* Disclaimer: On March 28th I suffered a rupture in my right bicep muscle, which has left me without the use of my right arm. I will endeavor to continue seeing and reviewing shows however the reality is that the reviews will need to be significantly shorter. For now I will attempt to provide you, faithful readers, with a few sentences that will make clear whether a show is worth your time and money. My apologies to all of the artists in front of the curtain as well as behind whose work I may not be able to comment on. Hopefully this will be a short-term accommodation, I will do everything in my power to get back to writing full reviews as soon as is humanly possible.

Blended 和 (Harmony): The Kim Loo Sisters is receiving its world premiere at History Theatre in St. Paul. Commissioned and produced with Theater Mu, the original musical with book and lyrics by Jessica Huang and music by Jacinth Greywoode tells the story of the Kim Loo Sisters during the 1930s and 40s. From their first appearance on Broadway through their reunion in post World War II America, the musical tracks parallel lives over two decades as a quartet becomes a trio with one sister marrying and moving to China. The musical does a nice job of giving us look at the singing act and following the life of the expat sister Jenee. We also get nice moments between the Kim Loo Sisters parents, between Bubbles, the youngest sister and up and coming dancer Ann Miller, between their mother and George White the Broadway Producer, and Jenee and her father-in-law General Li. The musicals filled with so many great scenes that it’s easy to lose sight of the fact the theme of racism, which one feels should be central, seems buried in subtext. When it’s brought up, it’s front and center for a few moments and then we moved on. Maybe no one wants to see a musical that’s heavily about racism or maybe there’s just too much story here to tell that there isn’t room to layered and subtly. It feels like it’s either completely absent and then moments of “aha, racism!”. It seems like it is the motivation for a lot of what happens in the play but isn’t integrated so that we feel the impact as much as we understand it.

The show is filled with great new songs performed very well by an extraordinary cast. From the opening number “Four for the Price of One” it’s clear that the actors performing as the Kim Loo Sisters, Morgan Kempton, Suzie Juul, Audrey Mojica, and Kelsey Angel Baehrens sound and perform well together. Likewise, it’s our first look at the choreography by Rush Benson which I really enjoyed. It perfectly captured the style of the 1930s and 40s musical. As seems to be true in all singing groups one or two of the Act stand out from the others. Here it’s the character of Jenee who leaves the Act and ends up living in China with her husband and child, the daughter-in-law of a general. The other is Bubbles who is the youngest has the most charmingly confident personality of the siblings. Baehrens plays Jenee in a way that we feel the characters uneasiness with the way they’re Act is molded to appeal to White America. There’s an intelligence and thoughtfulness in the portrayal that sweeps you along and gives you a sense of this character has traveled the world and made hard decisions. Meanwhile, Mojica as Bubbles is the spitfire of the group we see glimpses of her wit in the very first number but she really shines in the song “Worship Me” which is wonderfully humorous, Mojica absolutely owns it. There’s some great numbers between the girl’s Mama played by Ann Michaels and the producer George White played by J. C. Cutler, negotiators who negotiate a couple of times in a song titled “Grateful” which I also thoroughly enjoyed.

I’m not a huge fan of video projection in Live Theater I think there are times where it can be overused and I fear for a day when we lose the craft of creating sets. That said, the use of video projection in Blended 和 (Harmony): The Kim Loo Sisters, makes a very good case for its use. Here we see it used effectively in multiple ways. First, it’s not replacing set pieces but helping to augment them, creating a backdrop for certain scenes. Secondly, they’re a few scenes at train stations that are very well done. Thirdly, and this is probably my favorite use during the song “Pantages” by Jenee and her Papa, played by Ariel Estrada, who does a great job in the dual roles as Jenee’s father and father-in-law. As the characters sing about trips to the movie theater when she was young specifically mentioning Buster Keaton and Clare Bow, we are treated to Clips projected behind them from those Legends of the silent Cinema. Anytime anywhere someone incorporates Buster Keaton into their work whether it be Star Trek: Discovery or Blended 和 (Harmony): The Kim Loo Sisters, I’m all in. So kudos to Video Designer Miko Simmons and Video Programmer Leslie Ritenour for appropriate and well executed use of video projection. Also Director Lily Tung Crystal for this well-paced energetic and Charming production.

Blended 和 (Harmony): The Kim Loo Sisters runs through May 26th at History Theatre in downtown St. Paul. For more information and to purchase tickets go to https://www.historytheatre.com/2023-2024/blended-harmony In the spirit of Theater Mu’s Pay As You Are program, History Theatre has set up a special code for Mu patrons. Make sure to use the code MU23-24. You will receive 50% off Tier Five, 49% off Tier Four, 21% off Tier Three, 15% off Tier Two, and 9% off Tier One seats—making the lowest tickets start at $15. Click here for a screenshot of where to enter the code/what it looks like when it’s applied.

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 never has to 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.

* Disclaimer: On March 28th I suffered a rupture in my right bicep muscle, which has left me without the use of my right arm. I will endeavor to continue seeing and reviewing shows however the reality is that the reviews will need to be significantly shorter. For now I will attempt to provide you, faithful readers, with a few sentences that will make clear whether a show is worth your time and money. My apologies to all of the artists in front of the curtain as well as behind whose work I may not be able to comment on. Hopefully this will be a short-term accommodation, I will do everything in my power to get back to writing full reviews as soon as is humanly possible.

Ghoulish Delights is the theater company behind the Mysterious Old Radio Listening Society (MORLS) podcast and live shows. In fact the first of the two one act plays in this current production Bonehouse by Kendra Fanconi is a story I first heard via the MORLS. I don’t think it was a regular podcast I think it was a Patreon extra. It’s told from the perspective of young boy played by Xan Mattek who lives in a small town with a secret. The character recounts his numerous attempts to escape the town which are always thwarted by his fellow townspeople. The second story Outsider is by H.P. Lovecraft and is told from the point of view of Tim Uren’s character who speaks of existence totally in darkness in a castle from which he longs to escape. Uren narrates the characters circumstances and eventual escape from his dark prison, but what new horrors await in the outer world? I enjoyed both acts but I’m conscious of the fact that they’re not for everyone. They rely heavily on the spoken word and an audience for whom language and ideas are as effective at creating a world in their mind as seen action is. Fans of the MORLS podcast will feel right at home with these as they are use to creating that theater of the mind imagery.

Mattek has the always tricky task of an adult playing in adolescent, but she does a solid job of carrying the play and not falling into the trap of playing the role too childishly. Uren for his part is squarely in his element in a role reminiscent of his one man portion of Ghoulish Delights’ Rattus Rattus “The Rats in the Walls” from a couple of years ago. Dence with heightened language which verbally creates an atmosphere of ancient darkness and dread. The velvety descriptions flow from his mouth like blood from a head wound, freely and ceaselessly until the moment they coagulate in his throat in a moment of dawning horror. Uren does the great job of physically realizing this character that has been twisted and shriveled hidden away from the world outside. The cast is rounded out in each play by the Reverend Matt Kessen, at least that’s how I think of him, and Ariel Pinkerton. The duo play various Town Folk in Bonehouse and share bits of the narration with your Uren in The Outsider, well also stage managing the small but effective Scenic Design. Extra shout out here to Pinkerton aside from performing in both one acts, also ran the box office, sold concessions, and was responsible for the production design and construction, undoubtedly sewing costumes and carrying the cast across raging rivers in a thunderstorm. I may have made up that last part but I wouldn’t be surprised.

The program runs around 1 hour total with no intermission, each one act ends right when it should, they are nice short digestible but dark stories. Those who’ve read H.P. Lovecraft may share my view that a little is really effective, but a lot can be very draining. For more information and to purchase tickets to Bonehouse/Outsider go to https://www.ghoulishdelights.com/shows/

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 never has to 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.

 The best show of the 2023 Twin Cities horror festival is making a special two-week return engagement at Open Eye theater. Slightly expanded but in no way diminished the show has to be seen to be believed. Every performance sold out at the TCHF last fall so don’t wait to get your tickets. Below is reprint of my review from last fall.

Rasputin from Four Humors, the theater group that started the TCHF returns with their first post pandemic show and it was the best of the night, running neck and neck with Marie-Jeanne Valet, Who Defeated La Bete du Gévaudan from opening night as “Best of the Fest”. What do they have in common? Both are based on historical events, both set during a period in history when a revolution is just over the horizon, both feature a live musical score performed on stage, and finally, both feature Allison Vincent. It’s becoming clear that if you want to have a hit show at TCHF, you cast Allison Vincent in it. This time Vincent also is credited as co writer along with the three other cast members Ryan Lear, Brant Miller, and Matt Spring. The play uses a Rashomon style narrative device, wherein the three men who killed Rasputin, the Mad Monk of Russia, tell their different stories to the inspectors investigating the murder. We see the same evening play out in three different versions. Spring plays Rasputin with the swagger and confidence of a rock star, it’s a brilliant turn, but then so are all of the performances in this production. There is some rather effective special effects in this show too, including a spectacularly realistic gunshot. This was sold out and I wouldn’t be surprised if that trend continues for the entire run. Definitely more on the humorous side of things, but it’s not all fun and games!

 Rasputin runs through May 18th and open eye theater in Minneapolis for more information and purchase tickets go to https://www.fourhumorstheater.com/

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 never has to 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.

* Disclaimer: On March 28th I suffered a rupture in my right bicep muscle, which has left me without the use of my right arm. I will endeavor to continue seeing and reviewing shows however the reality is that the reviews will need to be significantly shorter. For now I will attempt to provide you, faithful readers, with a few sentences that will make clear whether a show is worth your time and money. My apologies to all of the artists in front of the curtain as well as behind whose work I may not be able to comment on. Hopefully this will be a short-term accommodation, I will do everything in my power to get back to writing full reviews as soon as is humanly possible.

A Year With Frog and Toad returns to the Children’s Theatre Company for the first time directed by outgoing artistic director Peter C. Brosius. There has been some cast changes which you may have read about in the news, I’ll leave that there, because whatever the drama behind the scenes was what’s onstage is a pleasant and warm experience. The performance I saw, Toad, normally played by Reed Sigmund, was played by his understudy Dean Holt. I think it’s safe to say based on what I saw that whoever’s playing the leads you’re going to be in good hands. Both Sigmund and Holt are long time company members and having seen each of them in countless productions, I knew we would see a great performance. The Children’s Theater Company recommends the show for all ages and I couldn’t agree more, it’s a great introduction to Young Folks. Though be warned if you have a very sensitive child there is one section, which in our car we called “the dark and stormy night” scene that did have some kids crying in the audience. Honestly, that was my favorite scene not because I like to hear kids in the audience crying, it’s just that I like a little spookable in my shows sometimes.

The performers Dean Holt has mentioned above as Toad and John-Michael Zuerlein as Frog give fully committed performances that speak well to young children while playing as good character work for the adults in the audience. The leads are supported by three ensemble players who play multiple roles Becca Claire Hart, Ryan London Levin, and Janely Rodriguez. Each gets a little moment in the spotlight to single themselves out from The Ensemble. For Hart it’s as Turtle, who can’t wait to see toad in a bathing suit. Levin gets the recurring character of snail who’s delivering what we now call snail mail. Rodriguez gets to play young frog in the “dark and stormy night” scene. The musical based on the books by Arnold Lobel is written by brothers Robert and Willie Reale, and the musicals filled with catchy songs. The Scenic Designer is actually Lobel’s daughter Adrianne Lobel, and her designs are beautifully realized. The entire look and feel of the show in fact, from costumes by Martin Pakledinaz and lighting by James F. Ingalls to the sound design by Rob Milburn and Michael Bodine is well realized. I love the little moments of stage Magic that I think can do a lot to engage the imagination of young children. For example, the flowers of bloom instantaneously, the storm in that much loved dark and stormy night scene, and Frog and Toads sled ride down the snowy hill.

A Year With Frog and Toad runs through June 16th at Children’s Theatre Company for more information and to purchase tickets go to https://childrenstheatre.org/whats-on/frog-toad/

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 never has to 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.

* Disclaimer: On March 28th I suffered a rupture in my right bicep muscle, which has left me without the use of my right arm. I will endeavor to continue seeing and reviewing shows however the reality is that the reviews will need to be significantly shorter. For now I will attempt to provide you, faithful readers, with a few sentences that will make clear whether a show is worth your time and money. My apologies to all of the artists in front of the curtain as well as behind whose work I may not be able to comment on. Hopefully this will be a short-term accommodation, I will do everything in my power to get back to writing full reviews as soon as is humanly possible.

Seven Keys a Co-Production between Yellow Tree Theatre and Frosted Glass Creative is a new take on an old play. Originating as a novel by Earl Derr Biggers, Seven Keys to Baldpate was adapted into a play in 1913 by George M. Cohan. The play was a hit and it’s been adapted to film seven times, the first three were silent films and the final adaptation in 1983 modernized and adapted it into a horror film under the title House of the Long Shadows. Last week in preparation I screened the 1935 version and revisited House of the Long Shadows which was a favorite from my adolescence. While neither film is great, they’re both quite a lot of fun, particularly the latter which features a who’s who’s of classic horror veterans John Carradine, Vincent Price, Peter Cushing, and Christopher Lee. While the original was a humorous and satirical look at melodrama this new version by Charles Fraser ups the comic Factor by adding a quick change element with only three actors playing all of the roles in the vein of Patrick Barlow’s The 39 Steps adaptation. The basic story of this and every adaptation is a bet between a writer and his friend that he can’t write a story in 24 hours. He’s given what is supposed to be the only key to Baldpate Lodge so that he can write in seclusion for 24 hours. As you may have guessed from the title Seven Keys, seclusion is not what he’ll get. The story is filled with crooked politicians, murder, ghosts, rtomance, double crosses, and a never-ending stream of folks creeping around in the night. What ties it all together or the laughs which come loud and often.

Co-directed by Charles Fraser and Peggy O’Connell who completely understand the wink wink aspects of the script and how to stage the action to take full advantage of the tone so that the audience eating out of their hand. Charles Fraser aside from co-directing and writing the play also plays five roles and Sarah Dickson plays four while Christopher S. Collier plays the writer William Magee along with the role of the Mayor. Fraser and Dickson do what great character actors do, they create individual and distinct personas for each of the roles. Dickon’s characters Mary Norton and Myra Thornhill both attractive young ladies are not the same just with a different costume and wig, they are completely different. The humor of the characters comes from a different place, it’s distinct whatever character she’s playing at the time. It’s the same with Fraser, he distinguishes the characters and is a master at line delivery, anyone who sees it will always remember “Mary remember your promise”. Both of these actors give multiple amazing performances that have the audience laughing out loud over and over again and it’s because they commit and have each character solidly in hand. Collier with only two characters to play doesn’t get to show as much range; however, his Mayor is the smaller but stronger. While his Magee, easily the plays the largest single role, is one where Collier’s choices seem less successful and coherent. I’m not sure what he’s going for with this character but it’s a character that felt less real which is ironic given how the how the play ends. All in all the cast handles the quick changes with sometimes shocking effectiveness, part of the fun is being in on the joke and then part of the fun is being amazed at how well they pull it off.

Seven Keys is one of those simply fun evenings out at the theater uproariously funny and seemingly effortlessly delightful. The performances alone would be enough to enthusiastically recommend Seven Keys that Fraser as written such a delightful adaptation makes it an all-around success. Seven Keys runs through May 19th at Yellow Tree Theatre for more information and to purchase tickets go to https://yellowtreetheatre.com/sevenkeys

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 never has to 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.