Back to the Future: The Musical Wows the Audience With Spectacular Stage Magic at the Orpheum Theatre

Caden Brauch Photo by Matthew Murphy and Evan Zimmerman

Back to the Future the 1985 movie was the first movie I ever officially called my favorite movie. Cinephiles can relate, it doesn’t mean I didn’t have a favorite movie before that, just that at 13 I decided to declare that this was my favorite movie, at that point in time. Now I’m not a huge fan of movies that were not musicals turned into Broadway musicals. Some work, some don’t, usually the idea seems misguided and thus usually have an upward battle justifying the transition. This adaptation definitely took me by surprise when I first heard of it, but I wasn’t a naysayer. To me this seemed like something completely different. This would be more along the lines of the Indiana Jones stunt show in Orlando Florida than Pretty Woman. I wasn’t wrong and I wasn’t disappointed. From the moment the DeLorean bursts on the scene, and believe me that is an accurate description, it’s clearly the star of the show. The production design and theatrical illusions take center stage and they will not disappoint. If you came to Back to the Future: The Musical for the music, you came to the wrong show. Don’t get me wrong the songs aren’t terrible, but the best songs in the show all came from the movie. There are a couple of fun exceptions a 1950’s pastiche of girl group bubble gum songs ,”Pretty Baby“, has a nice feel to it, though honestly, that may be me. My pop music taste more or less resides squarely in the 1950’s and 60’s.

The adaptation is by the creative team who created the film. Bob Gale,who co wrote the original movie with the films Director Robert Zemeckis, wrote the Book. The Music and Lyrics are by the original films score composer, Alan Silvestri along with Glen Ballard. I won’t go into the plot as I cannot imagine anyone going to see this that hasn’t seen the film. Are there changes to the plot? yes, but they are not significant and one can generally see why the changes that do occur were made. The changes are all details and they don’t change the overall plot. What is different is the tone in some ways the production takes itself very seriously, mainly in it’s design and execution of the illusions. In other ways it doesn’t take itself seriously with knowing winks to the audience, moments where everyone on stage and in the audience acknowledges we are at a musical. I didn’t have an issue with that, and I think you faithful reader, knowing that info going in will be on board as well. In those moments it’s the creators saying to us, this is ridiculous, so let’s just have fun, and in that respect it succeeds brilliantly.

It’s tricky when you have new actors stepping into roles played indelibly by the original performers. We almost have to give ourselves a pep talk ahead of time with a reminder it’s Okay if the characters are a little different. No one could hope to replace Michael J. Fox, Christopher Lloyd, Lea Thompson, and Crispin Glover. Well ok, Burke Swanson who plays George McFly pretty much nails a Crispin Glover impersonation, which is awesome. The rest are not afraid to veer away from the iconic portrayals to avoid attempting to replicate that which could never be replicated. I think you’ll agree that if there is one character whose mannerisms and look are so stylized and unique that it wouldn’t be the same without them it’s George McFly. What Swanson does is chancey but it works. In terms of the rest of the cast everyone is solid. Aside from strong vocals by Zan Berube who plays Lorraine and Cartreze Tucker who plays Goldie Wilson and Marvin Berry, no one has a particularly strong singing voice. But again, that isn’t really the point of the show.

What is the point of the show is the amazing magic that the production design teams have brought to the show under the direction of John Rando and designer Tim Hatley. As I stated before, the star of this show is not Caden Brauch who plays Marty McFly or Don Stephenson who plays Doc Brown, it’s the DeLorean. Chris Fisher who is credited as illusion designer and Finn Ross as Video Designer have worked magic together to create an effect that actually wows a 2024 audience. This is a production that features a fair amount of projection. But, while some shows rely too heavily on the tool, simply creating locations rather than building actual sets, here it is used strategically to enhance physical set pieces. The two showstopping moments in the show are not musical numbers but the moments leading up to the two trips through time that Marty makes in the DeLorean. Such well timed and expertly married physical elements and video projection in these scenes, I don’t think I’ve ever seen before.

As a musical, Back to the Future: The Musical is fine, as an experience it’s spectacular. When you go in knowing what to expect, it’s sometimes easier to relax and enjoy yourself, and that’s really all this show wants to do, which is all I needed it to do. Back to the Future: The Musical runs through September 22nd at the Orpheum Theatre in Downtown Minneapolis for more information and to purchase tickets visit Hennepin Arts at https://hennepinarts.org/events/back-to-the-future-the-musical-2024

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The Drowsy Chaperone Will Keep Your Eyes Wide Open and Watering With Tears of Laughter at The Phipps Center for the Arts in Hudson WI

The Drowsy Chaperone is a show that pokes fun at the musical form while being a great example of a musical. This is flat out entertainment, no pretense, just joy. This was my first time seeing the show but had heard good things for years. This was also my first trip to The Phipps Center for the Arts in Hudson Wisconsin. I know what you are thinking, what’s up with this guy, that’s the second show out of his territory in less than a month. Well don’t worry, I’m not playing fast and loose with the rules, banking on flying under the radar and not getting caught. I’ve worked out a deal with the WI Blogger and snack foods council to attend and write reviews as a near resident. It’s all legal and above board, so don’t worry about me. I’m glad I made the trip as The Phipps production was hugely entertaining with an amazing production design. For those who haven’t seen this show either and for those for whom it’s a favorite, it’s definitely worth the extra travel time. It’s a wonderful facility and the area around The Phipps is rather charming as well.

The shows conceit is a man listening to his vinyl of the original cast recording of a 1920’s musical called The Drowsy Chaperone. He speaks directly to the audience throughout and as the album plays he talks us through the plot and gives us background on the performers. Meanwhile, we watch the musical play out on stage seeing what he is seeing in his mind’s eye. The story of the musical involves a bride and groom on their wedding day. The best man is planning the wedding, the matron of honor is the drowsy chaperone of the title, her job is to make sure the bride and groom don’t see each other before the wedding. The “B” plot is about a theatrical producer, who is trying to stop the wedding so that the bride, his star, doesn’t give up the stage and thus close his show. Adding pressure to the producer are a couple of gangsters who are in disguise as pastry chefs and are there on behalf of their boss, the producers biggest financial backer. Misunderstandings and mistaken identities ensue while the narrator comments on everything from the quality of the songs to his dislike of intermissions, of which this show has none.

The cast is solid, at the performance we saw the Chaperone was played by the understudy Bridget Benson who was very good in the role. Lewis Youngren, who was the choreographer as well as playing the groom, and Evan Wilberg who plays his best man have a really well done tap dance number “Cold Feets“, that’s very entertaining. Paul Reyburn plays the man who’s commenting on the musical and does a great job of connecting with the audience, making us feel he generally does love this show. Molly McGuire plays the bride and Broadway star and really gets to show her stuff in the number “Show Off” in which she claims she won’t miss the spotlight all the while doing everything she can to show off. James Lane has a very fun turn as a foreign lothario called Aldolpho with dance moves at once sensual and laugh inducing. The cast is filled with talented performers and while only a couple of them have superb singing voices they all can carry a tune.

It’s a delightful script and it’s brought to life not only by its talented cast on stage but by the artists behind the scenes as well. I loved the set design by M. Curtis Grittner. It starts as the man’s apartment and transforms in so many ways throughout that I almost lost track. Favorite clever designs were the fridge doors that open and become an entrance, the bed that comes out of the wall, and an airplane that arrives at the conclusion and helps to resolve the final obstacle to the happily ever after the musical needs to end on. I was also impressed by the costume designs by Kathy Kohl. Again I lost track of the number of costumes there were and they were all fantastic. The sheer volume needed for such a large cast and then to have them change outfits over and over again was very impressive. Director Sean Byrd and Music Director Christopher Stordalen have made this production a rousing success.

The Drowsy Chaperone runs through September 29th at The Phipps Center for the Arts in Hudson Wisconsin for more information at to purchase tickets go to https://thephipps.org/events/drowsy

Peter and the Starcatcher Makes for a Hilariously Entertaining Night at the Theater at Lyric Arts

Pictured: Noah Hynick, Brendan Nelson Finn Photo by: Molly Weibel

Peter and the Starcatcher is a play by Rick Elice based on the YA novel by humorist Dave Barry and Author Ridley Pearson. I’ve not read the book, but assuming the play more or less follows the plot, it’s a prequel to Peter Pan. Pan’s origin story if you will. I know Barry’s work as a columnist and writer of humor books, but I wasn’t under the impression that the novel was comedic. The same cannot be said of the play version which is very, very funny. Fans of Ken Ludwig’s Sherwood: The Adventures of Robin Hood will find this production right up their alley. What makes this production at Lyric Arts so entertaining aside from a great script is the superb cast and the creative direction of Scott Ford. I love a production that embraces the reality that it is a play and uses imagination to create the world of it’s characters. Stage magic, like blue banners for the ocean waves or a tiny model ship to represent a mighty frigate, are as welcome to me on a stage as a meticulously crafted real world style set. I love the choices Ford and his Scenic Designer Peter Lerohl have made here. In fact, kudos to the entire artist team which include Samantha Fromm Haddow (Costume Designer), Shannon Elliott (Lighting Designer), Corinne Steffens (Sound Designer), Kat Walker (Prop Designer), as well as Music Director Wesley Frye and Choreographer Lauri Kraft.

Ford is blessed with a talented cast that includes a few names that faithful readers will recognize, Noah Hynick, Alex Stokes, and Brendan Nelson Finn. Hynick, who seems to be a strong component of the majority of Lyric Arts productions over the last few years plays Black Stache, the pirate villain of the piece. Hynick plays into the absurdity of scenes but also knows when to be the one who’s smarter than everyone else and sees how silly everyone is being. Stokes who plays Mrs. Bumbrake among other roles, and Finn who plays ships captain Bill Slank among other roles, are both master of the comedic look, and the master at hilarious throw away line readings. The roles they both play are perfectly suited to their comedic strengths which are considerable. Also contributing considerably to the hilarity are Brendan Veerman as Smee and Charlie Morgan as Alf. The one bit of casting that is a bit of a head scratcher is Nate Turcotte who’s performance as Peter is surprisingly bland and one-note. As I say, I’ve not seen the play before, perhaps it is the way the role is written. Thankfully for a Peter Pan origin story, Peter isn’t any larger than most of the ensemble roles and doesn’t detract from the production as a whole, he just isn’t funny, inspiring or heroic. May Heinecke who plays Molly, think Wendy in Peter Pan, does come off as heroic and fiery, and Eric Knutson as her father Lord Aster, isn’t comedic, but comes across as engaging and steadfast.

Peter and the Starcatcher is a very entertaining and hilarious adventure, with great comedic turns from multiple actors which should not be missed. It runs through September 29th at Lyric Arts in Anoka for more information and to purchase tickets go to https://www.lyricarts.org/peter-starcatcher

Lincoln’s Children an Entertaining and Thought Provoking World Premiere From Fortune’s Fool Theatre at the Crane Studio

Lincoln’s Children the new play by Mike McGeever opened to a sold out house this Friday. Now it’s in the Crane Studio which is rather tiny so that isn’t as unlikely as one might think. But, having seen the work I can tell you if there is any justice in the world it should be a sold out run. The next time we see it performed, and it is a work we should see again and again, it will be in a larger venue. It’s not only important work, it does the one thing that theater needs to do in this time and place, it entertains. There is a line in the play attributed to Abraham Lincoln, and I’m paraphrasing without a script at hand, If you can get a man to laugh you can get him to think. Which is exactly what McGeever does with his play. Don’t mistake me, it isn’t a comedy, but like life, it has plenty to laugh at. A superb cast along with an intelligent script combined with a tiny venue, the answer to that equation is get your tickets now.

Lincoln’s Children tells its story across two timelines. In the present Professor Mathers, a white academic hires Chloe, a young black graduate student to be his research assistant. Mathers is writing his umpteenth book on Lincoln and looking for an assistant with a fresh perspective. Chloe is the descendant of a black slave who was loaned to Mary Todd Lincoln in the mid 1800’s. That is the other time period that the play takes place in. Chloe is a good researcher but she also has her own agenda which is to try and prove that she is a descendant of Abraham Lincoln. Chloe represents Black America in the present and in the past. In both time periods she’s clearly intelligent, but it’s only in the present that she can show it freely. As we all know freedom as a concept and freedom as a reality are different things. Present day Chloe is able to question and argue and through her the things that are still very wrong in our country have a voice. She debates points with Professor Mathers who is not the embodiment of all that is wrong with the white man in modern times. That role is played by his mentor Calhoun Alexander, a good ol’ southern white academic. Mathers is the white America that tries to do better and thinks he does, but still doesn’t get that the field is not level. What struck me most about McGeever’s script is his ability to understand, present, ridicule, yet still show compassion for a character like Mathers. We don’t hate him, but we shake our heads at him. The other great thing McGeever did is give the character of Chloe the intelligence to make the arguments against the status quo, clear and effective.

As Chloe and Mathers, Kyra Richardson and Jeremy Motz are perfectly cast. Richardson knows how to make her point and make it stick, her line deliveries are like darts hitting the bullseye every time. We see her intelligence but also her flashes of anger at the world that isn’t color blind. Her Chloe in Lincoln’s time is completely different, there is still intelligence, but it’s used not to fight injustice or ignorance but to stay alive, which means keeping her head down and intelligence to herself. Motz plays the mansplainer who doesn’t know he’s a mansplainer. He’s intelligent as well, but he’s not as tenacious, he’s a white man, he’s never needed to be. Motz is the stand in for the good intentioned but entitled white male, he finds the humanity in the character so that we are genuinely angry with him when he makes a feeble and misguided move. I was so involved that I actually tried to verbally restrain him before I realized what I was doing. My apologies to the cast and audience, that “No!” was me. I can think of no higher compliment to pay Richardson and Motz than to admit that I was so involved with what they were doing that I forgot I was in the theater. The supporting roles are so well cast from Nicholas Nelson who is perfect in look and speech as Lincoln to Ariel Pinkerton who makes you see what a difficult woman she would have been to cross. Winifred Froelich, Dawn Krosnowski, and Scott Gilbert all make the most of their small roles and it’s a credit to their talents and Mcgeever’s writing that none of them feel like caricatures, well maybe Gilbert’s Calhoun Alexander does, but it’s a true to life caricature that’s perfectly executed.

The play is directed by Duck Washington whose timing within scenes is impeccable. The play clips along, but there is no sense of it being rushed. The only decision I don’t agree with, though there may be reasons for it, is the shifting of the table between scenes. One assumes this is done to show a change of location but it’s unnecessary. Otherwise the set design by Keven Lock is exactly what is needed without anything extraneous, which is essential given the space limitations. CJ Mantel has done nice work with the costume design particularly with Lincoln, Mary Todd Lincoln, and the Chloe from that time line.

Lincoln’s Children is a play that deals with very real and important issues, more than there was time to unpack in this review. It makes you laugh and then helps you to think about our world, what it is based on, what is true, what is fact. It reminds us that history isn’t truth, it’s the story told by those in power. It runs through September 22nd in the intimate Crane Studio Theatre for more information and to purchase tickets go to https://fortunesfooltheatre.org/what-were-doing

The Physicists From Dark & Stormy Productions at the Gremlin Theatre is Offbeat But Entertaining

Sara Marsh and Jason Ballweber Photo by Alyssa Kristine

The Physicists is an odd play, not just its plot but it’s tone as well. It begins as a dark comedy, possibly a comedy thriller, takes a turn into the absurd, morphs into a tale of espionage, and ends as a drama of philosophical and political ideas. Written by Friedrich Durrenmatt, translated by James Kirkup, and skillfully Directed by Allison Vincent, The Physicists features a fantastic cast. It’s an odd play to end the summer on, it’s not escapist fun, though it contains many entertaining and humorous moments, nor is it a serious play, though it’s message is. I think going in knowing this is a play that gives you a little of everything will help you enjoy the ride, I certainly did. Note to the management it’s too warm in the theater, which you could sense a bit of sluggishness in the audience, but not thankfully in the cast. The temperature in the lobby was perfect, replicate that and you’ll have an attentive and alert audience.

When a murder occurs at a mental asylum, Inspector Voss is on the scene with his men. This is the second murder of a nurse in the last three months. If you’re wondering who killed the nurse, don’t, it’s not that kind of play. The murderer of this nurse was a patient who thinks he is Albert Einstein, he is not however responsible for the previous killing, that was another patient who thinks he’s Sir Isaac Newton. The third patient, as there are only the three left in this wing, is actually another Physicists, Johann Wilhelm Mobius. They are all under the care of Fraulein Doktor Mathilde von Zahnd. Everything seems straightforward, including who killed the dead nurses. But then Sir Newton throws the first spanner in the works by revealing that he isn’t Newton at all but actually Einstein. He doesn’t let on though because it would upset the other patient that believes himself to be Einstein. Suddenly it’s unclear who is really who, or at least who do they think they are? Who’s mad, who’s sane? As the reveals become more absurd they also begin to feel more real. Just as the play itself progresses it gets more and more outlandish but at the same time more serious.

The three patients Newton, Einstein, and Mobius are played to perfection by Peter Christian Hansen, Pearce Bunting, and Alex Galick. Hansen pulls off the costume of Sir Isaac Newton as only he could. His regal stature and strong face are perfectly suited to Newton’s period clothes and his long majestic wig. Hansen is also gifted with not only a fierce intelligence but the ability to convey it as well. Bunting is surprisingly convincing at presenting a believable looking Einstein, and the combination of his more grizzled look with some outlandishly goofy actions, a pistol standoff comes to mind, earns solid laughs. Galick, the true Physicist is really the soul of the play. I’d say heart, but I don’t think there is a lot of heart in this play, but there is soul and Galick is excellent at embodying it. He’s stuck with a lot of explanatory reasoning in the final act which could have become quite dry, but he knows just how to inject enough passion and reason into his lines that his arguments win us over rather than put us to sleep. Also of note are Sara Marsh as Fraulein Doktor Mathilde von Zahnd and Jason Ballweber as Inspector Voss. Marsh commits completely to a delightfully eccentric character vocally and physically, in fact I hope she isn’t in too much pain by the end of the run, because what she does is amazing, but has to be painful. Ballweber’s Inspector Voss is surrounded by incompetence, which he turns into some of the funniest reactions both verbal and nonverbal in the whole play.

Let’s talk for a minute about Allison Vincent shall we? I know she isn’t new to the scene, but it seems like you can’t swing a cat in this town without hitting something brilliant that Vincent is involved in. Seriously at 2023 Twin Cities Horror Fest she was in the two best shows. She was involved in 3 of the top 12 shows I saw at The Minnesota Fringe Festival, and without being put on the spot, it’s safe to say it was three of the top 5 at Fringe. Here again we see what sets her apart, there is no mistaking the directorial hand of Vincent on this production. A master of movement you can see the guiding hand behind every bit of physical movement, from the ways in which characters exit the stage to the little bits of business that turn trying to take a seat into a laugh or even more miraculously, a building block of the characters. Vincent is backed by artists in every department that help to create this unique bit of theater. Sara Marsh’s costumes are perfect, from Newton’s Wig and clothing to the male Asylum attendants tight shirts. Scenic and Prop Designer Michael James has given us a very interesting set. With three free standing doors along the back of the performance space and wall lighting sconces that hang in midair between them, it’s a mirror to the sometimes absurd tone of the play. Shannon Elliot has some very interesting lighting cues, including the final moment before the lights go out, that really highlight nicely James’ set design.

The Physicists is definitely a comedy but it also has things to say that really do mean something. Mobius has a point of view that says something important, but this isn’t just a play about ideas, as off kilter as it is it’s also about reality. Because we can be full of ideals but reality like nature finds a way to survive. It’s basically the same cautionary tale as Jurassic Park, but it’s funnier and with a lot less dinosaurs. The Physicists runs through September 15th at the Gremlin Theatre in St. Paul. For more information and to purchase tickets go to https://www.simpletix.com/e/the-physicists-tickets-175452

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I am also a member of the Twin Cities Theater Bloggers (TCTB), where you can read roundups of shows by my colleagues and I when you follow us on facebook @TwinCitiesTheaterBloggers. We also produce the podcast Twin Cities Theater Chat!! which you can access through this link or wherever you enjoy podcasts https://twincitiestheaterchat.buzzsprout.com/ . We post biweekly longer form episodes that will focus on interviews and discussions around theater topics. There is also shorter episodes in which we Bloggers tell you what we think you should get out and see as well as what we have on our schedules that we are most looking forward too.

The Spitfire Grill at the St. Croix Festival Theatre Makes for a Perfect Day Trip Out of the Cities

Lindsey Fry, Beth Siegling, Elizabeth Streiff, and Carter Hoffer Photo by Dan Norman

*Portions of this review (plot Synopsis) are adapted from a previous review

You may be saying to yourselves St. Croix Festival Theatre, isn’t that across the state line into Wisconsin? Well yes it is, and yes that is a little outside of The Stages of MN’s jurisdiction. But, while my review may not hold up in court, it is enough to hopefully interest some of my readers to take a delightful little day trip to this newly renovated theater and enjoy their wonderful production of The Spitfire Grill. The St. Croix Festival Theatre production is being staged in the newly renovated Historic Auditorium and aside from being a fan of the show, checking out the space was a reason to make the journey. My wife and I made a bit of a day out of the excursion, enjoying a scenic drive up and a little light shopping after the show in the surrounding shops. We capped our day off with a step back in time at the enchanting Dalles House Supper Club. I mention this as I know many will need more motivation to make a 40 to 60 minute trip to see a theatrical production. All in all this was a wonderful day excursion the highlight of course being The Spitfire Grill production.

*The Spitfire Grill is based on the 1996 film of the same title and tells the story of Percy Talbott, a young woman just released from prison who looks for a fresh start in a dying small town named Gilead. Percy’s bus is met by the local Sheriff Joe Sutter who will serve as her parole officer. Sheriff Sutter takes her to the Spitfire Grill a rundown old Diner and convinces the owner Hannah Ferguson to take Percy on as a waitress and give her a room. At breakfast on her first morning, the town begins to wonder about Percy led by the town gossip and Postmistress Effy Krayneck. We also meet Hannah’s nephew Caleb and his wife Shelby, Caleb has been trying to sell the Spitfire Grill for the last 10 years. Just when Percy is questioning her decision to live in Gilead, Hannah falls and breaks her leg. Percy is enlisted to run the Spitfire with help from Shelby. Running the diner together Percy and Shelby bond and hatch an idea to raffle off the Spitfire Grill. Hannah gradually warms to the idea and they post the contest in newspapers. To enter, contestants need to send $100 and an essay on why they want the diner. The musical isn’t really about the contest and the diner, it’s about making connections and laying down roots. It’s about the concept of second chances and the re-emergence of hope.

I wasn’t sure what to expect so far out from the cities, production and performance wise. I was very pleasantly surprised on both counts. The set by David Markson was right in line with say a Yellow Tree or Theatre in the Round production. While the stage is on the smaller side Markson does a nice job by creating levels that help distinguish various rooms within the Spitfire Grill. The customer seating area and kitchen both having entrances that allow for a natural and logical flow for the characters movements within scenes. A particularly nice touch is the tree stump out back of the Grill. Director Mark Rosenwinkel and Music Director Karl Wicklund both master the task of making something special out of this small and intimate show. Wicklund has only three musicians, but it’s honestly all this simple but beautiful score needs. The cast is solid with the actors playing the three women who run the Spitfire, Beth Siegling (Percy), Elizabeth Streiff (Hannah), and Lindsey Fry (Shelby) giving exceptional performances. Streiff especially really captured the tone and felt very authentic as Hannah.

The Spitfire Grill a show I only first discovered this spring is a very uplifting, inspirational, and emotionally satisfying musical. The Spitfire Grill runs through September 1st at the newly renovated The Historic Auditorium of St. Croix Falls. For more information and to purchase tickets go to https://www.festivaltheatre.org/main-stage-series.html

No Country For Two Old Men at Brave New Workshop

What do you do when one of the candidates drops out of the Presidential election a few weeks before the political sketch comedy show you’ve written is about to open? You salvage what you can and rewrite the rest. What do you do with the new guy you hired to play Joe Biden and how do you handle the fact that you really don’t have a great fit in the cast for Vice President Harris? You lean into those facts and spin comedy gold from them. The new show at Brave New Workshop in downtown Minneapolis, No Country For Two Old Men, which opened this week gets it’s best bits from acknowledging how these turn of events affected their show. Joining regular cast members Lauren Anderson, Denzel Belin, Isabella Dunsieth, Doug Neithercott, is Twin Cities Theater Blogger “One to Watch” Jeffrey Nolan, who yes that’s right, was hired to play Biden. Neithercott, the other white man in the show, makes a very good Donald Trump and Nolan is hilarious as Biden. The show is able to capitalize on Nolan’s Biden a little bit, and then gets good mileage out of Nolan’s anxiety over having been hired specifically for a role that really isn’t needed anymore. Don’t worry they use him to good effect throughout the show. The shows dilema now is that they need a Harris, but they don’t have a mixed race Black and Asian woman in the cast. How they solve this involves using two cast members simultaneously to check as many of the boxes as they can is inspired.

I saw a preview of the show which meant they were still fine tuning it and making changes, lucky for me I got to see some things that will be cut, though I don’t know what those are. But it makes it even more pointless for me to try and tell you about the show. First, who wants the sketches and jokes ruined? No one! Secondly, what if I tell you about something that gets changed and you spend all night waiting for that one moment. In fact, what if the bits I have mentioned already get cut? I doubt they will as they are some of the best bits in the show. Now to be honest this was a little flatter than previous shows but I’m chalking that up to two things, one it was a preview and I know they will be tightening things up by the time you all see it. Two they had to rewrite almost the entire show after it was written. That said it’s still more consistently funny than anything Saturday Night Live has done in years. The cast is as always just fantastic and Nolan is a great addition. I’m torn between hoping he joins them for their next show and hoping he doesn’t so that I’ll get to see him doing a variety of plays over the next theater season.

I know there are some who just can’t take anymore politics right now. For some we are at a place where things are almost too scary to be funny. I do get that, and if that’s how you feel I understand skipping this one. For those of you like me, who feel like if you don’t laugh about it you’ll probably start crying, I recommend letting the cast of No Country For Two Old Men help you get those tears of laughter flowing to release some of the pressure. The show runs through November 2nd for more information and to purchase tickets go to https://bravenewworkshop.org/