Dial M for Murder Thrills at Yellow Tree Theatre

Dial M for Murder with a script adapted by local favorite Jeffrey Hatcher from the original play by Frederick Knott is making its way to the stage for the second time in a year. Last year I gave a very favorable review to the Guthrie’s production. Knott also wrote the screenplay for the Famous Alfred Hitchcock 3D film. Hatcher keeps the basics of the original work but adds several twists that make the play feel more modern though it retains the original 1950’s period setting and London locale. Normally with a thriller I’d be hesitant to give anything away, and I still intend to keep most things under wraps. But, unlike an Agatha Christie story, this isn’t really a whodunnit, it’s more like a Columbo episode. You know who the criminal is very early on, the thrills come from seeing how his plan comes off and how he adapts when things don’t go according to plan. The piece I won’t spoil is a sequence that Hatcher inserts during the commission of the crime, it doesn’t change Knotts basic plot but it adds another layer of suspicions, and it’s a ingenious little twist.

The plot revolves around Tony Wendices plan to have an old acquaintance named Lesgate murder his wife Margot after having discovered she had an affair with a writer that ended a year previous. One major change is a gender swap of the former lover from Max to Maxine. He also changes the professions of Tony and Maxine which adds another dimension to Tony’s motivations. Probably Hatchers greatest contribution is an injection of humor into the script, not so much as to feel out of place but just the perfect amount to add to the overall enjoyment of the piece. Since we know who the villain is, the thrills come from whether or not Tony will be found out. He is a perfect improvisor and when life throws him a twist, such as his wife killing Lesgate instead of the other way round, he uses it to his advantage. Inspector Hubbard makes piecing together the clues feel like effective reasoning even when it’s wrong, you can see why it seems correct to him.

Yellow Tree’s cast is a man down from the Guthrie version having actor Edwin Strout play both Lesgate and Inspector Hubbard. Strout does a great job in both roles and makes a clear case for doubling the roles in future productions. I particularly enjoyed his turn as the Inspector. Charles Fraser whose been doing a lot of fun work at Yellow Tree recently, plays Tony with slightly more desperation and less humor. It’s always interesting to see how different actors approach the same roles. Fraser’s Tony is a little less entertaining but maybe a little more realistic, which is also a valid choice that works well. Adelin Phelps plays Margot as straitlaced and trusting, making all of her decisions make sense while being exactly the opposite of what her character should do to extricate herself from danger. Finally Erika Soukup plays Maxine with a brashness that reflects her American roots, she’s the girl Friday of the show and we don’t know exactly where she stands at times, which allows one of Hatchers twists at the end to work in ways they wouldn’t if her character wasn’t so inscrutable.

Sarah Brandner’s Set Design makes good use of the Yellow Tree Theatre’s intimate space, it’s got a nice cozy British mystery feel to it. The Lighting Design by Alex Clark and the Sound Design by Jeff Bailey add some nice touches to the atmosphere as well. The costumes by Samantha Fromm Haddow, were a little hit or miss, I really got the impression that Frasers tuxedo on the night of the murder didn’t fit him very well and the outfit Margot wears in the final scene is rather ugly, but everything Maxine is put in looks absolutely fabulous. All in all, Director Brandon Raghu has mounted a very enjoyable production. It’s a little smaller in scale than the Guthrie but at about half the price, it’s just as thrilling.

Dial M for Murder runs through October 13th at Yellow Tree Theatre in Osseo. For more information and to purchase tickets go to https://yellowtreetheatre.com/dial-m

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The Lehman Trilogy a Saga of Epic Scope is Completely Captivating at the Guthrie Theater

William Sturdivant, Edward Gero, and Mark Nelson Photo by Dan Norman

The Lehman Trilogy the Tony Award winning play that at three and a half hours never comes close to wearing out its welcome. Originally conceived as a nine hour Italian radio play and later a novel by Stefano Massini, it was first translated and adapted to the French stage as a five hour play by Pietro Pizzuti featuring a cast of 12. The English adaptation is by Ben Powers and was conceived with theater and film Director Sam Mendes for the National Theatre with only three actors. This version which is the one the Guthrie is presenting leaves you with one question, what was cut from the five hour and 9 hour versions? I think it a wise choice commercially to have gotten it down to three and a half hours, which includes two 15 minute intermissions. But personally, if the cut material was as good as this, I could have done another hour and a half. I never once looked at my watch, and that’s not just because I don’t wear one, I honestly never had a moment where I was conscious of the length, it flew by. I write a lot about the shows that are just entertaining. I believe in the current climate of the world and given the state of theater audiences in the last few years, that it’s vital we put on shows like Back to the Future (Hennepin Arts, National Tour), Peter and the Starcatcher (Lyric Arts), and Dial M for Murder (Yellow Tree Theatre) that are more or less purely there to entertain us. I also believe in the power of theater to explore deeper issues, and important that those plays are also produced.

That is the type of play The Lehman Trilogy is. It explores the rise of a financial institution, but that’s just the tip of what it’s about. We follow three immigrant brothers who have come to America to make their fortune. As it begins, there’s a strong familial bond between the brothers, and their Jewish faith plays a central role in their endeavors. We like them, in fact to some extent I think we like all of the Lehmans we meet throughout the play. While the arc of the play shows us the growth of Lehman Brothers from a small, fabrics and suits store to a financial institution, the way in which the business grows and changes. At first the growth and evolution of Lehman Brothers is admirable and the reverence the three founding brothers Henry, Emanuel, and Mayer have for their religion and community plays a key role. Even up through the great depression when Bobby Lehman, the last Lehman to run the company, is strategizing how to save the company he is also trying to save the country. But that will change as Bobby ages, we see throughout the play that as capitalism rises, the role of religion not only recedes, but is entirely replaced by the worship of the dollar. The whole play barrels forward like a rock gaining speed as it rolls downhill. What was thoughtful and deliberate in the beginning is overcome by greed and speed. There’s a moment when Bobby hears the pitch of what will become Credit Cards, and the birth of consumerism as a way of life, when you feel the scale finally tip and what began as a family business has lost all of it’s remaining humanity. What was fascinating about the The Lehman Trilogy was the way it looks at history and the birth of financial practices in such a way that we come to understand it all from a different perspective.

The cast features two performers from out of town, which I’d complain about but they are so good that I can’t quite bring myself to, and one local actor. The local actor is Will Sturdivant, last seen at the Guthrie in last springs the History Plays. This is a year in which Sturdivant seems to be testing his stamina. Between the three performers they play over 70 characters over the course of 80 years. All three are versatile and bring intelligence and humor to the roles. Director Arin Arbus keeps the story moving, but perfectly anticipates the moments when we are so completely enthralled in what is happening and need that extra beat to process what is transpiring. Marsha Ginsberg’s set design is simple but symbolic and capable of surprising the audience right out of the gate with the appearance of the three original Lehman Brothers. The set works wonderfully in conjunction with Hannah Wasileski’s projection designs through which we get backdrops but also visual manifestations of the dreams that often dog the members of the Lehman family. In fact the entire production team Anita Yavish’s Costumes, Yi Zhao’s lighting, and Michael Costagliola sound design all work to create a cohesive look, almost a black and white or sepia tone film look.

The Lehman Trilogy runs through October 13th at the Guthrie Theater in Minneapolis. For more information and to purchase tickets go to https://www.guthrietheater.org/shows-and-tickets/2024-2025-season/the-lehman-trilogy/

The Reunion a Wildly Entertaining Whodunnit From Trademark Theater at Gremlin Theatre

The Cast of The Reunion Photo by Dan Norman

Trademark Theater launches it’s theater season with The Reunion which is a show I attended a read through of a few years ago. Unlike most Agatha Christie based plays I attend I didn’t remember half way through who done did it, which always makes the experience more enjoyable. The Reunion, the brainchild of Trademark Theater’s co-founders Tyler Michaels King and Tyler Mills, is not only an engrossing mystery but also wickedly funny. The setup is a Reunion of friends from high school who used to gather together to to play murder mystery games. It’s been years since they have played and they have no idea when they arrive at the home of their wealthy friend Sam, that tonight the murder will be real! With old traumas and secret plans the script has the audience off balance and in the dark revealing information at just the right moment. It kept me guessing, but as I’ve said before I love a mystery because I can never solve them, so the reveal is always like a magic trick. I wish I was a Sherlock, but in reality I’m a Watson.

What makes the show a success aside from the delightful script is the performances of the cast. With material like this, the cast can be the difference between a success and a failure. We have to care about the characters and we have to find them funny. I’m happy to say this group of performers handily achieved both criteria. I loved everyone, I really did, there isn’t a member of this cast that I would trade. Michael Terrell Brown is perfect as the wealthy Sam who you almost suspect from the start will be the murder victim after his first awkward interaction with friend and employee Peter, played by Chris Hayhurst. Especially sweet is the unacted upon crush between Clive, played by the MJ Matheson and Susan played by Katy Kessler. Mathesons entire performance is brilliantly hilarious, and he and Kessler’s chemistry is the heart of the play. Sasha Andreev plays Susan’s husband Richard, I’m so used to seeing Andreev using his beautiful singing voice that it was quite a surprise to find him so gifted comedically as well. Janely Rodriguez plays Clive’s sister Laura, who also had an unrequited crush from high school on Elizabeth played by Emma Schuld. Laura seems very down to earth while Elizabeth is an extreme environmentalist, which she plays to great comic effect.

The Reunion is well staged with a very creative set design by Sarah Bahr, with some surprisingly effective ways of creating new locations. Dan Dukich’s sound design and Tony Stoeri’s lighting design help set the atmosphere with the perfect thriller vibe. The Reunion runs through October 12th at the Gremlin Theatre in St. Paul. For more information and to purchase tickets go to https://www.trademarktheater.org/thereunion

Portrait of the Artist as a Young Gay Man From Illusion Theater at Center for Performing Arts

Patrick Scully Photo by Lauren B Photography

Portrait of the Artist as a Young Gay Man launches Illusion Theater’s 50th year with a personal story that spans even more years. The first in Creator/Performer Patrick Scully’s autobiographical series Somewhere Along the Rainbow, this show covers his journey from a young boy to an out gay young man. The story starts with a few anecdotes of Patrick’s childhood and adolescence that illustrate his naivete and the lack of access to anything regarding homosexuality. These bits are sprinkled with humor as is the entire show. This show is as much about his moments of fear about coming out as it is about his coming out. It’s because of those fears, those moments when he doesn’t acknowledge he is gay, those regrets, that make the moments when he does acknowledge it all, the more inspiring. We can all relate to that moment of abject fear when we blurt out the safe answer or avoid the moment, only later to question why we did it.

The story focuses mostly on his college and first few post college years, including the period spent studying abroad in West Berlin. Beginning his college career intending to go to medical school to be a Doctor, he takes some dance classes which change the course of his life. Covering everything from his first sexual experiences to Harvey Milk’s election and assassination, Scully paints a vivid picture of the times in which he came of age. In doing so he provides us with the benchmark against which we can measure the progress we have made as a society. He also shines a light on the reality that for every two steps forward there is a step backwards. Something we are definitely experiencing in today’s current climate. As we witness the legalization of gay marriage and the protections put in place for transgender people locally; we also see the rise of Don’t say Gay, and our state having to become a Trans refuge state for families who have to flee laws put in place in their home states that make it unsafe for them to live there.

Scully is an engaging and humorous story telling, whose honesty and willingness to share his weaknesses as well as his moments of pride make his story relatable to those with their own coming out stories and those without alike. With humor and grace he talks and dances his way into our hearts. I encourage everyone to see this show but particularly families with young people who have maybe just recently come out. There is a lot of power in seeing you are not alone and there is a lot to be gained from realizing how fortunate you are to be coming out now, rather than the 1970’s in midwestern America, or in the late 1930’s in Germany. There is a lot of fascinating history that that is shared in the context of Scully’s story that really adds to it’s scope and impact. I for one am very eager for the next installment of Somewhere Along the Rainbow!

Portrait of the Artist as a Young Gay Man runs through October 6th at the Center for Performing Arts in South Minneapolis. For more information and to purchase tickets go to https://www.illusiontheater.org/portrait-of-the-artist-as-a-young-gay-man

Divas & Drag An Opera Theatre’s Annual Show is Pure Joy at 825 Arts in St. Paul

Texas Tea Cake$ and Kara Morgan Photo by Brittany Powell

Divas & Drag is a mashup of Opera, Drag and Burlesque which is a recipe for campy fun. It’s queer as hell and just as hot. While some amazing vocalist wow you with their singing from Opera Librettos Drag queens and kings lipsync along, usually either putting on a comic act or stripping. Hosted in the style of a 1960’s variety show by Dick von Dyke & Queenie von Curves, the bridging scenes are just as fun as the performances themselves. It’s hard to express just how entertaining and inclusive this production is. As Von Dyke says, “Drag culture is about family”, and the feeling of belonging one has sitting in the audience is palpable. Here there is no judgement, here there is simply joy and acceptance. I’ve been a fan of An Opera Theatre (AOT) since my earliest days as a blogger when Executive Director Kelly Turpin invited me to their World Aids Day Program at Lush. Ever since Turpin has been my go to for advice and guidance on Opera, an artform she loves and that my appreciation for has grown, thanks in no small part to AOT’s productions. If Opera isn’t your thing, or you don’t think it’s your thing, this is the perfect show for you to gain an appreciation. it isn’t 3 hours of people singing in a language you don’t understand. It’s snippets of jaw dropping vocalists accompanied by actions you don’t need projected subtitles to understand.

There are so many moments that were fantastic it’s hard to give you a taste without feeling like I’m spoiling something. But to set the tone by way of one of the more atypical scenes, and this was absolutely a favorite for me, was Del The Funky Homosexual and Queenie von Curves acting out and lypsycnching to the soundtrack from the Looney Tunes cartoon What’s Opera, Doc? That’s the classic “Kill da Wabbit!” animated short, and it’s pulled off wonderfully. Another favorite is when Justin Anthony Spenner performs with Andre 1000. Spenner’s powerful Baritone voice in contrast with their lively and fluid comedic performance finds much hilarity in the paradox between the removed coolness of Andre 1000 and his hyperness. Corissa Bussian gives a heartbreakingly effective performance in one of the shows few non comedic pieces that is simply beautiful as Queenie von Curves appears to emerge from a cocoon. The show lasts around two hours that’s including a 15 minute intermission in which you can purchase more beverages from the bar hosted by Can Can Wonderland. They have adult beverages but also a nice selection of Mocktails and NA choices, which I very much appreciated. The other thing you’ll want to bring with you is $1 bills, no you won’t be putting them in anyone g-string, but you’ll wad them up and either throw them to the stage or put them in the tip bucket when it comes around. Which might sound strange, but it’s really fun to applaud with $1 as one of my companions said.

Divas & Drag runs through September 23rd at 825 Arts in St. Paul, for more information and to purchase tickets go to https://anoperatheatre.org/

William Shakespeare’s King Lear Lets the Crazy Flow at Theatre in the Round

Being a Shakespeare fan, I myself find it odd that I’d never read or seen the King Lear produced. I knew the plot had to deal with a King who gets upset with his daughters, but that was about it. I had no idea that it was the template for The Jerry Springer Show. There are very few characters who are not either mad or really really mean. If you are not either of those things, chances are you’ll get your eyes gouged out or something along those lines. The only chance you have if you’re sane is to disguise yourself as someone of a lower class. Thankfully with everyone else being mad, a little makeup and a change of clothes is enough to convince people you know well that you’re someone else entirely. When you go, and you should go, be sure to pick up one of the yellow sheets at the entrance of the theater it’s a little guide to the play, that will help you follow things a little easier. With probably about an hours worth of cuts made to the play, I think the guide is useful and much appreciated.

The play opens with King Lear proclaiming that he’s going to divide his kingdom between his three daughters, Goneril, Regan, and his favorite Cordelia. He asks them each to tell how much they love him, Goneril and Regan flatter him sickeningly and he bestows a third of his kingdom on each of them and their husbands. Cordelia, tells him she loves him but doesn’t go overboard and this angers the King. So he banishes her and gives her third to the other two daughters. It isn’t long before the King who is clearly losing his cognitive abilities is being treated horribly by his remaining daughters and is eventually left to fend for himself in a raging storm. The Earl of Gloucester who in the B plot has two sons, Edgar who is honorable and Edmund who is a villian. Edmund has his evil fingers in everybody’s pies, convincing their father that Edgar is plotting to kill him and making romantic advances on both Goneril and Regan. Gloucester gives aid to the King and for this, the sisters have his eyes gouged out, on stage. In an ironic turn of events it seems that everyone who is practicing a deception in terms of who they are, are the only true and honest people in the play. The villains are all out in the open, even if some of their tricks are done behind peoples backs.

Lear is played by Meri Golden and she does an excellent job in the role. Her manic pacing and constant movement is a nice physical expression of the Kings restless and unmoored mind. Tim Perfect is well cast as the Earl of Gloucester he brings an air of nobility to the role of what is probably the most honorable character in the play. Luke Langfeldt as his evil son Edmund is perfectly sneary, the kind of villain you want to boo whenever he appears. Langfeldt seems to be having a great time with the role. Taylor Evans does a nice job as Edgar and especially when he is in disguise as “Poor Tom” a mad beggar that the King befriends. I also really enjoyed the work of Danny Kristian Vopava as the King’s Fool, while a lot of his lines aren’t funny, the spin he puts on his line readings are. Patti Gage, Deanne McDonald, and Olivia Denninger as Goneril, Regan, and Cordelia do a nice job as well particularly Gage and McDonald who get more stage time and are meatier female characters than we usually get in Shakespeare. It seems to me that the three sisters could be the inspiration for Cinderella and her two evil step sisters.

The production is directed by George M. Roesler and It moves along at a nice pace, but there are definitely some staging issues. Several scenes took place in the upper areas of the audience, almost directly behind me, It was impossible to see what was happening from my seats. The set design is by Greg Vanselow is simple which allows it to be versatile, there is no need for any scene changes, characters can just exit and enter and we are in a new location. The heavy lifting is done with great panache by Lighting Designer Mark Kieffer and Sound Designer Robert Hoffman. Their creation of the raging storm is a highlight for the lighting and sound.

King Lear runs through October 6th at Theatre in the Round Players in Minneapolis for more information and to purchase tickets go to https://www.theatreintheround.org/king-lear/

Moonwatchers a Remounting of the 2022 The Stages of MN Fringe of the Day Award winning show, is Over the Moon Fun at Open Eye Theatre

Nigel Berkeley and Corey Farrell Photo by Bruce Silcox

Moonwatchers is a remounting of a 2022 Minnesota Fringe show that won The Stages of MN Fringe of the Day Award. It’s been over two years since I initially saw it so I didn’t recall much of the show going into it. Here’s what I said then: It’s a hilarious show about two moonwatchers whose job it is to turn on the moon each night and manage various night sky activities like having the cow jump over the moon and a comet fly by. It’s all pretty routine until one night they discover the moon has been stolen. While one of the moonwatchers subs in for the moon the other goes off in search of the moon rustler who made off with it. Yes, you read that right – they are not just a myth, there really are moon rustlers. This show gives you everything: comedy, music, comets, cows, and if that isn’t enough, it gives you the moon as well, literally. It’s the kind of show that sinks or swims on the personalities of it’s two performers. Nigel Berkeley and Corey Farrell are two very charming moonwatchers.

The show runs a quick 45 minutes and if you’ve never seen a Fringe show here’s a great chance to experience one without the overwhelming Fringe atmosphere. This is the very definition of a Fringe show, silly and offbeat and just a damn good time. It felt very close to what I remember from 2022, but with the addition of the creative production design from Open Eye Artistic Director Joel Sass. Sass adds his trademark theatrical magic making this a perfect way for Open Eye Theatre to open their 2024-2025 season. It’s the type of show that’s a great introduction to tween and teenagers who are maybe growing out of the Children’s productions. This has the whimsy of something aimed at kids but is decidedly more mature without being FOR MATURE AUDIENCES ONLY. No, this is just perfect for anyone say 10 and up, and I mean all the way up to 100! Moonwatchers runs through September 22nd at Open Eye Theatre in South Minneapolis. For more information and to purchase tickets go to https://www.openeyetheatre.org/moonwatchers