In a world premiere co-production with the Jungle Theater, The Moving Company (MOCO) has created an adaptation of the Moliere’s The Misanthrope that jettisens characters and plot points to examine the ideas at the heart of the 17th century classic. With design elements ripe for interpretation by the audience it’s both serious and comedic, confounding and illuminating. This is a thinking person’s play, not your standard light entertainment. So, while not to everyone’s taste perhaps, at just over 90 minutes I’d recommend it to those who are intimidated by the “artier” sounding productions. I think you’ll find it accessible even if it feels at times a little inscrutable. A little inscrutability can lead to some interesting discussions and analysis. The fantastic cast keep you enthralled and carry you through any sense that you might be in over your head. My advice is to go with it, don’t get hung up on what everything everyone is saying means, for what your beliefs are is likely some combination of the various characters and what they seem to represent.

Written by the Artistic Directors of MOCO Steven Epp, Dominique Serrand, and Nathan Keepers, this is a production that like Moliere’s original, is open to interpretations. Is the cvharacter of Alceste, the Misanthrope a hero or a fool? The play opens with Alceste telling Philinte that he can no longer be his friend because basically he’s too nice to people. The two debate the Alceste’s beliefs that one should speak the absolute truth at all times. As Alceste espouses his philosophies, one can sympathize with his ideals, but the practice of them is isolating, for he hates anyone who does not conform to his beliefs, which is more or less the entire human race. There are also a trio of sisters the middle sister Celimene is loved by Alceste, the younger Eliante has a mutual attraction with Philinte. The oldest, Arsinoe is like Alceste in that her values are of an extreme temperament, her’s of the moral majority. His love and obsession with Celimene is the only point at which Alceste wavers from his ideology, here it would seem he is the hypocrisy he rails so hard against, for Celimene is human, and contains many of the failings he so derides in others, but accepts in her. Love being the only human quality that he doesn’t scorn, it is also the one that undermines him as a hero, for his jealousy betrays him.

Steven Epp plays Alceste and knowing the company I doubt there was any question as they wrote it who would play this role. Epp can deliver his characters passionate take on things but can also bring a mopey quality, there is a wha wha quality to some of the line readings that really adds a touch of humor to what might otherwise be a dry espousing of philosophical dogma. Nathan Keepers sporting a blonde dye job as Philinte give a counterpointe performance always maintaining an even keel, we recognize his go along to get along approach as reflective of most of us. Tracey Maloney as Eliante is engagely innocent, she is the one character you are not conflicted about, she gets the most laughs and perhaps in a play filled with weighty arguments her lightness uplifts the whole affair. Liz Wisan is Celimene, the one person who always seems in control of themselves and at peace with themself. Wisan, brings a quiet confidence and sense of control to the character. Finally and last, but definitely not least is Twin Cities treasure Sally Wingert as the epitome of moral hypocrisy Arsinoe. No one plays the this sort of condescension like Wingert, she is wonderfully surgical in her ability to take offense and be offensive in the same breathe.

The play is directed by and designed by Dominique Serrand who makes some odd choices which probably represent something to him, but what they are is open to the audience to interpret. That’s not necessarily a bad thing if what you are hoping to do is get your audience talking and thinking about the show afterwards. Why are people moving around at times seemingly randomly or in a wandering circular way? Why is the ceiling leaking? Is there a key to the characters in the coloring of their costumes? These are some of the questions you may find yourself asking, but don’t stop there, try answering them. That’s what can be so rewarding about a show like this, it can get the little gray cells moving. Those costumes are designed by Sonya Berlovitz and they are effective in commenting on their characters and giving them each a distinct, not just look, but feel.

Say All the Truth runs through November 26th at Jungle Theater for more information and to purchase tickets go to https://www.jungletheater.org/

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.

I’m a child of the 70’s, teen of the 80’s, but I grew up with the music of the 50’s and 60’s. Sure The Marvelous Wonderettes is a jukebox musical and those can be a little uninspired sometimes, but when the music is this good and the hook so simple and sweet, then I’m all in. If you love the music of this era, girl groups and doo wop and even segwaying into some motown, you’re sure to be wearing a smile throughout this show. What I love about theater is it can serve up such a variety of experiences. Just coming off the Twin Cities Horror Festival, I spent the better part of a week being thrilled at shows that made me laugh, tremble, and sometimes suppress my gag reflex. Other shows make us think about the world we live in, while others create empathy for people who are different from ourselves. As the Byrds sang in 1965 “To everything turn, turn, turn there is a season” The Marvelous Wonderettes is a time to smile. This show filled me with joy and gratitude for these fantastic songs and the wonderful vocal talents of this cast.

The show written and created by Roger Bean is broken into two Acts. Act One is 1958 at the Senior Prom and The Marvelous Wonderettes, four friends and all candidates for Prom Queen, are providing the musical entertainment. There are some rivalries and story threads that playout throughout the show, but it’s basically the four girls up there wowing us with their renditions of classic songs from “Mr. Sandman“, “All I Have to Do Is Dream“, and “Goodnight, Sweetheart, Goodnight“. Act Two takes place 10 years later at the 10 year reunion where The Marvelous Wonderettes have once again been asked to provide the musical entertainment. Just as the music changed from simple bubblegum pop in 1958 to songs with a little more to say, so have the problems of the Wonderettes evolving from stolen boyfriends to unfaithful husbands. But even with the slightly more mature story threads of the second Act, the show never bogs down or gets heavy man. It uses the pop music of the times creatively and pieces together plots and character names in an almost jigsaw like fashion that’s wonderfully satisfying.

I went because I enjoyed the last production by Sidekick Theatre and because Leslie Vincent, a performer I’ve been really impressed with in the past was in it. I knew if nothing else, I would enjoy hearing her sing some of these classic songs. What I discovered was that the entire quartet is amazing. In each Act they all get their own chance to shine as lead singer, but as importantly they all provide the beautiful backup vocals for each other. Vincent plays Betty Jean (BJ) who is always being upstaged both on stage and off by her BFF Cindy Lou played by Camryn Buelow. Vincent is always great, but my favorite moment from her in this show was when she sings “It’s My Party“. Buelow plays the diva of the group stealing the spotlight and whatever else she can from Betty Jean, but her best moments are a more accessible Cindy Lou in Act Two with the one two punch of “Son of a Preacher Man” and “Leader of the Pack“. Debi Kilde plays Missy who’s crush on teacher Mister Lee provides some good natured audience participation. Her performance of “Secret Love” is surprisingly moving for a show that trades in laughs and bubblegum music. Kilde also is the Choreographer for the show and while it isn’t overly elaborate there’s no denying the girls have some nice synchronization and routines that add to the overall charm and feeling of authenticity. Suzy is played by Faith Winship and is wonderful with her characters little comedic bits, in the first act she’s constantly chewing gum, in the second act she gets to be pregnant. Her body language is perfect and adds these little extra moments to each of the acts that just somehow adds to the shows perfection. My favorite song from her was “Respect” which has a fabulous gag in it that I’m not going to spoil. The best way to describe these characters I can think of is to imagine the Pink Ladies from Grease, imagine if Sandy and Rizzo were sidelined and the remaining Ladies got to flesh out their stories and show off their vocal chops.

The show is directed by Brian Pierce with Musical Direction by Gary Rue, both of whom perform in the tight little rock quartet that back the Wonderettes. The scenic design is by Tim Stoltz with costumes by John A. Woskoff and the look of the show matches the sound perfectly bringing us back to the 50’s and 60’s. The show features over 30 classic songs from the 50’s and 60’s all but one or two will be familiar to most audiences. If the music of that era is your jam as it is mine, you’ll want to get out to see this show at the Minnesota Masonic Heritage Center where it is running until November 12th. For more information and to purchase tickets go to https://sidekicktheatre.com/wonderettes . There is the option to purchase a meal before hand. I enjoyed a wonderful brunch before the show and I highly recommend this option. dinner and a show couldn’t be easier!

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.

This will be my final posting for this years Twin Cities Horror Festival (TCHF) and with this review I have successfully seen and reviewed each of the 11 shows. It’s been a great year; there have been laughs, thrills, and some real gross-out moments. I encourage you to get out and see as many shows as you can, but be warned, you need to purchase your tickets ahead of time. Already what is arguably the best show of the festival, Rasputin, has sold out it’s remaining performances. Shows are selling out right and left this year, which is great for the festival and artists, but puts us audiences in danger of missing out. Don’t miss out!! For more information check out the Festivals website at https://www.tchorrorfestival.com/ and to purchase tickets go to https://tix.gobo.show/festival/tchfxii

Shadows Under Wabasha by Kyle Dekker and Jacob Gulliver draws on the history of The Wabasha Street Caves and St Paul’s colorful past of criminal leniency. The show makes much better use of the studio space than Lock-in was able to, any seat should afford you a view of all the action, though beware of the splash zone! If you’re one that enjoys some blood with your TCHF, this show opens a few veins and will not disappoint any vampires in the audience. Of the cast the standout is Ileri Okikiolu as Haggins, a WWI vet who is part of a heist gone wrong that results in the four criminal partners trapped in one of the caves after the entrance collapses. Okikiolu has a presence that commands your attention and Bridget Foy as Bertinelli gives a solid performance as well as the clear headed but alcoholic leader of the gang. The script has the basis for a solid show though it does gets a little muddled towards the end. The building of tensions between the trapped men could be better modulated as the show seems to devolve into its bloody resolution rather than build to it. This one has some nice costumes and fun props and set design with its faux exposed brick walls, and a lesson in how to utilize that Studio space.

For some behind the scenes information about the TCHF listen to season 2 episode 5 of the Twin cities Theater Chat podcast https://twincitiestheaterchat.buzzsprout.com/2150807/13763195

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.

With Only one show left to see in the Festival myself and options for readers to see various shows narrowing, I thought I’d take a second to highlight a few of the shows I’d prioritize if you can’t make it to everything. Rasputin which as of this writing, in the wee hours of Wednesday Oct 25th, has two performances left Wednesday Oct. 25th at 6:00 PM and Sunday Oct. 29th at 4:30 PM. Marie-Jeanne Valet, Who Defeated La Bete du Gévaudan has two more performances as well Friday Oct. 27th at 7:30 PM and Saturday Oct 28th at 6:00 PM. Those are the two shows that are for me virtually tied for Best of Fest. For most impressive special effects and blood work and maybe scariest I recommend Choices which also has two performances left Thursday Oct. 26th at 6:00 PM and Sunday Oct. 29th at 7:30 PM. For simply the funniest and cleveriest I was surprised and delighted by Overtoun which actually has three more chances to be seen Wednesday Oct. 25th at 9:00 PM, Friday Oct. 27th at 10:30 PM, and Saturday Oct. 28th at 7:30 PM. Frankly my recommendation though is to see everything, which is still possible with the exception of Lock-In, which had it’s final performance on monday in the studio. It’s being replaced beginning Wednesday with Shadows Under Wabasha. For More information check out the Festivals website at https://www.tchorrorfestival.com/ to purchase tickets go to https://tix.gobo.show/festival/tchfxii

Songversation: We have Been told We Will Burn falls under the category of most unique show in the festival. The creation of Shanan Custer, who also performs in Kin at this years TCHF, and Rhiannon Fiskradatz, is a variation on their Songversation shows that can be seen at Bryant Lake Bowl and Theatre. This was my first exposure to the duo’s Songversation format, but as a big fan of Custer’s whom I’ve followed for years I was confident I would see something special. The theme of this episode is witches and it’s a melding of visual essay and song with elements of ceremony to not really explore the subject so much as meditate on it. While there are images of what we traditionally think of as witches in the Halloween sense, the focus is more on the concept as it has been used to try and control or destroy that which threatens the Patriarchal hierarchy. One specific example is that of Sinead O’Conner who spoke truths that the status quo wanted to ignore and so like the the witches of Salem she was suppressed undermined and devalued by a rigged system. While featuring some eye opening information to be sure, you’ll get the most out of it by not looking for a distinct narrative, but letting the whole wash over you. The beauty of the piece is not in the individual details but in the mood created by the flow and combination of image, music, word, and ritual.

Ghost in the Machine is a return to the narrative style of which most of the TCHF is made up of with a play that feels ripped from today’s headlines. Artificial Intelligence seems to be constantly in the news and social media these days which makes it the perfect subject for a horror story. Ghost in the Machine references all the usual A.I. Fears and the movies they are based off of without doing anything so predictable. It reminds us that Computers, while superior in many ways, are no match for their human creators when it comes to being horrible. The script by Tim Wick doesn’t reveal itself too quickly and the mind leads us down several false paths before we begin to put it all together. The cast are all good with Elora Riley as Arwyn turning in a particularly smart performance as the hip programmer being wooed by the super secret and shady Weyland Corporation. Gore free it’s a well plotted little gem with food for thought that will keep you thinking about it long after you’re home and in bed.

For some behind the scenes information about the TCHF listen to season 2 episode 5 of the Twin cities Theater Chat podcast https://twincitiestheaterchat.buzzsprout.com/2150807/13763195

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.

Morris Micklewhite and the Tangerine Dress is short but sweet and as always the best productions at Children’s Theater Company (CTC), broadcasts an important message. Focused on presenting the idea that gender should not dictate what a person plays with or what clothing they choose to wear it makes the case for acceptance of everyone being true to themselves. In a world that can be marginalized black and white, the show illustrates that between the extremes there’s an abundance of colors including tangerine. Adapted from the Popular children’s book by Christine Baldacchino and Isabelle Malenfant by Juliany Traveras and Directed by Heidi Stillman.

Morris is a young boy with a vivid imagination who is inspired by a Tangerine Dress that he discovers in the dress up box at his school. It feels right and for him, it’s the perfect clothing for playing astronaut in. The other children tease and exclude Morris, telling him dresses are for girls and Astronauts cannot wear dresses. Morris is supported in his choices by his teacher and mother who understand the way the world reacts but knows what truly matters is not what the world thinks, but how Morris feels inside. Wearing the dress makes Morris happy, it reminds him of his mother’s hair and fuels his imagination. That imagination is what finally begins to break down some of the other kids, who are able by the end of the play to open their minds and let go of societal gender constructs. The play ends with a fantasia of imagination come alive through the work of Scenic Designers William Boles and Sotirios Livaditis. Morris and his friends explore the universe untethered by reality to explore a rich galaxy fueled by their creativity. For a play that feels grounded in reality for most of its 50 minute run time, it’s exactly the right touch to send audiences of all ages out with a sense of wonder and a kernel of an idea that openness and acceptance can be a beautiful and wondrous thing.

CTC assembles a young cast that reflects the message of the play and anchors it with the fabulous Joy Dolo. Dolo plays dual roles as Morris’s mother and his teacher, creating distinct but caring portraits. As the teacher she’s especially effective at showing the struggle within of supporting while also helping Morris navigate the reactions and expectations of others. Morris is played by Mathias Brinda who identifies in the program with the pronouns She/They. It’s always a surprise to see someone so young who has the stage presence of an experienced performer as Brinda does. Brinda has to carry the play and their performance captures the wonder of a child whose brain is full of fantasies and curiosity. Of the four child characters in the play two boys and two girls, there is a leader of each gender who will not abide Morris’ gender nonconforming behavior and two that are the followers but eventually rebel against their friends intolerance. The bullies are played by Truman Bednar as Henry and Hildie Edwards as Becky who’s a trans actor and advocate. Both are strong in portraying the cruelty of kids on the playground, not an easy task, being mean to others even though it’s accepted that it isn’t real.

Morris Micklewhite and the Tangerine Dress is running through November 19th at Children’s Theatre Company in Minneapolis. For more information and to purchase tickets go to. https://childrenstheatre.org/whats-on/morris-micklewhite/

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.

Before we jump into todays reviews again I want to urge you to purchase your tickets ahead of time. On The third day of the festival When I went online to check status of tickets there was already two sold out performances and another listed as a Sellout Risk. For More information check out the Festivals website at https://www.tchorrorfestival.com/ and to purchase tickets go to https://tix.gobo.show/festival/tchfxii

Overtoun, a Spiral Theater Original Production is about a bridge in Scotland where dogs are commiting suicide. The description gave many of us pause. Are we sure we want to see a horror festival play about dog suicide? This sounds like it’s going to be very heavy. It isn’t. This is a comedic play filled with wordplay that is deceptively clever. The cast of five actors make it look easy but I promise you pulling off this script takes a certain kind of talent, it reminds one of a Marx Brothers movie, Playwright and Assistant Director Kyle Munshower, exploits every double meaning and leaves no homophone unturned. The scenic design makes effective use of reversible flats on wheels that allow for effective location changes with a minimum of deadtime. What deadtime there is they cover nicely with the live musical score by Music Director Griffin McEnery. Anytime you need to make significant scene changes you risk breaking the spell, but if you need to, this is how to do it. The wonderfully tongue in cheek cast is Anya Naylor, Anjeline Mae Ramirez, Mar Burris, Carlyn Grande, and Alec Logeman. Overtoun takes a depressing idea and makes something witty and infectiously funny. Focusing on the absurdities of the people of Overtoun they never wade to deeply into the truly horrific theme dog suicide.

Kin, a Special When Lit production written and starring TCHF’s Artistic Director Nissa Nordland Morgan, is a change of pace from the other shows I’ve seen so far this festival. Rather than being peppered throughout with strange occurrences, fast paced plots, and large doses of humor, Kin is more of a slow burn. The first scene takes the time to establish and familiarize us with the newly married Mona and Aurora, played by Nissa Nordland Morgan and Tara Lucchino, who are spending New Years at a remote cabin in northern MN. The dialogue hints that there is something that Mona doesn’t want to talk about but it’s primarily staged as a way for us to get to know the characters and a bit about their pasts. It’s a sexually charged scene that in no way prepares you for the turn the play takes with the introduction of Accalia, Mona’s mother played by Shanan Custer in the next scene. The script explores the folklore about She-Wolves, family, and love. Three strong performances, but there is no denying that the introduction of Custer’s character in the second scene adds a jolt of energy and menace to the play. Custer dominates her scenes in a thrilling performance. The Scenic Design by Zach Morgan is simple, clean, and effective, giving you everything you need to set the scene and nothing superfluous.

For some behind the scenes information about the TCHF listen to season 2 episode 5 of the Twin cities Theater Chat podcast https://twincitiestheaterchat.buzzsprout.com/2150807/13763195

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.

Before I jump into the reviews of the shows from Day two of the festival I want to encourage you to Plan ahead and purchase your tickets before heading to the theater. On night two of the festival, three of the four performances were sold out. This is great for the festival and for the artists but can be a major bummer if you are the audience member who just shows up hoping to see a show. For More information check out the Festivals website at https://www.tchorrorfestival.com/ and to purchase tickets go to https://tix.gobo.show/festival/tchfxii

The Hand That Washed Ashore falls into the category of horror comedy, but more specifically horror comedy along the lines of Evil Dead II. It’s very serious but has elements of an almost slapstick style of comedy. It’s a tricky tonal balancing act but one that Playwright Vincent S. Hannam and Director Patrick Kozicky nail. A construction crew is trying to clear an island of storm damage on Lake Superior in Northern Minnesota before it opens to the public. When they find a chest on the shore, against the adamant pleas of one of the crew, they open it and must face the wrath of a vengeful severed hand. When you walk into the theater you’ll know immediately by the tarp on the floor that this ones going to get a little bloody. It builds slowly but when things start happening, they happen quickly. Once the chest is opened things get crazy fun. A solid cast including some double duty from Derek Dirlam as the foreman and later as the dismembered hand make this one to see.

Rasputin from Four Humors, the theater group that started the TCHF returns with their first post pandemic show and it was the best of the night, running neck and neck with Marie-Jeanne Valet, Who Defeated La Bete du Gévaudan from opening night as “Best of the Fest”. What do they have in common? Both are based on historical events, both set during a period in history when a revolution is just over the horizon, both feature a live musical score performed on stage, and finally, both feature Allison Vincent. It’s becoming clear that if you want to have a hit show at TCHF, you cast Allison Vincent in it. This time Vincent also is credited as co writer along with the three other cast members Ryan Lear, Brant Miller, and Matt Spring. The play uses a Rashomon style narrative device, wherein the three men who killed Rasputin, the Mad Monk of Russia, tell their different stories to the inspectors investigating the murder. We see the same evening play out in three different versions. Spring plays Rasputin with the swagger and confidence of a rock star, it’s a brilliant turn, but then so are all of the performances in this production. There is some rather effective special effects in this show too, including a spectacularly realistic gunshot. This was sold out and I wouldn’t be surprised if that trend continues for the entire run. Definitely more on the humorous side of things, but it’s not all fun and games!

Lock-in is a troubled production and unfortunately a show that is best skipped. It happens, I think the biggest issue with this tale of a youth group reunion is the script which doesn’t work as a stage script but better suited for film. It’s laden with short scene after short scene, making transitions clunky and ruining any sense of pacing. There were a lot of high hopes for this one as there are several Transgender characters, which faithful readers will know is something I’m passionate about. It’s never fun to say this but the script, the performances, the blood and other effects, and even the set construction all come off as just not being up to the quality of the other shows in the festival. There’s a mirror effect that could work, but it’s placement in the set is unseen by some of the audience, and those who can see it, see the the actors standing behind far too much in advance of its use. I think the cast is having fun and that’s something, but I just cannot recommend this one.

For some behind the scenes information about the TCHF listen to season 2 episode 5 of the Twin cities Theater Chat podcast https://twincitiestheaterchat.buzzsprout.com/2150807/13763195

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.