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

Tired of missing reviews from The Stages of MN? Do you find yourself left out when all your friends are talking about that great new play that you didn’t even know about? Never fear, that need never happen again. Now you too can subscribe and have every post from The Stages of MN sent directly to your email box. No more hoping the algorithm works in your favor and you actually see a post on facebook or Instagram. No relying on so-called friends to tip you to the best shows in town. To subscribe on your computer: from the home page on the right, enter your email address and click subscribe. On your mobile device scroll to the bottom of the page and do the same. You can also follow me on Facebook, @thestagesofmn click follow and on Instagram thestagesofmn. You can also read some of my reviews syndicated on the MN Playlist website https://minnesotaplaylist.com/ from time to time.

But that’s not all! Think I may have steered you wrong on a show? Well, I am also a member of the Twin Cities Theater Bloggers (TCTB), where you can read roundups of shows by m’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/ . Now you too can be in the know about all the fabulous theater happening in and around the Twin Cities.

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

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

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