The Color Purple is Beautiful at Theater Latté Da

It’s been a 2024 of Alice Walker’s The Color Purple for this blogger. Early in the year we had a screening of the Steven Spielberg film adaptation, in Rob’s Movie Emporium, as it is one of my newest and most devoted plus one’s favorite movies. Then in our pre-Oscars viewing my wife and I watched the new film version of The Color Purple the Musical directed by Blitz Bazawule. What I hadn’t seen until now, was a staged version of the musical The Color Purple with a book by Marsha Norman and music and lyrics by Brenda Russell, Allee Willis, and Stephen Bray. It wouldn’t make a lot of sense to compare the stage musical to the 1985 film being in two different mediums and one being a dramatic film and the other a stage musical. It also wouldn’t be fair to compare the movie musical to a staged musical given the different mediums and considering that in film you can do things that a stage bound musical can’t. Except… when the stage version is better than the film, which is definitely the case here. The film wasn’t bad, but it felt like a bullet point approach to the story I knew, and while it had some great performances, it didn’t flow as well as it should have. I went into Theater Latté Da’s production expecting that same highlights approach to the story but was pleasantly surprised at how fluid this version of the musical is. A little googling revealed that the film version removed many songs, in some cases replacing them with new ones. It’s also true that there are differences between the original Broadway production from 2005 and the Broadway revival from 2015.

I don’t know what version of the Musical Theater Latté Da is staging, but I can’t really imagine a better version than the one I saw. For those unfamiliar with the story, it follows the character of Celie who as the play opens is giving birth to her father’s second child, both children are taken from her shortly after birth, and we are left to wonder whether her father killed them or gave them away. Celie’s one happiness in life is her bond with her sister Netty. When Mister comes to their father and asks for Netty’s hand in marriage he refuses but says he can have Celie. Mister, needing someone to cook, clean, and raise his children, reluctantly agrees. Before long Netty has come to see if she can live with them as their father has started trying to molest her, but she must fight off Mister’s advances as well. Rejected, Mister throws Netty out and tells Celie she will never see her again thus taking away her one peice of happiness in life. The years pass and we are introduced to Mister’s old flame Shug Avery, a singer, who will introduce Celie to the concept of romantic love. We also get to know Mister’s son Harpo and his wife Sofia. Mister is cruel and tries to rule everyone through his tyranny. Harpo’s wife Sofia is the only one who doesn’t bend for or put up with his violence. All of these characters have their moments, but it is Celie’s story and she is at the very heart of everything.

Celie is played by Nubia Monks in a powerhouse performance which after the song “I’m Here” earned a standing ovation well before the play had even ended. Her voice was incredible and the heart and feeling she puts into that number in particular is a showstopper. Through much of the show Celie is submissive and passive, but Monks performance invites us to feel at first her isolation and then her growing sense of self. David Murray Jr. as Mister shows us a twisted man but also allows us to if not forgive at least believe his characters final arc towards repentance. Carnetha Anthony is a great fit as Sofia, it’s a role that has led both actresses who played the role on film to receive Academy Award nominations for Best Supporting Actress. Anthony, like her predecessors, plays the wrong with attitude and empowerment that makes her an audience favorite. Ronnie Allen plays her husband Harpo who learns to change the pattern of behavior that has been passed down by the men in his family. Angela Wildflower brings a confidence and sultriness to the role of Shug Avery the woman who awakens love in Celie and helps her find the herself and the the fate of her sister. The show is filled with great vocal and acting performances from the supporting cast and ensemble players.

Director Daniel J. Bryant stages the action simply not relying on an elaborate set design to create the world of Alice Walker’s story but relying on the performances of his actors to draw us in. It can be a risky choice but Bryant knows that this story and his cast don’t need the flash of overproduction to draw us in. That’s not to say that the set design by Eli Sherlock is lacking, quite the opposite. Knowing how to support a show through more subtle ways requires as much creativity as designing huge sets that move in and out and transform. Sherlock provides everything that is essential to the story, and everything on stage has a purpose. The stage is set against a backdrop of wooden panels evoking the idea of old wooden fences and houses. When the panels slide aside at the opening of Act II adding an element of depth and space, we see a representation of an African Acacia Tree made out of the same wood. Against this larger view we see Africa and Netty’s story play out as Celie reads the letters Mister had kept hidden from her for years. It’s a moment that adds a sense of epicness to the story, showcasing the costumes designs of Jarrod Barnes that adds a burst of vibrant color and energy to this moment in which Celie’s heart is bursting with joy, finally know what has happened to her sister.

The Color Purple runs through May 5th at Theater Latté Da in Northeast Minneapolis for more information and to purchase tickets go to https://www.latteda.org/the-color-purple

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.

But that’s not all! Think I may have steered you wrong on a show? Well, I am also a member of the Twin Cities Theater Bloggers (TCTB), where you can read roundups of shows by m’colleagues and I when you follow us on facebook @TwinCitiesTheaterBloggers. We also produce the podcast Twin Cities Theater Chat!! which you can access through this link or wherever you enjoy podcasts https://twincitiestheaterchat.buzzsprout.com/ . Now you too can be in the know about all the fabulous theater happening in and around the Twin Cities.

The Name Jar at Stages Theatre Company in Hopkins a Collaboration With Theater Mu

The Name Jar a 45 minute play is an adaptation of the book by Yangsook Choi by Susan H. Pak and Directed by Jake Sung-Guk Sullivan running at Stages Theatre Company through April 14th. The production is done in Collaboration with Theater Mu which is one of my favorite Theatre companies. One of the things I love about Theater Mu is that aside from always putting on quality productions I almost always learn something new about various Asian cultures. Sometimes it is as intricate as learning about a war I knew nothing about, other times as simple as how to pronounce a word. I love what the two companies have done with this production geared towards people age five and up; however, the up doesn’t mean 14 or 17 it means 101+. The message here is simple enough for school age children to understand but universal enough for anyone to learn from. It’s short, energetic, and yes geared towards children, but did I mention it’s short? Two hours of a showed geared towards five years old, without having a five year old with me would be rough. But I attended this on my own at 45 minutes I found if engaging and full of heart and I felt I gained knowledge and understanding.

The plot follows Unhei, a young girl who has just moved to the United states from Korea, as she attends her first day at school. None of the other children can pronounce her name and she starts to wonder if she should pick out an American name to go by at school. This is a difficult decision, in her family and indeed her culture, names are very important. It’s important to note that her classmates are not intentionally mean or tease her about her name. But, the enthusiastically grasp onto the idea of her picking a new name and create the name jar of the title into which they place suggestions of what she can call herself. We see how not Unhei feels different from the others and understand her natural instinct to try and change to fit in with her classmates. We also gain an understanding through her interactions with her Umma (Mom), Mr. Kim the Korean Grocery store owner, and her Halmoni (Grandma) about the ways in which a name differs in Korean culture from those of the average midwestern family. Director Sullivan does a great job keeping the play moving and of engaging the audience through some mild interaction. Encouraging the audience say Korean words and names along with the characters involves us in the story but also in the learning, we don’t simply let things wash over us we actively engage. Technically the show has subtle but effective use of projections, the scenic design by Sarah Brandner is versatile and well suited and more elaborate than I expected for the studio space. There’s also nice work done by Lighting Designer Alice Endo and Sound Designer Gretchen Katt in helping to create the locales and make for effective transitions.

The Name Jar is running through April 14th at Stages Theatre Company in Hopkins. For more information and to purchase tickets go to https://www.stagestheatre.org/name-jar/

A Unique Assignment at History Theatre Humanizes the Past Forging a Greater Understanding of a Dark Period in Our History

Pearce Bunting, Kevin Fanshaw, James A. Williams Photo by Rick Spaulding

Presently we are faced with a great and grave racial problem in our country. It points deep in many directions. I feel that it is essential that we solve this problem, if America is to hold the place among nations that it deserves.
James Meredith in a letter to Lt. Gallagher from A Unique Assignment by Harrison David Rivers

The excerpt from the script of A Unique Assignment by Harrison David Rivers may or may not be based on a real letter, I suspect it is. If so, it was a letter written in either 1962 or 1963, but it feels like it could have been written today. One of the important things about History is to remind of where we were and how far we have come. Sometimes I despair at the state of our country and I wonder how we came to a place where ignorance is so prevalent. Then, I see a play like A Unique Assignment, and I realize we have always been in that place, we just cycle through periods when hatred and small mindedness are emboldened. A period of silent stupidity began to dawn in 1962 when, as noted in the Playbill, President John F. Kennedy had to mobilize: “31,000 American servicemen were required to quell the violence – the largest ever invocation of the Insurrection Act of 1807.” In 2021, at the urging of President Donald Trump, another insurrection completed the journey of the previous four years to a new era of open intolerance and ignorance. The play illuminates an event in history that I was shamefully under informed about, it also contributes to this writers growing perception of the what life was like for a fellow human of a different skin color just 60 years ago. Something I will never be able to fully comprehend, but must continue to strive to increase my understanding. With this work as with so many others before it, History Theatre continues to facilitate that growth through their powerful telling of the stories of those who lived through the dates and places that shaped our world.

The History Theatre’s new play tells the true story of Lt. Henry T. Gallagher who was in charge of security for James Meredith. Meredith was trying to exercise his constitutional right to enroll in and attend the University of Mississippi, his attempt to integrate the Ole Miss resulted in a riot and threats of violence against Meredith and the US Marshals assigned to protect him. The story is told in flashback by Gallagher at the age of 73 played by Pearce Bunting who shares the stage with Kevin Fanshaw playing Gallagher aged 23. James A. Williams plays James Meredith as well as other ensemble characters, the cast is rounded out by Kevin Brown Jr. who plays a multitude of characters. Bunting and Fanshaw do a nice job of creating connection between the versions of Gallagher separated by 50 years. Rivers script allows for moments of humor to create a connection between the character and the audience, he doesn’t shy away from having Gallagher detail his missteps, and even finds a little Minnesotan humor. Bunting is open and able to laugh at his younger self, Fanshaw gives us those moments in a way that allows us to laugh but also relate, which is key to our identifying with the character. Williams as James Meredith in contrast is given little in the way of humor, instead he has a wisdom and gravitas that puts his character at the moral center of the story. Gallagher becomes our stand in, an example of how a cross between how we hope we would respond and how we suspect we would, Meredith is our intellect and our ideals. Williams is excellent as Meredith, he portrays him with a calmness that signifies someone who knows what is right and has accepted the costs associated with doing it. Williams ensemble roles give him the chance at some moments of humor as well, he gets to do a little of everything and he does it all brilliantly. Kevin Brown Jr. plays a lot of different roles and proves a versatile actor, both with serious characters and the more comical. My favorite was his portrayal of a member of the Navy who’s basically kidnapped by Gallagher to help them find their way to the University of Mississippi.

The play is directed by Richard D. Thompson the new Artistic Director of History Theatre. Thompson knows that when you have a memory play with a cast of four, two of whom will be playing multiple characters, that realism takes a backseat to telling a story in a clear and understandable way. He keeps the set design by Ursula K. Bowden simple with angled black flats on which images can be projected to convey visual cues to locations and events. A few rectangular boxes can be shifted around to stand in for counters, desks, bunks, and jeeps. Thompson understands that when you have actors changing characters from one moment to the next that you need to let go of the idea of trying to create realism with sets and costumes, you focus on the story, the characterizations and let simple shapes and images stand in for concrete places and objects. If the play works, which this one most certainly does, less is more, we are happy to accept the same actor in multiple roles when lens we are seeing them through is one of minimalism and suggestion rather than attempted realism and intricate details. There were some nice lighting moments from Lighting Designer Kurt Jung, one involving photographers flashbulbs was a really effective touch.

A Unique Assignment runs through April 7th at History Theatre in St. Paul. For more information and to purchase tickets go to https://www.historytheatre.com/2023-2024/unique-assignment

The Doctor Wee-Woo Show at Open Eye Theatre

An Alleged Theatre Company Production The Doctor Wee-Woo Show opened Friday at Open Eye Theatre for a two week run. A show filled with humor, puppets, and lessons about moving on and following your dreams. I was invested in the characters in a way I hadn’t expected. The show is written by the co Artistic Directors of the company Jake Mierva & Danylo Loutchko and appears to be a children’s show called The Doctor Wee-Woo Show. Everything goes along and slowly a few little things happen that seem kind of not quite right for a kids show. Once the program ends more is revealed through Dr. Wee-Woo’s interaction with his creations: Sedrick the Sasquatch, Mailbag, Mrs. Apple Tree, Rob the Blob, and Broom & Dustpan. Sedrick is Doctor Wee-Woo’s primary co-star on the show and as we transition from the children’s show to behind the scenes, the roles begin to reverse between Sedrick and the Doctor. In the beginning Wee-Woo is guiding Sedrick through the resolution of a problem, by the end it’s clear that Sedrick is trying to lead Wee-Woo towards a new beginning. The script is clever in the way it creates tropes that seem familiar for a kids show and then goes to some darker and more adult places with them. At the heart is a really interesting relationship between Doctor Wee-Woo and Sedrick, which becomes almost like a patient and therapist dynamic. Praise has to go out right from the start for the puppets created by Robert McGrady with consultation from Yvonne Freese and the set and props designed by Danylo Loutchko. Thanks to all of their talents the show has an authentic, though slightly off, Children’s show feel.

J. McIntyre Godwin plays Doctor Wee-Woo who is a Doctor of learning (accompanied by a sound effect), physician heal thyself. Godwin does a nice job of putting on the face of a children’s show host, it feels like an actual Show. As the show ends and he prepares to shoot another episode he starts to unravel a little bit. His puppets keep trying to get him to stop making another episode for reason that will become apparent. Goodwin is masterful at Playing the frustration with his puppets at just the right level so we see it, but also recognize the character is trying to control himself and move the show along. The Stages of MN favorite Jeffrey Nolan plays Sedrick the Sasquatch, who is a puppet controlled and voiced by Nolan. Nolan keeps the legend alive with another strong performance, he has a way of getting inside a puppet character unlike anyone I’ve ever seen. Watching the performance one feels like the puppet and the human performances merge and you see it as one single character. Nolans manipulation of the puppet give it a very real presence, while his facial expressions and body language add immeasurably to the character. It was nice to see another fun turn from Thomas M Baun (Pooh Bear in Who’s Afraid of Winnie the Pooh) here he plays Rob the Blob and Dustpan. Dustpan is married to Broom who is played by Sarah Halverson. The simmering resentment between those two inanimate objects feels very real, both Halverson and Buan play it just right, you can almost interchange them with that couple friend of yours that don’t know how to keep their interpersonal issues to themselves around others. The cast is rounded out by Yvonne Freese as Mrs. Apple Tree, she wears a large cardboard tree with a cutout for her face. Even with very little to utilize but her face and voice she does a nice job, both within the children’s show and after when things get a little darker.

The Doctor Wee-Woo Show runs through March 24th at Open Eye Theatre in Minneapolis for more information and to purchase tickets go to https://allegedtheatre.com/on-stage/

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 existed? 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.

The Most Spectacularly Lamentable Trial of Miz Martha Washington Announces a Spectacular Return to Form For Mixed Blood

I don’t even know where to begin. The last show I saw produced by Mixed Blood was Interstate: The Musical, which closed early due to the pandemic but, not before I saw it three times. It’s one of my favorite musicals of all time so I have been anxious to see what they did next. The answer for the last two years has been very little in the way of theater. This isn’t their first full production they did Mariology in the fall but that was really an outside theatre company they brought in. The Most Spectacularly Lamentable Trial of Miz Martha Washington is the first homegrown production and it’s a shining example of what Minnesota’s artistic community is capable of. This is a show I expect to see making my TCTB Awards Nomination list next January, it’s that good. What’s so good? That’s what I was talking about when I said I don’t know where to start. First off, the production design and every technical department that created the visual and aural landscape of this show are endlessly creative. I felt like I was at Open Eye Theatre who are known for their impeccable production designs. Matt Lefebvre scenic design work is impressive on first view as you walk into the theater, and that’s just the tip of the iceberg. The surprises that lay in store feel like magic when they happen, and far be it of me to give away the magicians secrets. And it isn’t just the set design it’s also Karin Olson’s Lighting, Theo Langason’s Sound design along with the props designed by Kris Schmidt. Don’t even get me started on the costumes, makeup, and wig work of Zamora Simmons. It’s a seven person cast and I’m guessing there are around 30 costumes. That might be an exaggeration, but it also wouldn’t shock me to learn that it’s pretty close to the actual number.

The show opens on Martha Washington the first First Lady of America. George is dead and she’s very sick in bed. She is being cared for by the slaves whom according to George’s will are to be set free upon her death. We see them, their names are Sucky Boy, Priscilla, Doll, Davy, and Ann they pray to God for Martha. From that moment on, hold onto your hat, the program describes what follows as a fever dream which tracks, except Martha dreams about the future, the past, finds herself on a gameshow and ultimately on trial, as promised in the title. The script by James Ijames is a satirical look at the past through the lense of the present day. It demolishes the defense of that’s just how it was in those days, particularly effective is the reveal of what happened between Ann and Martha’s son. If you can still maintain that argument after that scene, then I guess the argument is, that’s just how things were back then and white people had no moral compass. It’s tackling some very real and heavy issues but it never stops entertaining the audience, it’s only after it’s whirlwind 90 minute run time that you have time to stop and process. This is a wildly entertaining play and should be enjoyed and appreciated on those levels, but it’s also important to look at what we are laughing about and why this story is being told in this way.

Pirronne Yousefzadeh directs the play steering the fever dream from scene to scene changing styles and tone on a dime. I haven’t seen this as effectively done since the last time I watched Preston Sturges’ Sullivan’s Travels. The cast is a testament to the talent we have in the Twin Cities acting community, we have some of the best actors in the country and if you don’t believe me, go see The Most Spectacularly Lamentable Trial of Miz Martha Washington at Mixed Blood and you will. Aside from Karen Wiese-Thompson who only plays Martha, which she does brilliantly, the other actors play multiple roles throughout the show. Valencia Proctor who was fantastic in last years Passage at Pillsbury House shows a gift for comedy, I loved her take on the out of touch real housewife of 1802. Tolu Ekisola take on the court bailiff got a laugh every time she swore someone in, her line reading choice is just right. Now these are just moments in a show where they each portray multiple characters, some funny, others a little more on the realistic side, but all pitch perfect in a show where the tone is constantly shifting. The same is true of Darius Dotch and Mikell Sapp who short of act as a comic team in certain scenes. Dotch’s standout is as Lawyer Man, a Defense Attorney for Martha from and in the future. Sapp, is comic gold as George Washington who deflects all blame for slave owning off on Martha, whom he calls a pimp. Monica E. Scott plays Ann, who is Martha’s main caregiver, half-sister, and of course property. She has what is probably the role with the most serious tone throughout, she gets to play along in the fun occasionally but her most memorable moments are when in the fever dream of Martha’s she is still playing Ann but deviant. The cast is rounded out by Domino D’Lorion whose first appearance as William makes an impression. He plays multiple roles but as William, that’s where he really impresses pulling off that nearly impossible task of being a grown person playing a young kid. He really has the body language and uncertainty down, when embodying the character in a version of reality but then a completely impish quality when in full fever dream mode, it feels like Bat-mite has magically appeared in Martha’s bedroom. Neither version comes anywhere close to annoying, which is saying a lot because Bat-mite is always annoying. He plays both versions of William brilliantly.

The Most Spectacularly Lamentable Trial of Miz Martha Washington runs through March 31st at Mixed Blood in Minneapolis. For more information and to purchase tickets go to https://mixedblood.com/the-most-spectacularly-lamentable-trial-of-miz-martha-washington/ . I’ve talked a lot about the importance of creating new theater audiences. The first trick is to get people into theater seats that don’t ordinarily go to the theater. Mixed Blood has a solution for that they over a program called Radical Hospitality, Tickets are available by donation, if you cannot afford theater tickets you can get them at no cost. If you can afford to spend $30 or $60 on a ticket do so, donations are what make it possible for those without resources to attend theater. The second step in creating a new theater audience is staging something that gives them a feeling that they want to experience again, Mixed Blood has that covered with this show as well. The Most Spectacularly Lamentable Trial of Miz Martha Washington is the kind of show overflowing with creativity that will open a new theatergoer to the possibilities of what theater can be.

Don’t want to miss a single review from The Stages of MN? You can subscribe and have every post sent directly to your email. 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/

I am also a member of the Twin Cities Theater Bloggers (TCTB), where you can read roundups of shows by my colleagues and I when you follow us on facebook @TwinCitiesTheaterBloggers. We also produce the podcast Twin Cities Theater Chat!! which you can access through this link or wherever you enjoy podcasts https://twincitiestheaterchat.buzzsprout.com/ . We post biweekly longer form episodes that will focus on interviews and discussions around theater topics. There is also shorter episodes in which we Bloggers tell you what we think you should get out and see as well as what we have on our schedules that we are most looking forward too.

Hairspray is a Blast From the Past and One Hair of a Good Time at the Ordway in St. Paul

Deidre Lang (center) as Motormouth Maybelle Photo by Jeremy Daniel

It was just over a year ago that the Hairspray National tour came through town running at the Orpheum in January 2023. Due to the opening night of this run, at the Ordway Center for Performing Arts this time, being cancelled thus shortening the run, I am reusing some elements from my previous review, particularly the plot synopsis. I had a blast last winter and I had an equally great time this… shall we call it spring? The show packs an important message about acceptance on multiple fronts utilizing the techniques pioneered by Mary Poppins they add some sugar to make the lesson seem like fun. This is such a big hearted show, the ignorant and hateful characters are very blunt, but they are the minority, the majority just don’t seem to see with eyes of hate. Is that realistic for Baltimore in 1962 where and when the musical takes place? No. But the characters also break into song and dance around a lot so I’m guessing it’s meant to be a bit of a fantasy. This is a show that is meant to entertain you with toe tappin’ music, some fabulous footwork, and a whole lot of humor and on those terms it is wildly successful. If they sneak a little reminder in there that it doesn’t matter what we look like on the outside it’s what’s on the inside that counts, well good for them. I can’t think of a simpler or more important message to send out into the world. I just wonder at a world, that needs to be told that.

Hairspray follows Tracy Turnblad who dreams of being one of the dancers on the Corny Collins Show, a local TV program that features kids dancing to the latest pop chart songs. When an opening on the show becomes available, Tracy skips school with her friend Penny in order to audition, against her mother Edna’s wishes. The resident Teen Diva Amber Von Tussle who is the daughter of the shows producer Velma Von Tussle, ridicules Tracy over her weight and she’s refused the chance to audition. Back in school during detention she strikes up a friendship with Seaweed, a black student and son of Motormouth Maybelle who hosts the “Negro Day” on The Corny Collins Show and bond over dance moves. When Corny Collins comes to their high school for the Sophomore Hop, Tracy wows him with the dance moves she’s learned from Seaweed and he awards her a spot on his show. After her first broadcast, not only has she fallen in love with Link Larkin the resident teen heartthrob, and Amber’s boyfriend, but she becomes a local celebrity. Tracy’s dream was to become a dancer on the show but she also wants to integrate the broadcast so that the black and white kids can all dance together. Her success leads her mother to reassess whether or not there’s a place for people of her and Tracy’s size out in the world. They deal with some fairly heavy issues, race, being marginalized due to weight, self esteem, corruption, hell nearly every woman in it winds up behind bars at one point, but they do it with humor and optimism. It’s Tracy’s heart that never stops fighting for what is right that changes everyone around her.

Caroline Eiseman makes a great Tracy, her vocals get drowned out by a slightly off balance sound mix, which did seem to improve as the night progressed. One thing that couldn’t be drowned out were her dance moves and her infectious can do attitude, both of which win over her fellow characters as well as the audience. As Tracy’s mother Edna we have Greg Kalafatas following in the long tradition of the character being played by a man in drag. This dates back to Hairspray’s roots the 1988 John Waters film in which the role was played by the Divine (Harris Glen Milstead) who sadly passed away less than two weeks after that films release. It’s a character full of insecurities who grows in her own confidence as she watches her daughter carry on in the face of ignorance. The character is used for comic relief, but she also contains a lot of what is beautiful about the entire show. A willingness to change and a capacity to love. Kalafatas handles both aspects wonderfully, know when to be funny and knowing when to show a little bit of vulnerability. You may have noticed that the photo I chose doesn’t highlight Tracy, that’s not because she isn’t the focus of the show, she is . But I wanted to highlight Deidre Lang because her performance as Motormouth Maybelle, though supporting, was exceptional. Her rallying of the kids to not give up after their first setback which ends with her song “I Know Where I’ve Been” is a show stopper. Her vocals are simply incredible, and you suddenly wish she had three other solo songs in the show. Another favorite in a show full of great dances, choreographed by Robbie Roby, was Josiah Rogers as Seaweed, that man has some moves. His love interest Penny was also a favorite character thanks to the performance by Scarlett Jacques, whose got fantastic comic timing.

Hairspray runs through March 17th at the Ordway Center For Performing Arts in St Paul. For more information and to purchase tickets go to https://ordway.org/events/hairspray/ . Due to the cancellation of the planned opening night performance the remainder of the run has limited availability. I urge you not to wait to get tickets, it could very well sell out.

The Curious Incident of the Dog in the Night-Time at Lakeshore Players Theatre in White Bear Lake

The Curious Incident of the Dog in the Night-Time is Simon Stephens Tony Award winning adaptation of the Mark Haddon Novel. I read the book years ago and have now seen the play three times. The first was the National touring production and it was incredible, with an elaborate production design utilizing a complex combination of projection, lighting and sound to simulate the lead character Christopher’s sensory sensitivity. The two subsequent productions I’ve seen, this latest at Lakeshore Players in White Bear Lake, are working with significantly fewer resources. But, despite the limitations, have found a smaller way to represent the world from Christopher’s perspective. Lakeshore players have found creative ways to compensate for budget limitations and have produced a very successful staging of the play. It’s a great play though it does run a little long a 90 minute first act and 80 minutes second act with one 15 minute intermission.

The Curious Incident of the Dog in the Night-Time tell the story of Christopher a young man on the Autism Spectrum, who in trying to discover the killer of the titular dog. Along the way he discovers not only the solution to the murder but deeper secrets as well. The main mystery though is how he will navigate through the dark secrets he uncovers and if we will be able to take and pass his Math A levels. The play deals with the way Mark Thinks and sees the world, the way in which he interacts with his Father, his teachers, friends, strangers, and police. It is at times heartbreaking but ultimately uplifting and positive. When the book first came out Christopher was described as having Asperger Syndrome, a diagnosis now classified as Autism Spectrum Disorder (ASD). The play holds a certain extra connection for me as my oldest son Alex was diagnosed with Asperger Syndrome when he was young. With both of my songs carrying the ASD diagnosis it is a subject I know something about. The main thing to remember, as they point pout in a pre-show announcement, everyone with this diagnosis is, like everyone on the planet, unique. Christopher’s strengths and weaknesses do not represent those of everyone with ASD. Christopher uniqueness is the lense through which we view this specific story of a broken family. It is a way for those of us in the audience to, not exactly see what the world is like for someone who is on the spectrum, but to see the ways in which the world itself is ableist. Once we have gotten to understand Christopher, seeing the ways he is treated by the police and other people he encounters out in the world, is heartbreaking.

Jackson Hoemann gives a strong performance as Christopher, understanding that the character is not without emotion, but that he processes information through a set of often rigid rules. He seems to grasp that while the world is made up of shades of gray, that for Christopher it’s almost as if he is color blind and he cannot interpret shades but only sees the world in black and white. Katie Rowles-Perich is particularly strong as Christopher’s teacher Siobhan who’s helps to facilitate the major change from the book to the play, which is that the story is presented as a sort of play within a play. Riley Peltz and Bill Stevens are two of the ensemble actors who did especially nice work with a variety of characters. Of note on the technical production side of things is the work of Scenic Designer Brady Whitcomb. Whitcomb’s plethora of Tetris shaped set pieces that are constantly in movement reconfiguring and interlocking into new scene locations are well constructed and versatile. Certain cubes also contain video monitors that at times convey written information and at others might become a prop like an ATM or microwave oven. The sound design by Born Into Royalty and Alex Clark’s Lighting design, work with the score by Torgo and Whitcomb’s set pieces to, at times, give us an effective simulation of the sensory overload Christopher is experiencing.

The Curious Incident of the Dog in the Night-Time runs through March 17th at Lakeshore Players Theatre in White Bear Lake for more information and to purchase tickets go to https://www.lakeshoreplayers.org/the-curious-incident-of-the-dog-in-the-night-time