyric Arts

Katrina Stelk, Kyle Marks, Alex Stokes, and Brandon Osero. Photo by Molly Weibel

The Servant of Two Masters adapted by local favorite Jeffrey Hatcher and Paolo Emilio Landi from the original 1789 commedia dell’arte classic by Carlo Goldoni, is a joyfully funny and self aware production. There is no attempt at selling this as realism, in fact the play opens with an apology by the patron of the theater company that the troupe is running late. Once the players arrive we are treated to several minutes of behind the scenes silliness as the stage manager and performers work out what they will be doing. The play reads like a Shakespeare Comedy crossed with an episode of Three’s Company directed by Corky St. Clair. It involves a pair of twins, one of which the male, is dead and the other a female who has taken on the identity of her brother posing as a man. There are multiple pairs of lovers who all seem on the brink of losing their true loves, and at the center is a quick thinking but not terribly bright servant who tries to serve two Masters at the same time in order to get paid and fed by both. This adaptation premiered in 2004, if it sounds familiar, you may have seen a later adaptation from 2011 that starred James Corden titled One Man, Two Guvnors which updated the play from 1700’s Italy to 1960’s England.

What I loved about this production is the constant awareness that these are actors performing in a very stylized manner. They pose, they ham it up for the audience, and they are not above earning a little on the side by participating in some product placement. There is something freeing about a comedy that lets you know up front it’s not to be taken seriously. In some way it loosens the audience up and the laughs flow freely unabated by any sense of self consciousness. The production is directed by Scott Ford who has directed some of the best shows at Lyric Arts since The Stages of MN came into being and before. Here, his playful approach to the staging, the controlled chaos perfectly watch the style of the script. The use of onstage musical accompaniment, which though providing some background music composed by Melissa Bergstrom, mainly serves to provide comedic sounds to emphasize the buffoonery of the characters actions. Nice to see Callie Aho as the Intimacy Director as the show has a fair amount of risque business, and it’s good to know that there is someone making sure everyone on stage is being cared for so we can enjoy the humorous nature of these moments guilt free. Wonderfully adaptive set design by Michaela Lochen and costumes by Samantha Fromm Haddow make for a nice looking and inventive look to the show. Special praise though to Katie Kaufmann’s Mask Design work which is a hallmark of the commedia dell’arte style, they are beautifully realized and amazingly expressive (see the photo at the top for an example).

On stage the entire cast is terrific, with special shout outs to those performing through masks, which results in the loss of an actors eyes, which they say are the windows to the soul. This acting requires a different set of skills an exaggerated movement of the head in order to compliment the masks and make the face seem alive. Kyle Marks and Brendan Veerman excelled in acting through the masks, to the point I almost lost sight of the masks. Loved seeing Nykeigh Larson and Kyler Chase again, both of whom I first discovered on the Lyric Arts stage, they wonderfully played the the Masters of the Servant who are so hysterically hot for each other they can’t barely see the other without trembling all over. And fantastic to finally see what Alex Stokes can do with a good sized role, and it’s as I suspected, comic gold. My advice is for Theater’s to keep finding larger and larger roles for Stokes, he’s proven he’s capable of being much more than the one liner comic relief ensemble player.

The Servant of Two Masters runs through June 22nd at Lyric Arts in Anoka for more information and to purchase tickets go to https://www.lyricarts.org/servant/#servant-tickets

The Brontide From Nimbus Theatre at the Crane Theater Tackles Very Relevant Creative Themes

The Brontide the latest work from Nimbus Theatre is packed full of ideas, to the point where at intermission you’re wondering if it’s been over stuffed. But Playwright Josh Cragun brings everything home, answering all the questions you find yourself discussing during the interval. That’s not to say that the play couldn’t do with a little pruning, at 130 minutes it feels slightly long. I liked the story, I liked all of the themes it was exploring, I liked all of the characters. If there is one criticism I have is that it feels like the material wants to be a Limited Television series rather than a play. Cragun does a great job of packing everything into a thoughtful and satisfying story, don’t get me wrong, but there are signs of what this wanted to be. One is the amount of scene changes, it wants to change scenes every two to five minutes. Also there are multiple storylines and characters going on that are unrelated until towards the end when they intersect. One character, that of Raveena, could be cut from the play entirely, but if expanded into a TV series could be really interesting. The role is played well by Wasima Farah, it’s not about the performance it’s about the sense that the characters function is all potential, but when you think about her function plotwise, it could easily be covered by other characters.

Here’s where I’m supposed to give you a plot synopsis, but I’m not going to. Instead, I’ll tell you about the themes the work explores. It’s about the nature of storytelling, the dangers of A.I., the creative stifling caused by corporate greed, and the dangers of over reliance on I.P.’s. These are some really interesting topics which they do a nice job of exploring without beating them to death. It’s shows us examples of some of these concepts with explaining them trusting the audience to carry the thoughts through. One of the concepts that has conflicted with the creative process in the last century or so is that of the copyright. Now obviously, the creator of something should have the right to protect it and earn from their art. But somewhere along the way those protections kept getting extended to the benefit of corporations as opposed to individuals. As the play points out in it’s opening scene there are a finite amount of stories. The creative process isn’t just about creating something entirely new, more often then not it’s about innovating or adapting that which has come before. Shakespeare, arguably the greatest writer in the English language, adapted many of his works from existing tales, and plays by others. But he didn’t just rewrite them he used his talents to make them better, to adapt and innovate. Corporate greed tries to prevent artists from doing the same and that is a major plot point of this play. If these are ideas you think about or discuss with friends, I think you’ll find a lot of interesting talking points in The Brontide.

This is truly an ensemble production, no one has the lead or steals the show, everyone is good even if no one especially stands out. Which works well in a piece like this, everyone does their part and seems like they are performance wise on the same level. In a true ensemble production the worst thing you can have is one or two people in the cast who are either way better or way worse than everyone else. The discrepancy is jarring, and will take the audience out of the show. The Co-Directors Mitchell Frazier and Ernest Briggs do a good job of keeping the show flowing despite the heavy number of scene changes. I do think they could tighten things up by having lights dim on one scene and come up on another, allowing for some minimal scene changing to be done silently in one area of the stage while the play moves forward in another. The set design by Erin Gustafson certainly allows for that approach, it’s very versatile and segmented allowing for all the changes of location. I really enjoyed the costumes designed by Rubble&Ash, there are two characters that morph into a sort of human insect hybrid , with very simple but effect costume and movement.

The Brontide runs through June 9th at the Crane Theater in NE Minneapolis. For more information and to purchase tickets go to https://nimbustheatre.com/productions/the-brontide