Sanctuary City a Complex and Thought Provoking Drama From Frank Theatre at Open Eye Theatre

Stephanie Anne Bertumen, Clay Man Soo, Keivin Vang Photo by Tony Nelson

Last year Ironbound produced by Frank Theatre and written by Martyna Majok wowed me and my fellow Twin Cities Theater Bloggers receiving five Twin City Theater Blogger Award nominations and winning one. Sanctuary City is this years first offering from the socially minded theater company and is also written by the Pulitzer Prize winning Majok. It’s another 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 one becomes a citizen and they hatch a plan to marry each other so that the other can legally stay in the country as well. Act two is one scene which explores what happens to that plan when a third person, Henry, enters the pictures as a romantic partner. Every reveal in the second act clarifies the situation while complicating the issue itself. As I sat in the audience I found myself constantly reconsidering what I thought moments earlier.

Majok’s script is brilliantly directed by Wendy Knox who always manages to obscure what should be from the audience while making what we should understand clear. When you see the play you will understand what a complex task that is. Joe Stanley’s set design helps to illustrate the differences between the two Acts of the show and make tangible the idea of the first Act as a series of memories. Act one is performed on a bare stage with a few simple boxes that take the place of a bed or a bench. Act Two is revealed as B’s apartment fully realized indicating that this is happening in real time. 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 present. Tony Stoeri’s lighting is also intricate to the telling of this story particularly in Act one in which the lights fade down and back up to indicate the jump to a new memory.

Stephanie Anne Bertumen who plays G is stunningly good conveying unspoken backstory and emotion through her performance. We not only get a sense of unexpressed emotions and life details but have a sense of what they are without the script actually dictating any of it. Clay Man Soo who plays B, takes as a cue to his character one of the lines his character says at the beginning of the show, “I don’t know what to do.” I’m not saying Soo doesn’t know what to do, I mean that is the key to portraying this character and Soo picks up on it and uses it. B spends his life in Limbo; as an illegal, his live 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? Soo perfectly captures a sense of being lost, unsure what he should do, always looking to others for guidance. Henry is played by Keivin Vang and it’s a difficult, at least initially, unlikeable role. Vang does a good job of conveying the characters conceitedness. He enters the play at a point where a third is unwanted by the audience and first impressions are that he is 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’s 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 no 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 February 23rd at Open Eye Theatre in Minneapolis. For more information and to purchase tickets go to https://franktheatre.org/events/sanctuary-city/

‘Til Death: A Marriage Musical from Bucket Brigade Theater at Art House North in St. Paul

Nathan Cousins, Jeremiah Gamble, Damian Leverett, Anna Leverett, Vanessa Gamble, and Stephanie Cousins. Photo by Bonni Allen

‘Til Death: A Marriage Musical has been returning to the Twin Cities stages for 13 years but this was my first time taking it in. It was also my first time at it’s venue Art House North which is located in what used to be a church and has now become a quaint and cozy artists space. I loved the space and I love the show. I can see why people come back to it every February. No, not because it’s so romantic but because it’s about real love. In long term relationships romance fades, I wouldn’t say it disappears but it definitely takes some rather long naps. Romance isn’t synonymous with love anymore than sex is, they are aspects of a loving relationship, but love is more concrete than romance and less tangible than sex. Love is being together through thick and thin for better or worse. On my third marriage as I am, I don’t subscribe to the theory of one love and I don’t believe that true love never dies. Love changes, it grows and it withers, but the message of this show is that whether you are newlyweds or fifteen years into your marriage, love takes work, understanding, and forgiveness. ‘Til Death brings two such couples together, one on the verge of divorce and one on their wedding day. It’s a comedy that contains a lot of truths about what marriage really is, it’s completing each others sentences in Elvish but it’s also getting annoyed at your partner’s chewing.

Written by and starring Jeremiah and Vanessa Gamble who play Ethan and Olivia the couple who have been married for 15 years but are currently separated. The newlyweds Leslie and Freddie are played alternately by two other married couples. The night I attended Leslie and Freddie were played by Damian and Anna Leverett, at alternate performances the roles are played by Nathan and Stephanie Cousins. The cast is a lot of fun. I identified with Ethan and Olivia more, due to my age and personal history, but I have a son newly engaged and another in the throws of a year long relationship, and so there was a lot in Leslie and Freddie’s story that rang true to me as well. Plus to be honest, I do remember being young and in love and… sickening I’m sure. All of the cast does a tremendous job, the Gamble’s I’m sure draw on their more than a quarter of a century together to bring a grounding reality to what is essentially a fun and engaging musical. Special mention has to go to Vanessa Gamble who has a fantastic voice, all are great, but she is really something. I love that they cast the show with married couples, first of all what a great way to make sure you get to spend Valentine’s Day together doing something you love. Secondly, real couples bring a history and a comfort to the roles that can allow them to inhabit the roles in a unique way, not better necessarily, but in a different way.

The accompaniment on piano from Jill Dawe is immediate and perfectly balanced with the vocals which is kind of amazing given the space of the venue. The set which I don’t know whom to credit to, perhaps Dalen O’Connell who is listed in the program as T.D., and Carpenter, perfectly uses the allowed space giving us the appearance at least of a kitchen, a living room, a bathroom, and two bedrooms, which if you knew the dimensions of the stage you would appreciate what a feat of ingenuity that is. Craig Johnson who directs, stages the action in a way that helps us make sense of the space and make the characters movements feel natural, when they are nearly on top of each other. I also really like the touches of slow motion which are staged to hilarious effect and pulled off brilliantly by the cast. As an added treat, the audience is served free cupcakes and coffee at intermission from Brake Bread, those cupcakes melt in your mouth.

‘Til Death: A Marriage Musical runs through February 15th at Art House North in St. Paul. For more information and to purchase tickets go to https://www.bucketbrigadetheater.com/shows/til-death/

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The Root Beer Lady Returns to History Theatre

The Root Beer Lady returns to the History Theatre in St. Paul after it proved to be a hit with audiences in its initial 2023 run. That production which I also reviewed ended with a standing ovation, that continued for nearly a minute after it’s star and writer Kim Schultz left the stage. I’m not sure they needed to bring it back this soon but one thing’s for certain, Minnesotans love their Root Beer Lady and Kim Schultz once again brought her vividly to life for us on stage. Dorothy Molter, was a fascinating woman who made her own way in a mans world. She was a true trailblazer and the kind of person that becomes something of a folk hero around whom a mythology springs up. If you don’t know much or anything about Ms. Molter, do yourself a favor and don’t google her. Instead, get yourself some tickets and learn about her from Kim Schultz and her wonderful play. This was my second time and I think I may have enjoyed it even more this time. Schultz embodies Dorothy so completely that one comes away feeling you’ve just spent 90 minutes with the real Root Beer lady of the north.

Schultz heard about Molter during a stay in Tofte, MN. Fascinated by what she’d heard, she found a book written about her in the Tofte library. After reading that and doing some more research she began writing this one person show. I really don’t want to say much about her story as I knew little going in, and not knowing all the details was a wonderful gift. Molter moved permanently to Knife Lake in the Boundary Waters area of Northern MN after spending three summers working at the Isle of Pines Resort for her friend Bill. She never left, becoming the last resident of what became the Boundary Waters Canoe Area Wilderness. Her story is about the love she had for the area and her determination to live her life the way she wanted to, where she wanted to, in a time when that wasn’t really done. The story is full of humor and emotion, astonishing facts, and moments that will leave you in awe of what Molter was capable of. It’s an inspirational true life tale of real Minnesota original, and I found my eyes got a little watery by the end. She is an example of the ways in which people touch each others lives. When the going gets rough, the woman the Saturday Evening Post dubbed, the “Loneliest woman in America” always found that she had many, many, many friends.

It’s clear that Kim Schultz connected with Molter as her portrayal is so affectionate. She embraces the wonder of a young Molter experiencing the majesty of the wilderness, and gradually over the course of 80 minutes imperceptibly changes into the mature woman who spent 56 years living in the place she fell in love with. From a wonderstruck young woman to a full blown wilderness character, effortlessly and believably. While it’s definitely Schultz’s show, she gets some wonderful assistance with the production. Chelsea M. Warren’s set is a wonderful combination of Molter’s cabin and the outdoors with large tree trunks towering into the rafters and a canoe beached on the shoreline. Leslie Ritenour’s video design creates a background that changes the season, shows us the beautiful blue skies of a sunny day and the millions of stars in the night sky. Finally, Katharine Horowitz sound design creates an aurel soundscape that engulfs the audience. The constant sound of the lake, the animals sounds and the wind that accompanies a blizzard are just a few of the touches that stand out and help create the illusion of being up north with Dorothy.

The Root Beer Lady runs through February 23rd at the History Theatre for more information and to purchase tickets go to https://www.historytheatre.com/2024-2025/root-beer-lady

Improv at the Jungle: Off Book is Improv Gold!

In the wake of the tragedy that was the closure of the newly relocated HUGE Improv Theater, the Jungle Theater has stepped up and provided a new home for some of HUGE’s resident shows. One such show is Off Book which I experienced last night for the first time, the next performance will be March 3rd. Off Book is unlike the other Improv I’ve reviewed, though to be honest most of the improv I have reviewed has its own unique angle like this does. Off Book divides its performers into two group. Group one is “Off book” which in theater terms means an Actor has learned his lines, so these artists have memorized a scene from a play. Group two is so far off book that they have never even seen the book. Not only do they have no lines memorized, but they don’t even know what play their fellow actors have memorized. The players take the stage together, one scripted, one unscripted and try to perform a scene from a play. Hilarity does indeed ensue. I think this may be the best Improv I’ve ever seen. Actually, Off Book hands down this is the best Improv show I’ve ever seen.

I’m going to list the lineup from the program and those who know some of the local Actors and Improv Performers will see why this was so fantastic.

ACT I
The Cherry Orchard by Anton Chekhov
Actor: Christina Baldwin
Improviser: Alsa Bruno

The Great Nebula in Orion by Lanford Wilson
Actor: Emily Grodzik
Improviser: Molly Ritchie

Lemons Lemons Lemons Lemons Lemons by Sam Steiner
Actor: Cheryl Willis
Improviser: Tom Reed

ACT II
The Motherfucker with the Hat by Stephen Adly Guirgis
Actor: James Rodriguez
Improviser: Chris Rodriguez

The Flick by Annie Baker
Actor: Destiny Davison
Improviser: Taj Ruler

Stage Kiss by Sarah Ruhl
Actor: Michael Rogers
Improviser: Jill Bernard

Each scene had the audience howling with laughter and it’s hard to single any out, but if I had to choose a scene that was most likely to make you wet your pants it would be the pairing of Destiny Davidson, who somehow mostly kept it together and didn’t start outright laughing, and the hurricane of hilarity that is Taj Ruler. There’s no point in going into details of what we saw beyond the format because the glorious thing about improv is also the terrible thing about improv, it’s a one time thing! Which is why I’ve decided, now that I’ve found this show, I’m never missing another one. Thank you to The Jungle Theater for giving this show a new home, hopefully a long term home!

Destiny Davison and Taj Ruler Photo by Evelyn Vocu

For more information about Off Book and other Improv at the Jungle shows and to purchase tickets for the March 3rd show and other Jungle events go to https://www.jungletheater.org/improv-at-the-jungle

Misery Thrills at Lakeshore Players Theatre

I’m Stephen King’s number one fan. Although, I don’t really feel comfortable saying that after witnessing the extremes to which Annie Wilkes goes as the number one fan of writer Paul Sheldon in Misery. Misery is an adaptation by William Goldman of his screenplay adaptation of the novel by Stephen King. Misery has never been my favorite King book or film, but they are both solid works. I have to say that I think it translates very well into a play, this is my second production of Misery and I think the superior one. A play like this, when you know the story so well, comes down to not what the story is, but how they tell it. So what’s important is the performances, the direction, and the production design all of which are top notch in this production from the Lakeshore Players Theatre. For those unfamiliar with the plot there will be the added thrill of several surprising moments, for those that do know, the fun is seeing how they will accomplish certain moments and what we be left out all together. Spoiler, you don’t get to see the car crash. What is sort of amazing about this production is how into it the audience is, and how even knowing the story so well, it’s still a thrilling two hours.

The play opens with writer Paul Sheldon waking up in the home of Annie Wilkes, his self declared “number one fan”. He doesn’t know where he is or what happened to him. He learns from Annie that he had a car accident due to a snowstorm and that luckily she found him and was able to pry him out of the wreckage and get him back to her house in the woods. He has a badly dislocated shoulder and both legs were broken. Luckily for him, she’s a former nurse who was able to splint his broken legs and has a stockpile of painkillers to help him manage the pain until he can be moved to the hospital. Unfortunately, the phone lines are down because of the storm and the road to the hospital is undrivable, or so Annie says. Annie, whom at first seems to Paul like a Angel of mercy, slowly reveals herself to be more a harbinger of misery. It starts with little moments of odd behavior which become increasingly more disconcerting. Soon it becomes clear to Paul that his number one fan loves him so much, she has no intention of ever letting him go. The play becomes an exercise in suspense to see if Paul can outwit Annie and survive until help can arrive.

The three Actor cast is filled with two Twin Cities unknowns Megan Blakeley and Tim Wollman; Tom Sonnek whom audiences have seen at Lakeshore and Theatre in the Round locally. Wollman plays Buster the Sheriff who comes looking for the missing writer. It’s a very small role that is made even smaller in the play which may be adapter Goldman’s one misstep. In his screenplay, Buster has a larger role and you come to like and root for him to find Paul. Not developing that relationship between the character and the audience robs one of the big moments of much of its impact. It also leaves the actor without a lot to do other than act as a catalyst for the plot to move forward. Wollman does everything anyone could want, it’s just a thankless and underwritten role. Sonnek as Paul Sheldon does a great job of gradually showing the characters realization that his savior might actually be his damnation. We find ourselves very involved in his plight and that raises the stakes emotionally. Blakeley as Annie Wilkes, like her predecessor in the role Kathy Bates who won an Oscar for the film, steals the show. Blakeley establishes Annie as someone whose mood can turn on a dime. Sickeningly sweet and simple one minute and cruel and vindictive the next. She has some darkly comic line readings that make the audience laugh while also frightening us a little. What makes the character such an effective villain is she’s normalish most of the time but when she turns it’s unexpected and often quite brutal. Blakeley switch between the two extremes with such fluidity, that halfway through it’s hard to take anything she says without and underlying sense of dred.

Misery is also a visually effective production. I was particularly impressed with the set design which consists of three room set on a giant turntable that revolves as characters move throughout the house. It seems like an expensive set to have designed and created but it’s worth every penny from the audience’s perspective. The Scenic Designer Mark C. Koski’s work is creative an effective giving the play a dynamic visual sense akin to the surprise I felt when the train cars began to move in Murder on the Orient Express at the Guthrie a couple of years back. Also impressive was the lighting design by Tracy Joe. Early on there is a lighting cue that captured the transition of time between a character going to sleep at night and waking up in the morning better than I’ve ever seen it done. That was just one example, the entire show is expertly lit and that isn’t something I always notice. Megan K. Pence directs the show and utilizes Koski’s set to an almost cinematic effect at times. Pence builds the tension to be sure but her direction focuses more on the characters relationship and the power dynamic at play between the helpless writer and his fanatic caregiver. It’s a thriller to be sure but it’s also a fascinating character study of an obsessive fan that you wont soon forget about.

Misery runs through February 9th at the Hanifl Performing Arts Center in White Bear Lake. For more information and to purchase tickets go to https://www.lakeshoreplayers.org/misery-season-72

Sweet Charity is Full of Dance, Song, and Laughs at Artistry in Bloomington

Shinah Hey and the cast of Sweet charity Photo by Dan Norman Photography

I was a Sweet Charity virgin in the purest most poetical sense of the word. I was in for several surprises not the least of which was that the 1966 musical was based on the screenplay for Fellini’s Nights of Cabiria. I likewise, wasn’t aware that the book for the musical was by Neil Simon. Any time I’m experiencing a musical for the first time I try and go in cold, to let it work on me the way it would have for audiences when it first came out. So it’s always a surprise when you recognize a song or two that you didn’t realize came from the show. That happened with two songs in this show “Big Spender” and “If My Friends Could See Me Now“, but it’s filled with other catchy tunes as well. As fun as the songs are, the real attraction of this production is the dancing. Choreographed by Abby Magalee the cast’s moves will entertain even those for whom dancing isn’t a draw. There’s nothing like seeing a dozen or so performers all moving in perfect synchronization, and who isn’t impressed by a perfectly executed kickline. There were a couple of ensemble members who’s dancing really stood out as flawless, Jaclyn McDonald and Aliya Grace. I’m not hugely knowledgeable about dance and tend to enjoy it most as part of a musical, but I think I could happily while away a couple of hours watching those two dance so exquisitely.

No slouch in the hoofing department either is the star of the show Shinah Hey who plays Charity Hope Valentine. Charity is a dance hall girl who is constantly taken advantage of by the men she falls for. After being pushed in the lake in Central Park by her boyfriend who also steals her purse, Charity is saved from drowning reluctantly by a member of the crowd of people who gathered to watch her drown. This is the first taste of the humor that pervades the show. Charity takes it all in stride and this is the cue for the audience to do so as well. If you don’t take that “shrug it off and keep on going” attitude to heart, you may find yourself severely out of sorts by the end of the show. Shinah Hey is perfectly cast with a relentlessly positive energy and optimism crucial to making the character believable. Other outstanding members of the cast include the always hilarious Brendan Nelson Finn who first came to our attention on the Artistry stage in The 25th Annual Putnam County Spelling Bee. He plays Oscar who Charity meets when they get stuck in an elevator together and will become her love interest. Finn is a master at milking every ounce of humor out of any scene, whether verbally, his exclamations of panic in the elevator, or non verbally, his reactions and dancing during the song “The Rhythm of Life“. You don’t want to take your eyes off him for fear you’ll miss something. Adan Varela plays a famous movie star named Vittorio Vidal, he and Charity have less of a love connection but she coaches him in her ever selfless way to a reconciliation with his girlfriend. Varela has a jaw dropping moment when he begins to sing “Too Many Tomorrows” and you get your first exposure to his voice on his own. I thought I’d died and gone to classic movie musical heaven his voice is so full, rich, and what the girls used to call dreamy. Another ensemble member that didn’t get a large stand alone role but played multiple small parts was Quinn Lorez, who after a nice turn as Joanne in Rent at Artistry, brings to this an ability to punch each of her small roles with something to make them memorable, which is a great way to differentiate the characters and become an audience favorite, just the perfect amount of attitude.

This production was Directed by Laura Leffler who masterfully stages the show on what has become Artistry’s go to production design lately. Which is to have the band up stage and have the minimal set pieces, mostly just a few chairs, a door frame, and a table or couch that can be brought on and off quickly. I suspect this has been done in several of their productions over the last year or so as a financial savings, which I understand completely. I’m happy to have them spend less on costumes and sets if it means they can continue to maintain such a full orchestra. Music Director Isabella Dawis and the Conductor Anita Ruth continue Artistry’s legacy of exemplary musical performances. Leffler doesn’t let the lack of set make the show less dynamic, she uses various sections behind the band to add locales and create striking visual moments. Lighting Designer Shannon Elliott also assists with some clever lighting cues including creating the square of the elevator with a box of light shone on the stage floor. I had a great time with this show, enjoyed the singing and dancing and experienced another comedic performance I’m not likely to ever forget.

Sweet Charity runs through February 16th at Artistry in Bloomington. For more information and to purchase tickets go to https://artistrymn.org/sweetcharity

Loudly, Clearly, Beautifully Elena Glass’ Tribute to Her Father, Emotionally Touching and Song Filled.

Gene Glass (pictured) and his daughter Elena Glass Photo by M & D Media

Loudly, Clearly, Beautifully is not only the title of Elena Glass’ new show about her father and their relationship but also the advice he always gave her before she sang. She informs us this is what she tells herself before she performs. That is as simple and true an illustration of the impact of fathers that you could ask for. Years later, even after they are long gone, we hear their words coming out of our own mouths. Glass who wrote and performs the show shares the details of her relationship with her father before and after his diagnosis Multiple Sclerosis. We get glimpses into the the love and honesty with which he parented and the struggles of dealing with such a diagnosis. Yes, there are some tears spilt, but there’s also a lot of laughs, and some fantastic singing. This isn’t a show about the tragedy of a man’s life unfairly cut short by disease. It’s a celebration of that man’s life and his impact on his daughter’s life in so many ways, as a cheerleader, an information distributor (sex talk yikes!!), and as a role model.

Glass lays herself out in a performance that touches the audience with it’s vulnerability. She finds humor in the stories she relates, but what is most important is she finds truth. She doesn’t simply raise her father up on a pedestal and show herself as the courageous daughter in the face of tragedy, always there with patience and selfless sacrifice. No, she acknowledges the moments when she and her father were not at their best, she points out the realities of living day in and day out with this cruel disease. It can make people angry, and impatient, and to pretend that isn’t so would be a betrayal to everyone who has gone through it. It’s important to acknowledge those realities and it’s so amazing of Glass to share that with us. Nearly everyone in the audience for this show will at some point go through something like this, whether it’s MS or another disease, either themselves, a parent, a child, or a partner. They will reflect back on this show and not judge themselves harshly for a momentary loss of patience or a flash of anger. Glass effectively and quite emotionally reassures us that’s part of the journey, part of our humanity, and that is the gift of the artist, to communicate that truth to their audience.

Wesley Frye is the Music Director and Pianist for the show, but also interacts with Glass in welcomed moments of humor and song. Frequently that role is to disappear into the background and provide the music as if out of the ether. The choice to include Frye more directly is a choice that pays off big time. Frye has a wonderful give and take with Glass and a wonderful singing voice, it’s an added gift that we didn’t anticipate, but are grateful for. The show is Directed by The Stages of MN favorite Allison Vincent who tackled similar ground in last summer’s The Stages of MN Fringe of the Day Award Winning Minnesota Fringe show, Daddy Issues, about her own relationship with her father. Vincent was the perfect choice to direct this show having recently tackled her own father/daughter relationship. Also contributing to the show is Leslie Vincent and Emily Dussault whose original song “Who I’ve Always Been” is a beautiful note on which to end the show.

Loudly, Clearly, Beautifully runs at the Twin Cities Theater Bloggers 2024 Award Winner for Favorite Theater Venue, The Hive Collaborative in St Paul, for five more performances through 1/31/25. For more information at to purchase your tickets go to https://www.thehivecollaborativemn.com/events/loudly-clearly-beautifully If you haven’t been before check out all the upcoming programming at The Hive Collaborative and support this wonderful intimate venue!