Sanctuary City Was Worth a Return Visit at Theatre in the Round

Diego Symouksavanh and Ana Paulina Photo by Aaron Mark Photo Film

If Sanctuary City written by the Pulitzer Prize winning Martyna Majok sounds familiar it’s probably because it was staged by Frank Theater just a few months ago. It’s a thought provoking and challenging play that explores the timely topic of immigration. Uniquely structured, the first act contains dozens of brief moments, memories over a course of a couple of years that establish the close friendship between two teenagers G and B, who live in the US illegally. During these scenes which last anywhere from 10 seconds to a couple of minutes each, we learn that G becomes a citizen, and they hatch a plan to marry each other so that B can legally stay in the country as well. Act II is one scene which explores what happens to that plan when a third person, Henry, enters the picture as a romantic partner. Every reveal in the second act clarifies the situation while complicating the issue itself. It forces the audience to constantly reconsider what they thought moments earlier.

Majok’s script is well crafted, seeing it for a second time within about three months is a unique opportunity to consider the different approaches the two companies took. The set design by Christopher Goddard mirrors the differences between the two halves of the show and make tangible the idea of the first being a series of memories. Where Act One is Impressionistic with time fractures and a very simplistic approach to set Design. Act Two is more formalized and structured. If you feel lost or confused at the beginning, hang in there, you’ll come to understand what is happening, and know that the second half will be much more traditional. Majok’s script further distinguishes this fact by the simplistic, almost black and white aspect of the dialogue and emotions in Act One compared to the intricate and often amorphous reality of the final Act. Andrew Vance’s lighting helps to tell the story particularly in Act One in which the lights are visual cues to indicate the jump to a new memory. There are also some nice sound effects added by Sound Designer Eevee Pavey that again, especially in Act One, help to set the stage in our imagination. Like the sound of windows being opened and closed. Director Vanessa Brooke Agnes does a nice job of differentiating the abstract nature of the first act with a much more grounded reality of the second.

The entire cast was new to me, but they were all as strong and in some cases stronger than the Frank production. Ana Paulina who plays G allows the unexpressed emotions of Act I show through the cracks. With her body language and looks we begin to answer our own questions about things that are not said. Diego Symouksavanh approaches the character of B with more energy than his Frank predecessor, where the character was portrayed as more passive and lost. Symouksavanh’s more engaged and active interpretation is an equally interesting and valid take on B. B spends his life in Limbo; as an illegal, his life options if he wants to stay in the US are limited, he can’t get aid for school and he needs to work jobs that don’t enforce certain regulations. Because of the introduction of Henry to the plot, he doesn’t know if he’s still going to be able to escape Limbo with G. If he can’t, should he continue to live this life or return to his birth country? Henry is played by LJ Soudaly and is his stage debut. Soudaly is a natural and hopefully he’ll pursue future roles. Henry is a difficult role, after spending the first Act witnessing the close friendship of B and G, it’s hard to blame Henry for coming between the two friends. He enters the play at a point where a third is unwanted by the audience and first impressions are that he’s just going to make everything fall apart. But he softens and as more is revealed, we find something to appreciate in the character for a time. It is here, that Majok’s script kicks into overdrive, requiring the performers to manipulate the audience’s allegiances from moment to moment.

Sanctuary City runs around an hour and forty five minutes with one intermission. It is a drama, but also contains humor and while it will leave you with a lot to think about and does not end with a super sunny resolution, it’s creativity and performances will leave you feeling excited and engaged rather than depressed. Sanctuary City runs through June 1st at Theatre in the Round in Minneapolis. For more information and to purchase tickets go to https://www.theatreintheround.org/sanctuary-city/

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Melancholics Anonymous Presents Bart and Arnie Where Sesame Street Meets the Real World

Clare Rolinger and Hawken Paul Photo by Brent Knutson

Just when you thought depression and low self esteem couldn’t be fun anymore, those crazy kids from Melancholics Anonymous bring you Bart and Arnie by Adam Szymkowicz. Minnesota Fringe favorites, I encountered this troupe of merrymakers during my first year covering the Minnesota Fringe Festival in 2021. In that Festival they unleashed a deranged little horror comedy called A Day with the Newhearts, where it was evident they had already established a rabid fan base. Subsequent shows went by the names of A Girl Scout’s Guide to Exorcism and Beanie Baby Divorce Play. Bart and Arnie falls right in line with their other works. It takes something comforting and familiar and then adds a twist that makes you see that thing in a whole new light. In this case it’s Bert and Ernie, you know, from your childhood. But while Bart and Arnie are very much the same personalities as Bert and Ernie, the twist is that those character traits are taken from their children’s entertainment safe zone and extended to what might be the real world consequences. Artie’s carefree approach to everything means he doesn’t hold down jobs and never has his half of the rent. Bart gets frustrated with Artie but also enables him because he has low self esteem and a low simmering case of major depressive disorder.

While Sesame Street tropes are played upon throughout, the playwright applies real world logic to them, and surprisingly keeps from going too dark. When the play ended I turned to my fellow Blogger Erica of https://letteredintheatre.wordpress.com/ and we both said “that was so cute”. That is the magic of Melancholic Anonymous, they do dark and twisted with such positive energy and creativity. Hawken Paul and Clare Rolinger are perfectly cast as Bart and Arnie. Paul has his Bert mannerisms and body language down pat. Rolinger perfectly captures the boundless optimism and great good fortune that seems to belong to the truly clueless. It’s a wonderful comic performance with perfect timing and a knowing twinkle in the eye. The play is directed by company member Claire Chenoweth with inspired creativity, there is hardly an entrance or exit that doesn’t add a little comic touch. The wonderful sets and props are by Mady Smith, I loved Arnie’s bubble bath which can be seen in the photo above. The costumes are by Anneliese Garner who captures the look of Bert and Ernie without actually reproducing their look. Lighting Design is by Timothy Kelly, and includes some really nice little flourishes like when Bart is steaming mad, the lighting goes red. Sound Designer Bee Davis fills the play with little musical touches and sound effects that give the entire production a very polished feel.

If you grew up with Sesame Street and have fond memories of Bert and Ernie as I do, don’t worry, this isn’t a hatchet job, it’s gently dark, and still very funny and sweet. Bart and Arnie runs through May 18th at The Hive Collaborative in St. Paul. For more information and to purchase tickets go to https://www.thehivecollaborativemn.com/events

& Juliet Dazzles at the Orpheum Theatre

Rachel Simone Webb and Michael Canu Photo credit Matthew Murphy

& Juliet is a jukebox musical using popular songs from a time in which I did not listen to popular songs. That said, I recognized several and the ones I didn’t know I still enjoyed. There are those who shun the jukebox musical, but I prefer them by far to most of the movies adapted to stage musicals, at least the songs are likely to be good. & Juliet takes place on opening night of Romeo and Juliet and the Authors wife Anne Hathaway has gotten a babysitter and come to London to attend. But she isn’t happy with Will’s ending and she proposes a new one in which Juliet doesn’t kill herself. Instead, she flees her family who want to get her to a nunnery, she heads to Paris with her besties April (a role Anne has assumed for herself) May, her obviously gay first bestie, and her nurse. There she finds herself hitched to another ill advised suitor, one who is really in love with May. Add to this, a back from the dead Romeo and a bickering Mr. and Mrs. greatest writer in the English language, and you have the makings of high drama, but what you get is pure fun with a capital FU.

Set against a fabulous design, this has hints of Moulin Rouge, not as big and splashy, but somehow more organic and magical. Like the perfect balance of stage magic to heighten the emotional highs without being garish. Like Moulin Rouge but with some sense of decorum. So hats off to the design team; Soutra Gilmour, Set Designer; Paloma Young, Costume Designer; Howard Hudson, Lighting Designer; and Andrzej Goulding, Video and Projection Designer. The book is by David West Read and for Shakespeare enthusiasts, he packs it with Easter eggs, from lines in his plays to little details in costume and historical details. It’s a very funny script and it’s packed with positive messaging from LGBTQA+ issues to female empowerment. The music and lyrics are by Max Martin and Friends, which a search tells me that there is one original song “One More Try“, the rest are existing pop songs co-written by Martin.

Corey Mach and Teal Wicks play Shakespeare and Anne Hathaway, and they are both very good. Mach especially has a great voice and Wicks plays everything as if it’s just occurring to her, which is fitting for the time period historically, though the design is sort of Renaissance Modern, which isn’t a quibble, I kinda loved it. Daniel J. Maldonado has just recently replaced Michael Canu as Romeo on the tour, so the photo attached to this review show Canu, but I couldn’t bear to part with that photo, as it was one of my favorite moments in the show. I enjoyed Maldonado’s performance and other favorites included Nick Drake as May, Paul-Jordan Jansen as Lance, father of Juliets new fiancé and an old flame of the nurse, and speaking of the nurse she wonderfully portrayed by Kathryn Allison. But as good as everyone else is, the star of the show and the one that just nailed everything was none other than Juliet herself, Rachel Simone Webb.

If you are on the fence on this one, I highly recommend it, it’s not that often that you get to just sit back and laugh and rock out and be genuinely wowed by the spectacle of a show. This is one of the shows where the crowd is super into it and screams fun. & Juliet runs through May 18th at The Orpheum Theatre in downtown Minneapolis. For more information and to purchase tickets go to https://hennepinarts.org/events/and-juliet-2025

Finding J Mitchell is a Fun, Light Whodunnit With a Nicely Constructed Script.

Finding J Mitchell is a new comedy murder mystery play by Kiernon James having its world premiere this month at the Gremlin Theatre in St. Paul. The setting is the Shady Oak Lodge in Wisconsin run by Shelly and Jerry Brenner. It’s a quite place, where nothing ever happens at least according to the young errand girl, Molly. That is until now, with thirteen characters two of which will be dead before the end of the play there are plenty of suspects and lots of clues to mislead the audience.

Alison Anderson, Edwin Strout, Ward Eames, Nicole Wood Photo by BTE Media

Rounding out the locals are Chuck, Jerry’s hunting buddy who is also the town Sheriff and his deputy and Molly’s father Rob (no relation). Guests include Diane, a Senator whom Shelly used to be an Aid for; Kyle, her current aid; Alex, a P.I. from Chicago whose on the trail of a burglar known as J. Mitchell; Belinda, who is Alex’s client and wants the burglar who also killed her husband caught; Victoria Reichert, the governor’s wife who arrives a day early unexpectedly; Nate, her driver; Heather Sullivan, a journalist on the trail of a story; and a mysterious psychic named Jolie Donavon who arrives without notice. There is a survey in the program that allows you to keep track of the characters and make your guesses during intermission to compare with your friends afterwards. I got one of the who dunnits right, but didn’t quite have the motive figured out. It’s a very well scripted mystery with red herrings and real clues aplenty. The solution(s) make sense but are anything but simple and straight forward, which makes it hard to solve, but possible, which is the best kind of mystery.

The performances are good enough for what this is. Special shout out to my favorite performer of the show, Elliot Mayne who plays the young errand girl Molly, whom I’d guess was about 10 years old give or take 2 years, great job! If you like whodunnits, which I do, this is something to check out. If you do not, there’s not going to be anything to recommend this to you. There is definitely a community theater feel to the production. It has a solid set design by Marvin Jonason, some nice lighting effects and sound design from Ariel Pinkerton and Robert Hoffman, I’m a sucker for an effective thunderstorm. The costumes by Genevieve Kafka are nicely realized I really thought the garb worn by Jerry and Chuck helped telegraph their characters nicely right from the start. The show is directed by Brian P. Joyce effectively moving the multitude of characters in and out of the space leaving you always a little off balance in terms of remembering who was where and when. I brought the Aged P with me for Mother’s Day and we both really enjoyed the mystery and trying to figure out the solution. It’s a show best suited for Britbox junkies and Murder She Wrote fans, if that sounds like you, this should be a pleasant way to spend a couple of hours.

Finding J Mitchell runs through June 1st at the Gremlin Theatre in St. Paul. For more information and to purchase tickets go to https://kiernonjames.com/fjm-show/

No Sisters Completes a Unique and Rewarding Theatrical Experience

**Marci Lucht, Derek “Duck” Washington** Photo by Alex Wohlhueter

No Sisters is a companion play to Chekhov’s Three Sisters written by Aaron Posner. It is designed to be performed simultaneously in separate spaces in the same facility as Seven of the Actors in Three Sisters also play their characters in No Sisters. It’s amazing how precisely they are timed so that they reach the end of each act at the same time, they reach intermission at the same time and they finish at exactly the same time. The setting for No Sisters is listed as an existential greenroom and I don’t think I could say it any better. The seven characters that carry between the two plays are Andrei, the brother of the three sisters; his wife Natasha; Baron, who is in love with the youngest sister Irina; Vasily Solyony, Baron’s best friend who is very strange and also in love with Irina; Alexey Fedotik, a young soldier who also loves Irina; Fydor Kulygin, who is married to the middle sister Masha; and Anfisa, the elderly Nanny who has worked for Andrei’s family for 30 years. The Actors play the roles straight in Three Sisters but in No Sisters, while they do stay in character, they are also aware that they are in a play. It’s all fairly meta, slightly participatory, very funny, but also provides a deeper insight into some major characters and other lesser ones. Posner’s play also makes room for a more positive outlook on life. The character Alexey Fedotik rejects the opinions of his elders and espouses his belief that people are capable of change. Played by Jonathan Edwards who so joyfully delivers a speech with shining optimism that he got a rare mid-scene applause from the audience.

As with Three sisters, probably because it’s the same actors, there isn’t a weak performance in the entire cast. As noted in my Three Sisters review Duck Washington and Sean Dillon are great as Andrei and Baron. Here they get to add greater depth to their characters and fill in motivations and backstory. Jeremy Motz gets to really go full scary about to go postal with the character of Vasily Solyony, he not only addresses the audience directly but actually criticizes and shows distain for us. As they used to say in the early days of 20th Century Russia, “that’s so Vasily of him”. Motz is funny, but also intense and truly a little scary, it’s a great performance driven by an underlying current of volatility. Meri Golden plays the elderly Nanny Anfisa, and she gets to do so much more than we see in Three Sisters. We get greater insight into her relationship with Andrei and we even get to see her face her younger self via a video with May Heinecke playing a young Anfisa. There is a wonderful lesson contained in that video scene, one that contains as an important a message as Edwards’ speech as Alexey. The two performers that already had nice juicy roles in Three Sisters get the opportunity to clarify and deepen their characters. They are Marci Lucht as Natasha and Matt Wall as Fyodor Kulygin. As much as I enjoyed Lucht’s performance in Three Sisters, this one tops it. At times she is a complete bitch and then at others she becomes so incredibly emotionally open and vulnerable, it’s a revelation. Wall’s character in Three Sisters is pitiable, but in No Sisters the character is revealed to have more intelligence, and depth. While in the other play he is amusingly boring, in this play he is genuinely fascinating.

If you can only see one, see Three Sisters. And if you do want to see both, which I highly recommend, I encourage you to see Three Sisters first for the most rewarding experience. But book early, because of the space available in the theater lobby, there are not as many tickets to No Sisters. In fact some performances have already sold out. I went into No Sisters expecting it to be good, how could it not with this cast, but was also prepared for a decent sized dip in quality between the plays. And there is no denying that Three Sisters is the better individual play. For one thing it can stand on it’s own better than No Sisters could. But while Posner’s play is not the Masterpiece that Chekhov’s is, it is very good, very very good. Smartly it isn’t trying to do what Chekhov’s play is doing, it’s something entirely new that comments on the original play, in fact could not exist without it, but does so in a fresh and non traditional way. Julie K. Phillips’ direction is as perfect for this play as Carin Bratlie Wethern’s was for Three Sisters.

This is the sort of theatrical situation that doesn’t happen very often and so it’s important to jump on it while you can. Three Sisters and No Sisters runs through May 24th at the Crane Theater in North Minneapolis. For more information and to purchase tickets go to https://www.theatreprorata.org/2025-season

Violet From Ten Thousand Things Is a Bus Trip Worth Taking

Annika Isbell, Tom Reed in the background Photo by Tom Wallace

Violet is another tribute to the inventiveness and creativity of the artists that gravitate to Ten Thousand Things (TTT). This is the company whose modus operandi is that their entire set, props, and costumes have to fit in a U-haul trailer. They do this so they can travel with the shows making theater available to all. They travel all over from senior living homes to recovery centers and correctional facilities. They perform in the round with all the lights up and they rely on the actors to create most of the world in which the shows take place. It takes creativity to direct and skilled actors to help paint the world of the story on the canvas of the audiences minds. While they eschew the use of lighting they do, as you may suspect, utilize music, which is very handy when performing a musical. And here is where I issue the words of caution I have shared before, but failed to heed myself this time. Don’t sit next to Music Director Sanford Moore. I’m sure he’s a lovely man, it’s not that, it’s just that being right next to the music at a show performed in the round with no mics, some of the lyrics get drowned out. It’s my own fault, I know better, I just forgot, but I encourage you to sit on the opposite side of the room for a more balanced sound.

The story follows a young woman named Violet who is taking a Greyhound bus from Spruce Pine, NC to Tulsa, OK in 1964. She is going to see a healing televangelist in hopes that he will use the power of God to remove the large scar she has on her face that was caused by an axe head. On the bus she meets two soldiers one black and one white named Flick and Monty, they are dealing indirectly with their own issues concerning race and the Vietnam war. Those are not the focus of the show, they are just part of setting the place and time of the story. She befriends the soldiers and they form bonds and find solace in each other. The story is intercut with scenes of young Violet and her father, which help to inform the 1964 scenes. Violet feels like an outsider because of the disfigurement, but one of the things I liked about the show is it doesn’t paint her as a victim. There are scenes that could have been told in a way that would make her appear that she was taken advantage of, but the musical doesn’t go there. She gets what she needs from interactions and she knows how to take care of herself.

Annika Isbell plays Violet in her TTT debut, she has a nice voice and I was particularly captivated by her song “Lay Down Your Head“, which to my mind was much to short, as it’s a very beautiful bit of music. I’m not sure if other productions create a scar on Violet and if TTT doesn’t in keeping with their lean approach, but I don’t think seeing the scar would add anything to the production. Mitchell Douglas and Ryan London Levin play flick and Monty and both get moments to take the spotlight. Douglas’s big song is “Let it Sing” and boy does he, I also liked the movement that Director Kelli Foster Warder designed for that song having Douglas up on the seats of the bus in his uniform had a classic feel to it. Levin’s character seems like he’s going to be the typical jerk just out for a good time, but a turn to sincerity, when it comes, feels very authentic. Tom Reed who plays the Preacher, brought me right back to the one of the first times I saw him on stage in what I still consider one of the best musicals I’ve ever seen Interstate: The Musical by Melissa Li and Kit Yan. He’s so good at playing Preachers, and bus drivers, and… oh who am I kidding, he’s always great in everything and this is no exception. The cast is rounded out by very talented cast playing multiple roles including the divine Lynnea Doublette fantastic as a Gospel Singer. Sophina Saggau who plays Young Violet, Kate Beahen as an older woman who befriends Violet on the bus, and Charlie Clark as violet’s father.

Violet is creatively staged by Director Kelli Foster Warder with Music Direction by Sanford Moore, whom I will remind you again not to sit next to. The costumes by Samantha Fromm Haddow have a great period feel to them and the sets and props by Sarah Bahr while simple are extremely versatile and perfect for a TTT production. Violet runs through June 1st at various locations. To learn more and to purchase tickets go to https://tenthousandthings.org/violet/

Three Sisters, Tremendously Entertaining First Night of a Very Unique Two Night Theatrical Event

Nissa Nordland and Sam Landman Photo by Alex Wohlhueter

Three Sisters by Anton Chekhov the famed Russian playwright, not to be confused with the character Pavel Chekov, most recently played by Anton Yelchin in the Star Trek franchise, is one of those plays I’ve been waiting eagerly to see. In today’s world of diminishing audiences the classics can feel like a tough sell. It’s dark days and people want to be entertained, they hear Chekhov and think Russian play almost a 125 years old, it’s got to be good for you and boring as hell. Well it turns out it’s entertaining as hell, laugh out loud funny, and honestly probably not all that good for you. At least not if you’re experiencing any sort of existential dread. My approach to life is more along the lines of the character in the play Fydor Kulygin, I just try and be happy, accept the bad things but focus on the good. So I nod knowingly at the philosophical masturbation engaged in by most of the characters and laugh wholeheartedly at the moments when their basic humanity shines through, whether it be their annoyance with each other as everyone is with the character of Natasha or the romantic yearnings of Masha and Alexander. One can’t help but wonder at realities tendency to imitate art, if there is in fact a reality, which Dr. Chebutykin has come to believe there isn’t

I know I’m throwing around a lot of names you don’t know, but this is a Russian play told in four acts. To try and get into a plot synopsis of any depth would equate to the review equivalent of War and Peace. Magnificent, but something neither of us have the time or patience for I’m sure. So I’d rather use whatever goodwill you bring to this review and share the experience with you rather than the plot. First off let me assure you that you can see Three Sisters on it’s own and leave the theater completely satisfied, in fact more than satisfied as my plus one for the evening, my son Alexander said, “That might be the best thing I’ve seen”. Thing of course being live theater performance. While I can’t make that claim, it is, as Dr. Chebutykin might say, really fucking good. What is unique about this production from Theatre Pro Rata is that while one audience is in the main stage at the Crane Theater enjoying Three Sisters another audience is in the lobby of the theater seeing a play by Aaron Posner titled No Sisters. The plays are designed so that actors from one play can exit a scene in one space in time to make their entrance in the other. The intermissions are even timed so that as the lights dimmed on Act II and we began to clap we could hear the the audience in the lobby doing the same. I’ll be seeing No Sisters on Saturday evening and while I was already looking forward to it, now, having seen Three Sisters, Saturday night feels like Christmas morning, it can’t get her soon enough. This is the sort of theatrical situation that doesn’t happen very often and so it’s important to jump on it while you can. I believe some performances are already close to or have sold out and since it requires two nights to get the full effect, you’ll want to make plans now.

This is the part of the review where I single out a couple of my favorite performances and also if necessary comment on some less effective ones. The problem with this, formula if you will, is it doesn’t make allowances for cases like this, where everyone in the play is so good you don’t know who to single out. That’s fine if it’s a cast of four or five but this show has fourteen actors. Even if I eliminate the the four that have fairly smallish roles that still leaves ten, far too many to cover in depth. And so let me say this, Nissa Nordland, Sam Landman, and Duck Washignton are already on my must see list, and they earn their spot on that list again without a doubt. Trust me they’re brilliant, moving on, Sean Dillon, whom I always erroneously just associate with Improv, is sincere and creates an extremely funny and likable character. Kayla Hambek and Brettina Davis who play the other two sisters along with Nordland are excellent. Davis as the youngest sister conveys the most optimistic outlook at the opening, making her coming to an understanding of reality all the more heartbreaking. Hambek’s finest moment is her silent indignation at her sister-in-law’s lack of compassion. David Coral, gives a very good performance as the Dr. especially well done was his drunk scene. Jeremy Motz, gives a wonderfully weird performance as Vasily Solyony who is a very odd soldier. Marci Lucht plays a character no one really seems to like, but she does it in such a hysterically funny way, that while we dislike her character we love every moment she’s on stage. Matt Wall plays Fyodor Kulygin, the ever optimist, he conveys the characters tedium in a way that allows us to laugh at him with the other characters without actually being tedious to us, and in fact gaining our sympathy. The cast is rounded out nicely by Jonathan Edwards, Phi Hamens Nelson, Meri Golden, and Margaux Daniel, their roles are fairly small here but I assume I’ll have more to say about them after Saturday’s performance of No Sisters.

So what puts this play in the running for “That might be the best thing I’ve seen” status? Well certainly it begins with Chekhov’s play. Wikipedia lists the play as a drama, but the Directors note in the program says that Chekhov insisted Three Sisters was a comedy. It’s so funny it’s hard to see how anyone could think otherwise. But that’s what makes Carin Bratlie Wethern’s direction so sublime. This could be directed and performed in a very serious manner, Wethern’s decision to honor Chekhov’s intentions makes for a richer theatrical experience. There are still lost dreams and the unhappiness of day to day life that many of the characters espouse, but they do it in a way that also reflects our own sense of sarcasm and defiance. Wethern understands that getting a laugh doesn’t mean you have to sacrifice ideas or emotional depth. It’s through humor that most of us learn to deal with the unpleasantness of life. She has also wisely put together a cast who know comedy and that the best comedy comes from character and the ways in which people respond to each other. I know this is already getting long and you are scanning ahead to see if you want to stop reading yet or not, but I have to mention a couple of the technical crew just briefly. MJ Leffler’s set design is really well imagined, I loved the windows that exist in space allowing us to see out into the garden through nonexistent walls. Also the Lighting and Sound Designers, Emmet Kowler and Jacob M. Davis if only so I can acknowledge the very effective work that occurs during intermission, look to the ceiling when you go and you’ll see what I mean.

Three Sisters and No Sisters runs through May 24th at the Crane Theater in North Minneapolis. For more information and to purchase tickets go to https://www.theatreprorata.org/2025-season