Purple Rain Leaves an Ugly Muddy Mess Behind

If there was ever a show you wanted to love, it’s Purple Rain. The new musical adaptation of Prince’s iconic film and soundtrack held its official opening night after three weeks of previews. It’s scheduled to run for about three weeks before theoretically transferring to Broadway—though the production’s website currently lists tickets only for the Minneapolis engagement.

Prince is a Minneapolis legend, and premiering the show here was absolutely the right choice. Unfortunately, that’s where the good decisions seem to end—because if there was ever a show that’s hard to love, it’s Purple Rain.

The musical follows the film’s plot up to a point, then veers off course in ways it can’t recover from. The Kid (Prince’s character) is remarkably unlikable in Act I. Unlike the movie, his brilliance as a performer isn’t really established that strongly up top, so his entitlement and self-centeredness feel neither earned nor forgivable. He comes across as someone everyone around him would be better off leaving behind. Perhaps the Kid’s charisma is meant to carry the audience, but this production was surprisingly low energy. I saw a more electrified crowd at The SpongeBob Musical at Lyric Arts two years ago, that audience treated it like a Beatles concert. Here, applause rarely rose above a golf clap.

The Kid is unlikeable for most of the first act and downright misogynistic in the second. The show aims for redemption but doesn’t come anywhere close to earning it. He’s a jerk who becomes a monster, and feeling bad at the end doesn’t excuse what he does to Apollonia. She’s portrayed as a troubled young woman scarred by childhood trauma, yet in Act II she’s humiliated and reduced to a reality TV punchline. she’s mistreated by the Kid and get’s no happy ending. The show’s book is mean spirited and I had very little tolerance for it by the end.

Purple Rain the movie certainly hasn’t aged super well in terms of the way it portrays women. Those of us who lived through the 80s kind of run into that a lot when we revisit the blockbusters of our past. It’s a sign of how far we really have come despite how it may feel sometimes. I expected this musical to address some of those issues, to correct them. Which, for the record is what I think would’ve been the right thing to do. Instead it doubles down on everything it should have corrected. It shows us women being strong and supportive of each other, but then decides to punish Apollonia in the end. While The Kid is rewarded, because after he’s horrible, he feels kind of bad about it. Ending with the kid being forgiven and him allowing Wendy and Lisa to collaborate with him, which is really a sucky message.

The cast is a mixed bag. Kris Kollins as the Kid moves like Prince and, while not a vocal match (who could be?), that’s forgivable. What’s missing is charisma. Perhaps a result of the exhausting lead up to opening night? I know they’re making changes up to the last minute, but I have to review what I saw. Jared Howelton delivers a spot-on Morris Day, clearly the audience favorite. Grace Yoo shines as Wendy, her commanding presence only highlighting Kollins’ lack of energy. Rachel Webb is excellent as Apollonia. Strong vocally, physically, and emotionally.

Choreographer Ebony Williams offers some intriguing movement, especially shadow partner sequences that suggest the eroticism that they’re not going to show us on stage. There’s nice dance moves from the bands as they are performing at The First (First Avenue). Still, I was surprised there wasn’t more dancing overall.

Production design by David Zinn is strong. The Purple Rain logo against a floral backdrop is striking, and the First Avenue recreation works beautifully. I also liked how the design allowed seamless shifts to other locations, such as the Kid’s apartment, and his motorcycle entrance was handled effectively.

Prince fans will want to go, and knowing what to expect may help you enjoy it for the music alone. But if you plan to share it with your kids, especially your daughters, I’d advise against it. The show leans toxic, its redemption arc forced and unconvincing. The book for this show left me with such a bad taste in my mouth, that no rain, purple or otherwise could wash out.

Purple Rain runs through November 23 at the State Theatre before its anticipated Broadway transfer. It’s a rare opportunity for Minnesotans that should’ve been a celebration of Prince and his music; instead, it felt like they were dragging him through the mud. The lack of energy from some of the cast, made it feel like they thought that as well. For more information and to purchase tickets go to https://hennepinarts.org/events/purple-rain-2025

Don’t rely on Facebook or Instagram algorithms to keep you in the loop about great shows. Subscribe and have every post from The Stages of MN delivered straight to your inbox. It’s the best way to make sure you never miss out on the theater action. To subscribe on a computer, enter your email address on the home page (right-hand side) and click subscribe. On mobile, scroll to the bottom of the page to find the same option. You can also follow me on Facebook @thestagesofmn and on Instagram thestagesofmn.

The Stages of MN YouTube channel is home to the weekly Stages of MN Show. You can watch it by clicking here. Be sure to check out the latest episodes and subscribe so you’ll always know when a new one drops. Not sure you agree with one of my takes? I’m also part of the Twin Cities Theater Bloggers (TCTB), where you can find review roundups from my colleagues and me. Follow us on Facebook at @TwinCitiesTheaterBloggers.

The Last Yiddish Speaker is a Frightening Cautionary Tale at Six Points Theater

Six Points Theater’s production of The Last Yiddish Speaker is a terrifying look at what we want to tell ourselves “could have been,” yet something in it whispers, unsettlingly, “what might still come to be.”The premise is that the January 6th 2021 insurrection in Washington succeeded. The setting is a small rural community, the year 2029, the signpost up ahead, The Twilight Zone.

We open in the home of Paul and Mary, a father and daughter — Jewish by birth, Christian by necessity. Mary’s real name is Sarah, but that, like their true identity and beliefs, must remain hidden if they are to survive. Mary is a high school senior still reeling from the latest news: women are no longer allowed to attend universities. That was her path out.

Her boyfriend, John, is part of the MAGA youth movement. His after-school job? To search Paul and Mary’s house every day, checking browser history and making sure there are no banned books. They aren’t under suspicion, it’s simply protocol when someone new moves to the town. One more month, they tell themselves, until they hit their one-year mark and the surveillance ends.

They have internalized the roles they must play: a Jesus loving, Walmart working, churchgoing father and daughter. That fragile safety shatters one night when pounding on the door wakes them. They fear discovery, but instead, an elderly woman is dropped on their doorstep. She claims to be their great aunt Chava. She is the last Yiddish speaker of the title. She is not their relative in a literal sense, but a spiritual ancestor to be sure. A woman who has lived 1,000 years and as long as Jews exist, will live 1,000 more.

The play portrays John not as a villain, but as sheltered. Someone who has grown up surrounded only by people who believe exactly as he does. He could easily be one of the many Americans who receive all their “news” from Fox News and mistake it for truth. John respects Mary, and we can see the capacity for him to change; he has simply never had the opportunity. He is the blind led by the hateful, yet we sense within him the ability to see, if shown the truth. I appreciate that playwright Deborah Zoe Laufer makes the only non-Jewish character, and by default the antagonist, a figure of hope. A reminder that some minds may shift when exposed to love, truth, and humanity. Nothing can be done about those who knowingly stoke hate and greed, except, perhaps, to ensure they are not re-elected, assuming elections continue to exist at all.

Sally Wingert is, of course, perfect as Chava, carrying not only centuries of wisdom, but the heartbreak and clarity that come with witnessing humanity repeat its cycles. Avi Aharoni brings depth and conflict to Paul, a man choosing survival and safety for his child over resistance. It’s an argument that, outside ideology, becomes painfully understandable. But the true standouts are Charleigh Wolf as Sarah/Mary and Carter Graham as John, two performers I don’t recall having seen before, and I now hope to see much more from. They provide the drive and heart of the play, they are the future Chava and Paul are the past and present. It’s a scary view of the world, but it does end with a glimmer of hope. It may not be the light hearted entertainment you are looking for, but it is the kind of important work that needs to be seen.

A note on Michael Hoover’s set design: walking into Six Points Theater some patrons might be a little surprised at the decorations covering the walls. If I were John I would be saying “The lady doth protest too much, methinks.” If ever a show needed trigger warning for Jesus this is it. I don’t have a problem with Jesus he seems like a cool cat. I just disagree with what some people do in his name. I think people who have been victims of such misappropriations of his name, might actually appreciate the warning.

The Last Yiddish Speaker runs through November 9th at Six Points Theater in St. Paul. For more information and to purchase tickets go to https://www.sixpointstheater.org/last-yiddish-speaker

Don’t rely on Facebook or Instagram algorithms to keep you in the loop about great shows. Subscribe and have every post from The Stages of MN delivered straight to your inbox. It’s the best way to make sure you never miss out on the theater action. To subscribe on a computer, enter your email address on the home page (right-hand side) and click subscribe. On mobile, scroll to the bottom of the page to find the same option. You can also follow me on Facebook @thestagesofmn and on Instagram thestagesofmn.

The Stages of MN YouTube channel is home to the weekly Stages of MN Show. You can watch it by clicking here. Be sure to check out the latest episodes and subscribe so you’ll always know when a new one drops. Not sure you agree with one of my takes? I’m also part of the Twin Cities Theater Bloggers (TCTB), where you can find review roundups from my colleagues and me. Follow us on Facebook at @TwinCitiesTheaterBloggers.

Episode 18 of The Stages of MN Show is Up on Both YouTube and the Podcast Version! But Hurry it’s Dated Material.

An episode is up early for a change and that’s because it’s the final Monster Month episode and is primarily reviews of shows from the Twin Cities Horror Festival which ends this Thursday October 30th. So head over and watch (the preferred method) or listen to the episode and then head to https://www.tchorrorfestival.com/ to check the schedule and purchase tickets. I don’t mean to frighten you but some shows are selling out so don’t dilly dally. You can view the show here https://bit.ly/TSOMNEpisode18YouTube or listen here https://bit.ly/TSOMNEp18Podcast.

Don’t rely on Facebook or Instagram algorithms to keep you in the loop about great shows. Subscribe and have every post from The Stages of MN delivered straight to your inbox. It’s the best way to make sure you never miss out on the theater action. To subscribe on a computer, enter your email address on the home page (right-hand side) and click subscribe. On mobile, scroll to the bottom of the page to find the same option. You can also follow me on Facebook @thestagesofmn and on Instagram thestagesofmn.

Twin Cities Horror Festival Day 10 Reviews: The Final Two Shows, Cursed Objects and Terms

Show numbers 13 and 14 of the 14th Annual Twin Cities Horror Festival gave me a full TCHF Bingo! I’ve seen them all, and lived to tell the tale. Day 10 was a night of highs and lows, but as my mama always said, TCHF is like a street of houses on Halloween: you never know what you’re going to get. Sometimes it’s a Snickers bar; other times, it’s those orange-and-black wax paper wrapped chewy mystery candies. But that’s part of the fun, the unexpected.

The festival runs through October 30, and there’s still time to catch most of the shows. Visit tchorrorfestival.com to explore the schedule and purchase tickets. A few shows are worth planning ahead for, especially Terms, which is hands down the best production in this year’s festival.

Cursed Objects, from Dolly Who? Productions, was a bit of a disappointment. Destiny Davison, the creative force behind Dolly Who?, stars as the Webb sisters, Millicent and Melody, two consciousnesses sharing one body. The pair runs The Cabinet of Cursed Objects, a curiosity shop celebrating its 13th anniversary with a gathering of loyal “Cabineteers.”

When a mysterious door arrives in a shipment, strange things begin to happen, though what exactly is never quite clear. That’s the problem. The setup has potential, and the concept of the Webb sisters is clever. The set design is well done, thanks to the show having the Studio space, which allows the show to remain set up throughout it’s run, but the script lacks focus.

The performances feel under rehearsed, and much of the exposition is delivered inaudibly. Once again, it feels like strong production design is being used to mask a script that wasn’t ready. Davison’s performance as the Webb sisters starts promisingly, but the idea never quite reaches its potential. The shop itself and its clientele are intriguing ideas, but too vague and underdeveloped. And while it isn’t fair to judge a show by what it isn’t, I couldn’t help wishing Davison had woven in some of her delightful cartoon creations.

With Terms, my Twin Cities Horror Festival journey comes to an end, and what a high note to finish on. It’s easily the best show of the festival.

Four Humors, the company that started TCHF 14 years ago, proves you can go home again. The cast featuring company members Ryan Lear, Brant Miller, Matt Spring, and Allison Vincent, and joined by newcomer Corie Casper, is fantastic, as anyone familiar with Four Humors would expect.

The story combines the otherworldly horror of H. P. Lovecraft with the even more terrifying evil of insurance companies. As the show began, I was reminded of a line from The Rainmaker: “Deny all claims.” The plot centers on the firm of BGW, which seems to confirm what we’ve always suspected, That they exist to serve their evil overlords in this case the board of directors.

Terms showcases everything that makes Four Humors special. The performances, script, and production design, from costumes and props to projections, are all at a level few TCHF shows reach. That’s not a knock on the others; it’s the bar to aspire to.

I brought my son Alex and his fiancée Jayla with me. Jayla had seen Rasputin, Four Humors’ 2023 TCHF hit, with me, and we loved it so much we went back for the encore at Open Eye in 2024. On the way home, Alex remarked that Terms, expanded into a longer version, could easily play at the Guthrie. That’s a comment on quality, not content. And honestly, I’d choose a Four Humors show over just about anything at the Guthrie, any day of the week and twice on Sunday.

I’m not sure why Four Humors doesn’t produce more often, but the talent of this quartet is evident in every aspect of Terms. It’s laugh-out-loud funny, razor-smart, and executed with split-second precision.

Don’t rely on Facebook or Instagram algorithms to keep you in the loop about great shows. Subscribe and have every post from The Stages of MN delivered straight to your inbox. It’s the best way to make sure you never miss out on the theater action. To subscribe on a computer, enter your email address on the home page (right-hand side) and click subscribe. On mobile, scroll to the bottom of the page to find the same option. You can also follow me on Facebook @thestagesofmn and on Instagram thestagesofmn.

Episode 17 is up and it’s TCHF Heavy.

Getting this post out in time for the weekend hopefully. It’s a great weekend to head out to the Twin Cities Horror Festival and so this show features that heavily. Go to their website to make your schedule and purchase tickets here https://www.tchorrorfestival.com/

Watch the episode here https://bit.ly/TSOMNEp17YouTube

Or listen to the podcast here https://bit.ly/TSOMNEp17Podcast

Episode 17 has reviews of four Horror Fest shows. A tour of TCHF central, the Crane Theater. We also hear about the Scrimshaw Curse directly from the Duck’s mouth.

Get the details on how to win tickets to an upcoming show at History Theatre thanks to Erica Skarohlid of Lettered in Theatre. You can read her blog here https://letteredintheatre.wordpress.com/ and check out the season lineup at History Theatre here https://www.historytheatre.com/

Don’t rely on Facebook or Instagram algorithms to keep you in the loop about great shows. Subscribe and have every post from The Stages of MN delivered straight to your inbox. It’s the best way to make sure you never miss out on the theater action. To subscribe on a computer, enter your email address on the home page (right-hand side) and click subscribe. On mobile, scroll to the bottom of the page to find the same option. You can also follow me on Facebook @thestagesofmn and on Instagram thestagesofmn.

Murder Inn Supplies a Surprisingly Strong Whodunnit at the Plymouth Playhouse

Murder Inn by Howard Voland and Keith McGregor runs through November 2 at the Plymouth Playhouse. This is community theater, and as such, I don’t hold it to quite the same standards as I would a professional production. The performances are a bit uneven, some very fun and none particularly weak, but the show’s real strength lies in its script.

The set,I assume by Dan Sherman (he’s listed as Set Manager), is impressive, and Bronson Talcott’s costumes add a nice touch of character. But the real reason to see Murder Inn is for the story itself.

It’s a classic whodunit in the spirit of Agatha Christie. A group on a tour of haunted sites in New England becomes stranded by bad weather at an inn that has just closed for the month of November. The inn, run by Martha Talbot and her son Jake, isn’t prepared for guests, but with the roads impassable, the travelers have no choice but to stay. You see, Martha closes the inn every November because the ghost of her ancestor Marcus becomes restless that time of yea. He has a habit of throwing knives at people. That hint of the supernatural gives the play a fun extra layer of suspense.

This production is apparently the first in a series of plays by Voland and McGregor featuring two elderly women, Grace and Doris. Grace played by Wendy Freshman who’s quite good as the amateur sleuth, very much in the tradition of Miss Marple or Jessica Fletcher. While Doris, played by Shelley Nelson, provides comic relief that’s a bit over the top. I particularly enjoyed the character work from Amy Madson and Tristan Wilkes and Martha and Jake Talbot and Sher U-F as the slightly goofy Muriel, who travels with a Ouija board in order to converse with the spirits.

Murder Inn is light, funny, and surprisingly satisfying, a charming mystery caper perfect for a fall evening. And one that actually keeps you guessing until the final reveal, and as an added bonus, the reveal is satisfying. Murder Inn, presented by 4 Community Theatre, runs through November 2 at the Plymouth Playhouse. For more information and to purchase tickets, visit 4communitytheatre.org.

Don’t rely on Facebook or Instagram algorithms to keep you in the loop about great shows. Subscribe and have every post from The Stages of MN delivered straight to your inbox. It’s the best way to make sure you never miss out on the theater action. To subscribe on a computer, enter your email address on the home page (right-hand side) and click subscribe. On mobile, scroll to the bottom of the page to find the same option. You can also follow me on Facebook @thestagesofmn and on Instagram thestagesofmn.

Primary Trust a Reminder of the Importance of Having Someone to Connect to at the Guthrie

William Sturdivant (Bert) and Bryce Michael Wood (Kenneth) Photo by Dan Norman

Here’s how my Tuesday played itself out. I went to work, as I had every day for the last seven weeks, at Maple Grove Senior High, working as an education support professional in the special education department. Unlike the previous days, this one was my last. I had to say goodbye to a couple dozen kids I’d grown extremely fond of.

In a Facebook post about my last day, I wrote that I knew these kids would move on and forget me, but I would never forget them. It was a great day because I spent it with those extraordinary, unique students. It was also a sad day because I had to say goodbye to them. Then that evening, I went to see Primary Trust at the Guthrie Theater, and in small and large ways, I saw the emotions I’d felt throughout the day brought to life on stage.

We’re never told exactly what the main character Kenneth’s diagnosis might be. It may simply be the result of childhood trauma, or he may be on the autism spectrum, he is clearly neurodivergent. What he shares with the kids I worked with is that he isn’t always able to communicate his truth to those around him. Yet he can communicate, in his own way, in his own mind. And that’s one of the key elements that struck me about this play.

Kenneth’s best friend, Bert, is imaginary. That’s revealed early enough that I’m not spoiling anything. We learn that Bert was once Kenneth’s social worker, the man who helped place him in an orphanage after his mother died when Kenneth was ten. They had lunch together every day, and when Bert’s work with him ended, Kenneth created an imaginary version of him to fill that void. When I wrote that the students I worked with will move on and forget me, I think that’s true. But they’ll forget because others will step in to take my place, and the people already supporting them will still be there. Kenneth has no one to step in and fill the void, and so he created or more accurately extended Bert’s presence with his mind. Don’t get me wrong, he isn’t crazy, he knows Bert isn’t real, and he knows he should only talk to him inside his head.

I used voice dictation to draft this review as I drove home, because, honestly, there are no spare minutes in my day. Each time I said “the kids will forget me,” the dictation wrote “forgive me.” Did I subconsciously say that, or was it coincidence? It reminded me how much that job meant to me. If I won the lottery tomorrow, I might go back to it. But I haven’t, and I need to make a living. Everyone at MGSH, my family and friends understands and supports that, but I still feel like I let them down. I don’t like leaving things unfinished. Even knowing I made the responsible, real-world choice, I’ll always carry a bit of that guilt. I’ll always be hoping they have forgiven me.

Will Sturdivant plays Bert with warmth, humor, and humanity. I related to him deeply. At one point, Bert, though he’s a figment of Kenneth’s imagination, realizes he must do what any mentor does: encourage Kenneth to expand his world, to connect with real people. It’s a powerful, moving moment.

Kenneth does find connection with Corrina, a waitress at Wally’s Tiki Bar, where he spends most evenings drinking Mai Tais with Bert. Nubia Monks plays Corrina, as well as about ten other characters, each distinct and fully realized. There’s a moment when Kenneth offers his arm for Corrina to take, and it is exactly the way one of my students would take my arm when she needed a break, to take a walk. That small gesture nearly undid me.

Pearce Bunting plays Kenneth’s two bosses, both gruff, intimidating men which he manages to show the tenderness behind their rough exteriors. A reminder that what is on the outside doesn’t always reflect what is on the inside. That aspect is echoed throughout the performance of Bryce Michael Wood as Kenneth who is astonishingly good. By the end of the 90-minute, no-intermission play, it’s clear he’s both physically and emotionally spent. Wood gives two distinct performances: the Kenneth who moves awkwardly through the real world, and the articulate and comfortable Kenneth who exists in conversation with Bert. That difference is illuminating, and deeply human. Don’t we all have a version of ourselves that exists in our minds, more articulate and self-assured than the one we present to the world?

I wondered if my love for this play was amplified by the day I’d had, but my plus one, who didn’t share my emotional baggage felt exactly the same. Primary Trust is a play that connects on many levels. For me, it was personal, emotional, joyful, and full of hope, much like the last seven weeks of my life. It’s about communication, understanding, and the quiet ways people reach each other.

Primary Trust is a beautiful, uplifting play that reminds us, if you need reminding, that people are resilient. I absolutely loved it, and I hope you’ll see it before it closes on November 16 at the Guthrie Theater in Minneapolis. For more information, tickets, and details on rush ticket options, visit guthrietheater.org.

Don’t rely on Facebook or Instagram algorithms to keep you in the loop about great shows. Subscribe and have every post from The Stages of MN delivered straight to your inbox. It’s the best way to make sure you never miss out on the theater action. To subscribe on a computer, enter your email address on the home page (right-hand side) and click subscribe. On mobile, scroll to the bottom of the page to find the same option. You can also follow me on Facebook @thestagesofmn and on Instagram thestagesofmn.