Twin Cities Horror Festival XIII Preview: 10/24-11/3

The Twin Cities Horror Festival XIII opens in just over a week and already there are a couple of performances sold out. So if you’re like me and want to see every production make sure to plan ahead so you don’t get left out in the dark. Because let’s face it, it’s kinda scary in the dark. The Country’s longest running horror theatre festival takes place over 11 days from 10/24 through 11/3 at the Crane Theater in Northeast Minneapolis. This year the festivities start a day early with a one night only performance of Leslie Vincent Presents: A Monster & Mayhem Cabaret which has already sold out! I look forward to the TCHF every year since I first covered it in 2019. If you like bumpities and spookables this is like a mini Fringe festival with shows that last an hour or less with a new one beginning every 90 minutes. One huge advantage TCHF has over the Minnesota Fringe is that it’s possible to see every one of the shows! Watch for my reviews throughout the festival and, if you see me there, be sure to stop by and say boo.

Here is the link to this years lineup and to purchase tickets: https://www.tchorrorfestival.com/tchf-xiii.html

Below are the shows in this years festival including descriptions and content ratings and warnings to help you make your show decisions.

Festival Shows

Leslie Vincent Presents: A Monster and Mayhem Cabaret

Leslie Vincent Presents

Murderinos and monsterheads unite for an evening of cabaret, camp, and costumes. Your host, local jazz chanteuse and former TCHF producer (A Morbid History of Sons and Daughters, Writer’s Room) Leslie Vincent, and her merry band will get you in the Halloween spirit with spooky originals and jazz standards as they were never intended to be sung. One night only!

Ratings:

Strong Language-2

Blood-2

Suggested Age: All Ages

Performance Genres: Music

Horror Genres: Comedy, Camp

The Wrench

Wheeler In The Sky

On its 30th anniversary, a group of New York’s most celebrated Shakespearean actors gather to memorialize the bloodiest theatre riot in American history: the Astor Place Riot. After the matinee performance of Macbeth, a horrible accident backstage leaves Lady M on her death bed. As the actors await news of her fate, they gather in the dressing room, amusing and consoling one another with theatre stories, each in turn confronting the bloody secrets of their past and horrors of the date 30 years ago which binds them all together: May 10th, 1849, The Astor Place Riot.

Ratings:

Strong Language-5

Blood-2

Suggested Age 16+

Genres of Performance: Theatre

Genres of Horror: Suspense

Warnings: Murder and Suicide

Let’s Summon a Demon at Debbie’s

Love Drunk Life

It’s been 25 years since Debbie, Cara and Lucy have seen each other, and 25 years since Debbie has left her house. But don’t worry, Debbie’s hasn’t been alone, Debbie has her dolls. A high school reunion like no other, three friends try to make sense of strange occurrences throughout their lives, and figure out if an all consuming need to return to Debbie’s house has to do with that demon they tried to summon senior year.

Ratings:

Strong Language-5

Blood-3

Suggested Age 16+

Genres of Performance: Theater

Genres of Horror: Camp Comedy

Warnings: Thunder and Lightning (Loud noise, strobe like effect)

The Alchemist’s Bargain

Phantom

A dark fable, performed entirely through blacklight puppetry, about a Hero’s journey to bring their Beloved back to life with the aid of a dubious Alchemist. The Hero must traverse treacherous lands and face dangerous foes to collect the ingredients needed to concoct the Alchemist’s elixir. How far are they willing to go to defy Death in the name of Love?

Puppeteer Performers: Thalia Kostman, Marc Berg, Josh Vogen, Kristina Jansons, Lindsey Oetken, Rhiannon Fiskradatz, Aaron Fiskradatz

Original Music Composed By: Steven Zubich

Stage Managed By: Kerry Landin

Understudied By: Amy Walus and Alex Yang

Ratings:

Strong Language-1

Blood-1

Suggested Ages : 10+

Performance Genres: Puppetry

Horror Genres: Dark Fantasy

Warnings: frightening moments, loud music

Doctor Clown

Dangerous Productions

Taking a uniquely Dangerous Productions approach, this cast of characters tackles the horrors of the American medical system. its a deeply bloody show with equal parts absurd comedy, slapstick and several gallons of blood spilt

Ratings:

Strong Language-2

Blood-5

Suggested Age 16+

Genres of Performance: Theater

Genres of Horror: Comedy and Gore

Warnings: blood and guts

The Night Parade of A Hundred Demons (In Which the Honorable Reverend Matt Employs The Winding Sheet Outfit to Help Him Tell One Hundred Ghost Stories and Absolutely Nobody Gets What They Came For)

Monster Science Productions

Two great tastes that taste great together! Horror Festival favorites team up to tell 100 tales of horror mythology, over five distinct, themed shows, – “Shapeshifters,” “Demons,” “Undead,” “Outsiders,” and “Beasts” – each bringing their own inimitable style! And nothing goes wrong! NOTHING.

Ratings:

Strong Language-1

Blood-1

Suggested Age 13+

Performance Genres: Theater, Storytelling

Horror Genres: Comedy and Dread

Fractured Remembrances

Rogues Gallery Arts

Aster and her boyfriend have disappeared. After five days she is found, her boyfriend is not. She has no memory of what happened and begins suffering psychogenic blackouts when pressed about it. Aster’s world turns to chaos as her fractured memory betrays her. To learn the truth she must come face to face with horrors beyond her imagination.

Written, Directed, and Audio Designed by Duck Washington (All Your White Darlings, My Only Hope For A Hero, Charcoal Moon)

Starring: Angela Fox, Kyle Dekker, Jean Wolff, Tim Uren, Philip D Henry, Rob Ward, Elizabeth Douglas, Eric Thompson, and Ariel Pinkerton

Featuring: Maureen Bourgeois, Elizabeth Douglas and Eric Thompson

Stage Managed by Megan Slawson

Make-Up Effects by Kyle Dekker

Violence by Philip D Henry

Original Music by Dissociate

Costumes by CJ Mantel

Ratings:

Strong Language-4

Blood-4

Suggested Age 16+

Genres of Performance: Theater

Genres of Horror: Psychological, Gore, Supernatural, Monster

Warnings: Loud Sounds, Assault, Depression

Ghostrunners

Spiral

Henry loves baseball but hates playing it. And watching it. Yet, his obsession over its rules, balance, and history lead him to create his own tabletop baseball simulation where rolling dice and complicated charts determine myriad, bizarre outcomes. When a player is murdered in the game, the search for the culprit turns a pastime into a nightmare.

Ratings:

Strong Language-3

Blood-3

Suggested Age 13+

Genres of Performance: Theater

Genres of Horror: Horror-Comedy

Warnings: Gunshots or sudden loud noises

Gh0stChaser04

A Murder of Crones

Do curses exist? Is the paranormal real? In 1904, two rivals try to uncover a series of mysterious deaths. In 2004, three strangers meet up to investigate a curse. Tonight they’re drawn together to answer the most important question: Is someone in here with us? From the team that brought you Girls in Bins.

Written by Rachel Teagle; Directed by Jenny Moeller

Featuring: Rita Boersma, Megan Kim, Heather Meyer, Mickaylee Shaughnessy, and Ben Tallen

Stage Manager and Gore Goblin: Shea Roberts Gyllen; Additional Special Effects: Victoria Pyan; Props Builder: Caden Wessner

Ratings:

Strong Language-5

Blood-4

Suggested Age 16+

Genres of Performance: Theater

Genres of Horror: Supernatural, Gore

Warnings: Gunshots

The Regular

Occasionally Employed Productions

Sometimes you wanna’ go where everybody knows your name, but are they *always* glad you came? Here comes “The Regular,” a story of a guy who walks into a bar…but might not walk out.

Featuring: Sam Landman, Claire Chenoweth, Jay Melchior & Lukas Ramsey.

Written and directed by Josh Carson (A Very Die Hard Christmas, Mad as Nell or How to Lose a Bly in Ten Days, A Justice League of Their Own)

Ratings:

Strong Language-5

Blood-4

Suggested Age 16+

Genres of Performance: Theater

Genres of Horror: Comedy and Psychological Thriller

Warnings: Violence, gunshots, loud noises

Campfire Story

Special When Lit

Gather around the theatrical campfire to hear Twin Cities artists and Horror Fest favorites tell their personal stories with the supernatural. It’s like “Are You Afraid of the Dark”… accept these stories are TRUE.

Special When Lit (THE FAE, INCARNATE, STABBY STAB STAB, KIN) is known for spectacle, and Campfire Stories is no different, with live music and effects to make it a full spooky experience. Trick or Treat: There are two versions of the show in rotation, so you can maximize your Halloween season with more spinetingling content.

Ratings:

Strong Language- 4

Blood- 1

Suggested Age 13+

Genre of Performance: Storytelling with Music

Genre of Horror: True Supernatural Stories

Warning: Beware: These stories are TRUE

Schaulust

Keith Hovis Productions

Wyatt likes to watch. No, he needs to watch. He’s addicted to the thrill of seeing people eat, clean, read, watch TV, and live their lives. But when his passion starts taking on a life of its

Ratings:

Strong Language-4
Blood-3
Suggested Age 16+
Genres of Performance: Music, Theater, One-Person Show
Genres of Horror: Psychological
Warnings: Mental Health (Depression, Anxiety)

Holmes/Poirot Gets Long Awaited World Premiere at Park Square Theatre Proves Worth the Wait

David Andrew Macdonald, Stacia Rice, Daniel Petzold, Bob Davis, Steve Hendrickson Photo by Rich Ryan

Holmes/Poirot the new play from local favorite Jeffrey Hatcher and Steve Hendrickson finally takes the stage at Park Square Theatre where it was originally scheduled as their annual Summer whodunnit in 2023. To be clear, the delay was to do with Park Square’s Financial struggles, which appear thankfully to be righted, and not an issue with the play itself. This play along with Hatcher’s Holmes and Watson are the most satisfying and clever bits of Sherlockian fiction to come along in a long time. I don’t keep up on all the Holmes pastiches but I’ve read a few over the last year, such as the most recent Nicholas Meyer Novels and Robert J. Harris’s A Study in Crimson. For sheer cleverness and enjoyment, nothing tops Hatchers ingenious mysteries. As with Holmes and Watson, the tag line left me unsure how well it would work. For Holmes Poirot it reads:

“Sherlock Holmes never lost a case. Or did he? In this new mystery Holmes comes up against his most diabolical adversary in a tale of intrigue, international politics, wine and murder. And he’s stymied. Enter Hercule Poirot 25 years later to investigate a new crime that rhymes with the first.”
Park Square Theatre Website

It reads like Holmes fails and Poirot comes in and solves it 25 years later, implying he’s the greater detective, which wasn’t what I wanted to see. In the end, while the tag line isn’t entirely disingenuous, in Act One Holmes doesn’t fail to solve the crime, he makes a choice to not reveal the solution, and that reason feels valid to Baker Street fans. Poirot solves another mystery all together in Act two and is aided by information from Holmes’ earlier case. Like the earlier Holmes and Watson, the script itself elements that turn those synopsis on their heads and lead you to twists not guessed at beforehand. Its been probably a decade since I finished my David Suchet Poirot watch, but parts of the Act Two felt like they were inspired by elements from the Christie Stories, the Golfing, the Tramp, the competition between Poirot and Inspector Giraud, I can’t remember if they all come from the same story or if they’re all separate elements from different stories. But it gave Act Two an authentic Christie feel, that felt as different in style from Act One as Conan Doyle’s writing does to Agatha Christie.

There is so much to love about the casting of this show. First the ingenious casting of Steve Hendrickson and Bob Davis in dual roles in which they swap playing the detective and the sidekick during the two Acts. Hendrickson plays Holmes with Davis as his Watson, roles they have played before. In Act Two Davis plays the detective Hercule Poirot with Hendrickson as his Captain Hastings. Perhaps surprisingly give their histories as Holmes and Watson, I enjoyed them even more as Poirot and Hastings. It’s perhaps the nature of the characters, there is a little more to do with the latter, as they are a tad more emotional and colorful duo. Davis’s Watson in the solid by the book gentleman Doctor, his Poirot is witty, and eccentric. Hendrickson’s Holmes is logical and a bit unemotional, whereas his Captain Hastings has more in common with Bertie Wooster than John Watson. These are fun characterizations made even more enjoyable by watching the complete changes these two leads make between the two acts. Other treats in the casting department, it’s great to see Daniel Petzold back at Park Square where he first drew our attention in Airness and Holmes and Watson. David Andrew Macdonald, who was brilliant last year in the Guthrie Theater’s Jeffrey Hatcher adaptation of Dial M for Murder, then stuck around to help out in the History plays, hopefully this means he’s decided to stay in town and add to our pool of Twin Cities Talent. Also nice to see the return of Stacia Rice to the stage, who gives a wonderful performance and is the one Actor who plays the same character in both Acts.

For mystery fans, Sherlockians, and Poirot devotees Holmes/Poirot will feel like Christmas came early. The show runs through November 3rd at Park Square Theatre in St. Paul. For more information and to purchase tickets go to https://parksquaretheatre.org/box-office/20242025-season

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Heck is Enjoyably Funny But Less Than the Sum of its Parts at St. Croix Festival Theatre

Jesse March and Kathryn Cesarz Photo by Dan Norman

I journeyed up to St. Croix Falls for the world premiere of Heck, billed as a new musical comedy by the stars of the show and co-directors Kathryn Cesarz and Jesse March. We made a day of it, doing some hiking across the river in Taylors Falls, enjoying an old fashioned ice cream soda on main street, dinner at supper club and a little shopping. And if you are traveling from the cities to see the show, that’s what I recommend you do as well as I’m not sure the show itself justifies the two and a half plus hour round trip drive. But it is amusing enough as the capper to a days adventure. It feels less like a musical comedy and more like a comedy with a few songs as it felt like there were about five or six songs, three of which really seemed to add something to the show. To be sure, one of them was really a showstopper performed by Kathryn Cesarz and Alexandria Neyhart playing Madam Satan and Gabby (The Archangel Gabriel). What works best and ultimately swings this show into the positive column is the comedy. The individual bits and characters are very funny, though there are a too many storylines that seem poorly defined and in the end, don’t really seem to add up to anything. It isn’t that there isn’t a plot, it’s just that the show seems relatively unconcerned with it and as such, it isn’t very clearly defined. You get to the end and most of the characters are right where they were at the start, and you feel like every storyline was resolved, but you’re not really sure what they all were about anyway.

The positives are much easier to define and really do make the experience enjoyable. First off, is Jesse March’s turn as Satan’s emotional support demon Belpho. March is a truly gifted clown, interacting with the audience in an easy going manner, and always finding the perfect line reading to achieve the largest laughs possible. Cesarz’s Madam Satan, is less concerned with being funny, but she has the character’s air of cold aloofness, superiority, and a touch of the dominatrix down perfectly. Evan Grande gives voice and brings to life the puppet demon Squee, assisted by Mary Margaret Hughes, and Lindsey Fry. Squee is a very successful creation, the three performers work in collaboration in full view of the audience to bring him to life, but very quickly you stop looking at the puppeteers and only see the puppet as a character. The puppet created by Michael Pettit is really an exceptional creation. Final performance note Theater Blogger Alex Lauer of https://onefanshow.com/ gave an award worthy performance as audience member pulled on stage to have their mind read.

For more information and to purchase tickets to Heck which runs through October 27th in St. Croix Falls WI go to https://www.festivaltheatre.org/

Irving Berlin’s White Christmas Brings Holiday Cheer Early to Chanhassen Dinner Theatres

The Cast of White Christmas Photo by Dan Norman, 2024

I know what you are thinking, and I was thinking the same thing, Christmas already? It’s still Monster Month! Well, when you mount a musical at the Chanhassen Dinner Theaters, even an abbreviated run like this, you have to start a little early and run a little late. And guess what? If you want to see this production before Christmas, you’ll need to purchase tickets for an October performance because a quick perusal through the CDT website shows every show from November 1st through until New Years Eve is sold out already. The kicker is, this production, it’s really really good. The dancing alone is worth the price of admission and it will be just as spectacular in October and January as it is in November and December. Choreographer Tamara Kangas Erickson has created some brilliant dances, many for large groups, but even the duet routines contain showstopping moves. Filled with perfectly synchronized tap, the cast really gives everything and it pays off. Under the musical direction of Andy Kust, the orchestra and vocalists are as is always the case at CDT of the highest level. Long time Artistic Director Michael Brindisi shows that after over 120 productions he knows just how to stage a show for this theater and its audiences. I promise you, even the Scroogiest will come away from Irving Berlin’s White Christmas with the holiday spirit.

Song and dance man Michael Gruber plays Bob Wallace one half of a song and dance team along with Tony Vierling’s Phil Davis. These two sound and act the part of 1950’s wholesome crooners perfectly. After an opening set in 1944 Europe in which Bob and Phil are entertaining their fellow soldiers including General Waverly, whom they all would follow to the ends of the earth, we jump ahead to 1954. Bob and Phil are huge stars and on their way to Florida over the holidays to work on and rehearse a new Broadway revue. When Phil falls for one half of a sister act, who are on their way to Vermont to perform at an Inn, he tricks Bob onto the wrong train so they can tag along. It turns out the Inn is owned by their former commanding officer General Waverly, it is also financially deep in the red. When they arrive the Inn has just lost all of it’s reservation due to a heat wave that makes skiing and other winter activities unavailable. Bob and Phil decide to move their rehearsal to Vermont and mount a show, getting all their old infantry division to come over the Christmas holiday and save the General’s Inn. Of course the two sisters they followed, Betty and Judy played by Ann Michels and Andrea Mislan, are on again off again romantic interests for Bob and Phil. Misunderstandings occur to keep the couples apart until the end of course, but they continue to make beautiful music together throughout the show. Helping the General to run the Inn is Martha Watson played by Michelle Barber, who used to be a performer herself. Barber has a great bickering chemistry with Joenathan Thomas who plays the general, as well as with his Granddaughter played in rotation by Jenalia Valerio and Malee Cenizal.

The main leads all mentioned above are exceptional at recreating the light and wholesome feel of the 1954 film on which the stage musical is based. They get great support, particularly in the dancing department from the ensemble. There are also a couple of character roles that add immensely to the humor of the show. Jon Andrew Hegge plays a few different roles but it’s as the Inn’s handyman Ezekiel, who apparently came with the place when the General bought it, that he gets some of the biggest laughs of the show, all by seemingly to do very little, but very slowly. In his first scene I swear he was cracking up Michelle Barber with the pace at which he was executing his performance. Another standout is Mark King as the harried stage manager Mike Nulty, he adds a bit of comic flair with his exasperated performance throughout the five days of trying to get the show up and running. But, it’s his interactions with Hegge’s Ezekiel that bring out the best in both performers who feed of each other with a perfect comic timing.

Irving Berlin’s White Christmas runs through January 25th at Chanhassen Dinner Theatres. I’d be remiss if I didn’t mention the wonderful food that comes included with your tickets. They also have delicious beverages and desserts you can enjoy, I highly recommend indulging in the Tiramisu. For more information about the show, the menu, and to purchase tickets go to https://chanhassendt.com/whitechristmas/

Rent is an Emotional and Transporting Experience Not to be Missed at Artistry in Bloomington

Rent Is one of my favorite musicals. I’ve seen touring productions countless times, I’ve seen it done by colleges and community theater companies, I’ve seen it done in the suburbs with the whitest cast you can imagine. The last time I reviewed the show I said when you’ve seen a show as often as I have Rent, you have to let go of your preconceived notions of what characters should look like, from costumes to hairstyles, what the set should look like and how every lyric in every song should be sung. The joy of going to a favorite show is seeing how a new group of artists will approach it. Obviously, you don’t want them to sing different songs or deviate from the characters essence. But when you know something so well and can let go of some standard set by an original cast recording you’ve memorized, you notice the small changes, and rather than being frustrated by them, they become the moments that make each production unique and engaging. I love Rent and I loved Artistry’s production of Rent. I loved it so much I want to go again, but mad at all the other theater companies in town who have filled my schedule so that I can’t go again. The only date I have available is my wedding anniversary, and I’m pretty sure my wife wants to do something we don’t do every other night of the week for our tenth anniversary. I know I’ll get over it, and I know by the time I hit the Twin Cities Horror Festival I won’t be holding a grudge.

I was going to say that if you are not familiar with Rent that it is patterned off of Puccini’s Opera La Boheme. Then I realized who hasn’t heard of Rent but knows La Boheme? Yes, I’m sure there is someone out there but my guess is they are not reading this review. Essentially it’s the story of a group of friends, artists living in New York’s East Village during the late 80’s early 90’s half of whom have contracted HIV. It contains a message of love and friendship played out among characters that suffer from all the human traits that hold us back, greed, addiction, jealousy, self doubt, isolation. It reminds us there is no day but today. In it’s emotional finale the characters sing the fundamental lesson that the musical is trying to impart to its audience “There’s only us. There’s only this. Forget regret or life is yours to miss.” I can’t think of a truer or more important message and that I suspect is why it won the 1996 Pulitzer Prize for Drama. If you are not aware of the story of Jonathan Larson who wrote the Music, Lyrics, and Book for Rent I highly recommend purchasing the film version of Rent to watch the Documentary No Day But Today which is included as a special feature, it’s a heartbreaking story.

This production is Directed by Kelli Foster Warder with energy and confidence, making subtle changes like I believe cutting a portion of the song “Contact” which worked for me. Warder also choreographed the show along with Joey Miller and they did an exceptional job. The moves that Michelle de Joya as Mimi performs while singing “Out Tonight” are an example of their creativity and de Joya’s skill. In terms of staging the Actors and the use of set pieces Warder does an excellent of staying true to the simple and scaffold like design of the original Broadway run, while also changing things up and doing her own thing, putting her stamp on the show while keeping the feel and look we expect. The Broadway costumes are iconic and the reality is that regional theaters need to find their own look for the characters to some extent which they do here. The only misstep costume wise for me was the choice for Mark’s shirt, a horizontal striped pullover collared affair that shouts mathlete rather than NYC Bohemian filmmaker. It’s an odd and glaring oversight that you can see in the photo above. There is the usual solid work from Music Director Jason Hansen and his band which are tight and perfectly balanced with the vocals.

I really can’t praise the cast enough, some are stronger vocalists and others stronger in the acting department but everyone plays to their strengths. de Joya’s Mimi is a little flat occasionally when it comes to the singing with things pushed out of her ideal range, but it’s not a huge concern because when it’s in her sweet spot she kills it, and her performance and physicality are among the strongest in the cast. Mitchell Douglas, hot off a nice turn in drag in Kinky Boots at Lyric Arts, plays Angel with some dance moves that elicit gasps and admiration. The best singers in the cast are Caleb Michael who plays Roger, Quinn Lorez who plays Joanne, and Em Rosenberg who is an ensemble member but when they get their few moments to be heard outside the group songs, Rosenberg reminds us what a fantastic singing voice they have. Matthew Hall also impresses as Collins with a rich voice that straddles the deep and mid register nicely. Both Wesley Mouri who plays Mark and Ninchai Nok-Chiclana who plays Benny are better in the acting than in singing departments, though they are both capable singers, their strengths lie in the former. Maureen is played by Sara Masterson and we believe her when she says there will always be women in rubber flirting with her.

Ultimately what the show did, what it always does, is evoke an emotional response from deep within me. Every time I see the show I’m transported in my soul back to the time I first saw it, before I was old. It reminds me of a more passionate age, when I could see myself as one of them, maybe not a Roger, I was never that cool, but maybe Mark. When I see it, when I hear these characters pouring out their hearts in these songs, I feel young. Every production offers something new, but the one thing they always remind me is that, if there is a production of Rent happening, go. Never, ever miss an opportunity to see a production of this show. Rent runs through October 27th at Artistry in Bloomington. For more information and to purchase tickets go to https://artistrymn.org/rent

Ain’t Too Proud: The Life and Times of The Temptations Brings Soul to the Ordway

I previously saw Ain’t Too Proud at the Orpheum in 2022 and loved it so much I was excited at the chance to see it again so soon. Ain’t Too Proud is a jukebox musical in the vein of Jersey Boys, which has made its rounds on tour many times and most recently at Chanhassen Dinner Theaters. Both follow the formation and rise of a famous 1960’s, well let’s call em what they would be considered today, boy bands. That these are two of the greatest boy bands in history means that the shows will be filled with great music, but the similarities don’t end there. For each follows the age old trajectory of success leading to excess. They both even contain the tragic death of one of the members children. You also get the sense that both of these groups should have had a lot more money then they did. I suspect the reason the record companies are not raked over the coals in these shows is that they have to grant use of the music. The Temptations musical has so many songs to feature that it’s weakness is that it doesn’t have time to perform many of these classics in full. In fact, I’m not entirely sure there is ever one song that is actually performed start to finish. So less of a rock concert than a two hour medley of hits. The performance of the songs, and the songs themselves, are so good that we forgive their abbreviation. If you love the music of Motown Ain’t Too Proud will delight you.

The book for this musical does what it needs to in order to tell it’s story but if the show lacks something it’s a better understanding of where we are chronologically and how they actually got their start. We move very quickly from Otis Williams’, the sole surviving member of the original Temptations and the narrator of the show, release from Juvenile Detention, to his putting together a band. He lures new members by pointing out they already have a manager and paying gigs. But how did that happen? Once the group gets connected to legendary Motown Record label founder Berry Gordy, it stops feeling like things are being omitted as much. Like the Four Season, I knew the music of The Temptations but next to nothing about their personal story and lives when I first saw the show. It makes for an interesting history lesson and also a cautionary tale. It’s amazing how familiar the broad strokes are of these tales of celebrity, the egos, the drugs, the infighting. One wonders if anyone is capable of navigating fame without self destructing. Of course there are, and Otis Williams is one of them, assuming he’s a reliable narrator, remember history is written by the victors or in this case, the survivor.

A show like this, has to be cast with exceptionally talented performers. They have to be able to sing in a reasonable facsimile of some very iconic and impressive voices. The cast here is all supremely gifted vocally and their dancing choreographed by Sergio Trujillo is perfectly timed and executed. Surprisingly the best vocal performance in my opinion came from Mikey Corey Hassel who plays several minor characters but really shines early on singing “Gloria“. The one character whose voice is supposed to be so good, that there are worries about replacing him when his behavior becomes to erratic is David Ruffin. At the performance I attended, he was hard to hear, this was most noticeable in the first Act a situation I think the sound technicians attempted to fix during intermission as he was more audible then. What’s exciting is that the performers who briefly appear and sing as some other motown groups like The Cadillacs, The Supremes, and The Five Satins are just as great vocally as the Temptations. The one performer that really embodies the show with its heart and soul is Rudy Foster as Otis Williams. Of course he’s a good singer, but it’s his acting that really draws us to him. He isn’t volatile, he’s deliberate and reasonable, like his character he’s the backbone of the ensemble. He’s trying to do the right things and move everyone forward, he’s the survivor and we can see the toll that surviving takes on him.

If you are a fan of the music of The Temptations, Ain’t Too Proud… is going to be well worth your time. The showmanship on display is very impressive, each performance has its own unique choreography and the vocal performances of so many great songs is almost an embarrassment of riches. I had a blast with the production numbers and was captivated again by the glorious music of Motown.Ain’t Too Proud runs through October 13th at the Ordway Center for the Performing Arts in St. Paul. For more information and to purchase tickets go to https://ordway.org/events/aint-too-proud/

Scotland, PA Sizzles at Theater Latté Da

Tara Borman, Will Dusek, Katherine Fried, Deidre Cochran Photo by Dan Norman

I saw the 2001 film Scotland, PA on which Theater Latté Da’s production is adapted from on DVD as soon as it was released. I had a small child at the time and getting out to the movies wasn’t in the cards very often. But I’d read about the film in a magazine and being a Shakespeare fan, I knew it was a film I needed to see as soon as Netflix* could get it to me. Plus, I had a bit of a screen crush on Maura Tierney who starred in the film. Now besides the basic idea and the knowledge that I liked it at the time, I’ve retained little else of the movie, which allowed me to view this musical version with relatively fresh eyes. Not that it would have mattered because something this fun cannot be spoiled by any amount of fore knowledge. Besides, in case you didn’t know it’s Shakespeare’s Macbeth update to 1970’s Pennsylvania set in a fast food restaurant. The twist in the stage adaptation is that it’s become a rockin’ musical! Faithful readers know that I love the front row, well the front row is pretty loud at this one, but I loved it anyway. Who knew taking Shakespeare aging it to 1975, adding a heavy portion of rock music, a pinch of cocaine, a puff of pot, and putting it between two sesame seed buns would make such a delicious recipe?

If you’ve seen the news there has been a certain amount of tragedy surrounding this show, leading to rumors that the curse of the Scottish play has reared its head once again. Multiple cast members had to be replaced due to injuries resulting in an entire weekends shows being cancelled. Thankfully, as far as I know no one was mortally wounded, and we hope everyone recovers quickly and fully. Theater Latté Da has announced that they have extended the run of the show through the last weekend in October. As for curses, that’s strictly a backstage thing clearly because this show is fantastically entertaining. I know the cast has jostled around quite a bit but it’s hard to imagine anyone else in any of these roles. But before we get to the cast, a quick word of praise about the Production itself. I loved every aspect of the design and there are some things that shocked me with their brilliance that I’m not sure who to credit, and I don’t want to spoil the surprise for you who have yet to see it. So simply let me say that the works of all of the following artists contribute to immensely to the success of this show. Scenic Designer Mina Kinukawa, Costume Designer Zamora Simmons-Stiles, Lighting Designer Grant E. Merges, Sound Designer Kevin Springer, Hair; Wigs; and Makeup Designer Emma Gustafson, and Prop Designer Madelaine Foster. All of these technical and creative departments are perfectly in sync under Directors Lonny Price and Matt Cowart who make this production sing along with Musical Director Joshua Zecher-Ross. And putting that music to good use are Choreographers Lorin Latarro & Travis Waldschmidt.

Let’s start with the three Stoners who replace the three Witches in Macbeth, we have Tara Borman whom I’ve admired as an actor in previous shows, but I’m not sure I’d ever heard her sing front and center like she does here and she has a gorgeous voice, which only adds to the hilarity of her comedic performance by contrast. We also get Deidre Cochran and Eric Morris as the other two stoners and if you didn’t know they could sing, I’m not sure what rock you’ve been living under but welcome to the party! The leads are Will Dusek who recently played Frankie Valli in Jersey Boys as Mac, and his girlfriend Pat is played by Katherine Fried who absolutely bowled me over last spring as Percy in The Spitfire Grill. They both give their all again here and besides sounding great they bring the desperation and guilt to life quite believably. Stages of MN favorite Tom Reed, who inherited the role of Banko, Mac’s clueless best friend, plays it such that you cannot imagine anyone but Reed in the role, he gets the best song in Act 1 “Kick-Ass Party”. The best song in Act 2 is “Why I Love Football” it’s sung by Joshua Row who plays Malcolm. Row doesn’t have a lot of credits yet, but I think he is one to watch and expect big things from. As the Vegetarian police inspector Peg McDuff is Emily Gunyou Halaas who doesn’t really enter until Act 2 but makes her mark all the same. Other roles are filled by the always dependable Carl Swanson who plays three different smaller roles, all unique and they get some of the best one liners. With Kim Kivens and Timothy Thomas also doing great character work, it really feels like the perfect actor in every role.

Scotland, PA runs through October 27th at Theater Latté Da in North Minneapolis. For more information and to purchase tickets go to https://www.latteda.org/scotland-pa

* Netflix began as a video rental service that sent movies on DVD through the mail. This was before the age of streaming also known as the golden age of physical media.

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