I Am My Own Wife is a Fascinating Study of True Transgender Pioneer at Lakeshore Players Theatre

* 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.

I am My Own Wife, the Pulitzer Prize and Tony award-winning play by Doug Wright began a two-week run in Lakeshore Players Theater’s intimate Black Box theater last night. This one person show, about the real life Charlotte von Mahlsdorf, who as a trans woman survived Nazi Germany and life in East Berlin during the Cold War. It’s an extraordinary story about a complex woman, some of which may or may not be true. But even if every detail isn’t completely true, the reality of her existence and what she accomplished is simply astonishing. The play is based on conversations Doug Wright had with Charlotte von Mahlsdorf in the early 1990s. Mahlsdorf was a collector of antiquities and in the 1960s opened the Grunderzeit museum, which also became a meeting place for LGBTQ society.

Speaking of astonishing, the performance of Lewis Youngren who plays dozens of characters is the very definition of the word. Youngren slides effortlessly between characters male, female, and transgender while always keeping the audience completely under their spell. This seems to be a year full of actors performing multiple roles within a scene, following on the heels of Stones In His Pockets and Radiant Vermin, Youngren’s performance is another exhilarating example of the technique. This was my first visit to the Black Box Studio at Lakeshore players; it’s a small but versatile space that director Craig Johnson makes excellent use of. The Production Design and Lighting by Eric Morris and Tracy V. Joe is full of delightful little surprises. What initially looks like a bare stage is revealed to be much more elaborate and the effective use of lighting helps to convey the changes in time and place. It’s a Wonderful show that also teaches us the history lesson as well as a valuable message about being your authentic self.

I am My Own Wife runs through April 14th at the Lakeshore Players Theater in White Bear Lake. For more information and to purchase tickets go to https://www.lakeshoreplayers.org/i-am-my-own-wife

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.

PREVIEW!! Live Podcast Recording of The Mysterious Radio Listening Society at Bryant Lake Bowl Theater 4/6/24 and Live Performance at Crooners Super Club 4/20/24.

This month The Mysterious Old Radio Listening Society (MORLS) have two live shows. Faithful readers and listeners will know that a fan I am of this group, not only their live performances of classic radio scripts as well as their own original scripts done in the style of classic radio, complete with the onstage creation of sound effects and music, but also their podcast. If you haven’t heard it yet now’s the perfect time to give a listen to my interview with gang on the Twin Cities Theater Chat Podcast, here’s a link to our discussion. This month starting on Sunday April 7th there is a very special performance, where you can get a little taste of both the live performances and the podcast see the details below.

Join society members Eric Webster, Tim Uren, Joshua English Scrimshaw, and special guest Laura Zabel for a live recording of their five-star (iTunes) podcast The Mysterious Old Radio Listening Society. The line-up includes a classic episode from the 1940s radio program Suspense starring the legendary Angela Lansbury, a rollicking no-holds-barred debate on the merits of the episode, and a full-length improvised radio play, including live sound effects and music.

Performing at the Bryant-Lake Bowl Theater
810 West Lake St, Minneapolis, MN

Sunday, April 7
Showtime: 7:00 PM
Doors are at 6:00 PM
Tickets: $18

For Tickets go to https://www.eventbrite.com/e/the-mysterious-old-radio-listening-society-live-tickets-868537879177 . I’m planning on attending this performance with family to celebrate my Birthday, if you make it, be sure to stop by and say hi. If you can’t make it to Bryant Lake Bowl on April 7th, they have another performance on April 20th at Crooners Super Club, here are the details for that show.

Before classic shows like Gunsmoke and Dragnet were on TV, they were on the radio. Enjoy two golden age dramas performed in the style of an old-time radio broadcast, including vintage commercials and live sound effects.

“The Cabin” from Gunsmoke (1952): Marshal Dillon seeks shelter from a blizzard only to discover there are worse things to fear than the cold.

“The Big Speech” from Dragnet (1951): Joe Friday pursues “the facts, ma’am, just the facts” in his investigation of a violent drug store robbery. Once the case is solved, his mother helps him write a speech on the dangers of drugs for the local high school.

Performing at Crooners Supper Club
6161 Hwy 65 NE, Minneapolis, MN

Saturday, April 20
Showtime: 8:00 PM
Doors are at 7:00 PM
Tickets: $25-$35
Take a look at their menu!

For tickets to this performance go to https://www.eventbrite.com/e/mysterious-old-radio-listening-society-before-they-were-television-shows-tickets-864605888487

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 Lion King is Simply Astonishing at the Orpheum Theater

Gerald Ramsey photo by Matthew Murphy

* 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.

The Lion King begins a five-week run at the Orpheum Theater as part of the Hennepin Theatre Trust Bank of America Broadway on Hennepin season. This marks the shows fifth return after it’s sold out pre-Broadway World premiere at the Orpheum in 1997. Somehow I have failed to ever see the show, I guess I didn’t realize what I was missing. At the start of the day I felt very old, but when the house lights went down and The Lion King began I felt young again. I watched in wide-eyed wonder as animals filled the stage from seemingly every corner of the theater, including the lobby. There is a reason The Lion King won six 1998 Tony Awards including Best Musical, Best Scenic Design, Best Costume Design, Best Choreography and Best Direction, and now I know what it is. The masks and puppet design by Julie Taymor and Michael Curry along with the costume designs by Julie Taymor, who also directed the show, while not realistic are fantastically realized. The parade of animals including the particularly impressive elephant and giraffes are so creatively designed and executed that I begin to tear up upon seeing them.

This may be based on a Disney animated film but this is a show for everyone. Where Disney’s Aladdin was impressive and magical for the way it realized it’s technical illusions, The Lion King goes a more artful path where the stagecraft doesn’t simply wow you it moves you as well. This production is a thing of beauty and wonder with stagecraft at the highest possible level. Along with Taymor’s considerable contributions I must also sing the Praises of Scenic Designer Richard Hudson and Lighting Designer Donald Holder. The entire cast it’s fantastic, their execution of choreographer Garth Fagan intricate and beautiful movements was among the best I’ve ever seen. For quality of cast creativity of design and sheer spectacle, The Lion King gets my highest possible recommendation. This is a show not to be missed and it’s something your entire family will remember.

The Lion King runs through April 28th at the Orpheum Theatre in downtown Minneapolis. For more information and to purchase tickets go to https://hennepintheatretrust.org/events/disneys-the-lion-king-orpheum-theatre-minneapolis-mn-2024/

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.

Apples in Winter Erases Theater and Creates a Reality at Gremlin Theatre

Angela Timberman Photo by Alyssa Kristine Photography.

A one handed play requires the very best performer to hold an audience’s attention for 90 minutes on their own. Gremlin Theatre is apparently aware of this and thus cast Angela Timberman who not only keeps our attention but keeps us utterly and completely enthralled. Apples in Winter by Jennifer Fawcett tells the story of Miriam who spends her time upon the stage making an apple pie. While preparing and baking the pie in full view of the audience she slowly reveals why she is making the pie. A slice of her apple pie is what her son has requested for his last meal before he is executed for a crime he committed 20 years ago. He was a drug addict, that isn’t an excuse for his actions, this story isn’t about him, it’s about Miriam. He has been incarcerated for 20 years for a crime he committed, what the play shows us is that his mother was essentially serving this sentence with him. It’s one of a parent’s worst nightmares, what do you do when your child has done something that many find unforgivable. We know how to grieve for the families of the victims, but how do we treat the family of the one who has killed someone else’s children? Fawcett’s play builds slowly and steadily from Miriam speaking to us about making pies to slowly revealing the details of where she is and why. It has been twenty years of routines and isolation and as her son approaches the end of his time, she is faced with losing her routines, and the toll his crimes have taken upon her.

Back to Angela Timberman, her performance as Miriam is like a masterclass in acting. Emotionally and technically flawless. There is a moment towards the end when Timberman feels sick and needs to sit down, but there are no chairs and so she finds herself on the floor. Let me be clear, I have seen Timberman perform multiple times, I know her on sight, and I know her to be an accomplished actor. In that moment when she sinks to the floor, I had to actually restrain myself from going to her and putting my arms around her. I wasn’t seeing Angela Timberman anymore, I was seeing Miriam. She is going through all the stages of someone who has loved someone with addiction issues goes through. She was trying to be the caregiver, she was blaming herself, and ultimately she was angry about the lies and deceit and pain she had been put through. And in that moment I wanted to go to her and tell her it wasn’t her fault and hold her for a moment, so she had a minute when she didn’t feel like she had to hold up the world on her own. The kicker is that on top of giving such a convincing and emotional performance, she made a pie, without a recipe! I can’t make a dish I’ve made dozens of times without referring to the recipe a couple of times, let alone monologue a script and give a performance so good that you make an experienced theatergoer forget they are in a theater watching a performance.

The production is well directed by Brian Balcom whose staging allows us to slowly get absorbed into the action, which is small and contained drawing us in. Later moments of explosive emotion are all the more powerful because we were initially drawn into the quiet matter of fact manner of the pie making. The set and lighting design by Carl Schoenborn looks like an institutional kitchen and it is lit that way which really help to remove any sense of theatricality and achieve a sense of realism, that causes reviewers to momentarily forget they are part of an audience. As do the costume and props designed by Sarah Bauer, who choses Timberman’s costume such that we immediately feel we know her type, she is every middle aged mother or young grandmother. Which is a reminder that these horrible things can happen to anyone, anyones child can become an addict. It also helps us to put ourselves in her place and empathize with the impossibility of her position. I also want to mention the sound design by Montana Johnson, which is minimal, but plays a very important role when it comes to Miriam’s recounting of the night her son committed the crime for which he has been condemned. It’s handled extremely effectively signifying the way the sound of rain plays a particularly vivid role in Miriam’s memory of the night, almost the way a smell will sometimes bring back a certain memory.

Apples in Winter runs through April 7th at the Gremlin Theater in St. Paul. For more information and to purchase tickets go to https://gremlintheatre.org/apples-in-winter/

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 Color Purple is Beautiful at Theater Latté Da

Nubia Monks Photo by Dan Norman

It’s been a 2024 of Alice Walker’s The Color Purple for this blogger. Early in the year we had a screening of the Steven Spielberg film adaptation, in Rob’s Movie Emporium, as it is one of my newest and most devoted plus one’s favorite movies. Then in our pre-Oscars viewing my wife and I watched the new film version of The Color Purple the Musical directed by Blitz Bazawule. What I hadn’t seen until now, was a staged version of the musical The Color Purple with a book by Marsha Norman and music and lyrics by Brenda Russell, Allee Willis, and Stephen Bray. It wouldn’t make a lot of sense to compare the stage musical to the 1985 film being in two different mediums and one being a dramatic film and the other a stage musical. It also wouldn’t be fair to compare the movie musical to a staged musical given the different mediums and considering that in film you can do things that a stage bound musical can’t. Except… when the stage version is better than the film, which is definitely the case here. The film wasn’t bad, but it felt like a bullet point approach to the story I knew, and while it had some great performances, it didn’t flow as well as it should have. I went into Theater Latté Da’s production expecting that same highlights approach to the story but was pleasantly surprised at how fluid this version of the musical is. A little googling revealed that the film version removed many songs, in some cases replacing them with new ones. It’s also true that there are differences between the original Broadway production from 2005 and the Broadway revival from 2015.

I don’t know what version of the Musical Theater Latté Da is staging, but I can’t really imagine a better version than the one I saw. For those unfamiliar with the story, it follows the character of Celie who as the play opens is giving birth to her father’s second child, both children are taken from her shortly after birth, and we are left to wonder whether her father killed them or gave them away. Celie’s one happiness in life is her bond with her sister Netty. When Mister comes to their father and asks for Netty’s hand in marriage he refuses but says he can have Celie. Mister, needing someone to cook, clean, and raise his children, reluctantly agrees. Before long Netty has come to see if she can live with them as their father has started trying to molest her, but she must fight off Mister’s advances as well. Rejected, Mister throws Netty out and tells Celie she will never see her again thus taking away her one peice of happiness in life. The years pass and we are introduced to Mister’s old flame Shug Avery, a singer, who will introduce Celie to the concept of romantic love. We also get to know Mister’s son Harpo and his wife Sofia. Mister is cruel and tries to rule everyone through his tyranny. Harpo’s wife Sofia is the only one who doesn’t bend for or put up with his violence. All of these characters have their moments, but it is Celie’s story and she is at the very heart of everything.

Celie is played by Nubia Monks in a powerhouse performance which after the song “I’m Here” earned a standing ovation well before the play had even ended. Her voice was incredible and the heart and feeling she puts into that number in particular is a showstopper. Through much of the show Celie is submissive and passive, but Monks performance invites us to feel at first her isolation and then her growing sense of self. David Murray Jr. as Mister shows us a twisted man but also allows us to if not forgive at least believe his characters final arc towards repentance. Carnetha Anthony is a great fit as Sofia, it’s a role that has led both actresses who played the role on film to receive Academy Award nominations for Best Supporting Actress. Anthony, like her predecessors, plays the wrong with attitude and empowerment that makes her an audience favorite. Ronnie Allen plays her husband Harpo who learns to change the pattern of behavior that has been passed down by the men in his family. Angela Wildflower brings a confidence and sultriness to the role of Shug Avery the woman who awakens love in Celie and helps her find the herself and the the fate of her sister. The show is filled with great vocal and acting performances from the supporting cast and ensemble players.

Director Daniel J. Bryant stages the action simply not relying on an elaborate set design to create the world of Alice Walker’s story but relying on the performances of his actors to draw us in. It can be a risky choice but Bryant knows that this story and his cast don’t need the flash of overproduction to draw us in. That’s not to say that the set design by Eli Sherlock is lacking, quite the opposite. Knowing how to support a show through more subtle ways requires as much creativity as designing huge sets that move in and out and transform. Sherlock provides everything that is essential to the story, and everything on stage has a purpose. The stage is set against a backdrop of wooden panels evoking the idea of old wooden fences and houses. When the panels slide aside at the opening of Act II adding an element of depth and space, we see a representation of an African Acacia Tree made out of the same wood. Against this larger view we see Africa and Netty’s story play out as Celie reads the letters Mister had kept hidden from her for years. It’s a moment that adds a sense of epicness to the story, showcasing the costumes designs of Jarrod Barnes that adds a burst of vibrant color and energy to this moment in which Celie’s heart is bursting with joy, finally know what has happened to her sister.

The Color Purple runs through May 5th at Theater Latté Da in Northeast Minneapolis for more information and to purchase tickets go to https://www.latteda.org/the-color-purple

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 Name Jar at Stages Theatre Company in Hopkins a Collaboration With Theater Mu

The Name Jar a 45 minute play is an adaptation of the book by Yangsook Choi by Susan H. Pak and Directed by Jake Sung-Guk Sullivan running at Stages Theatre Company through April 14th. The production is done in Collaboration with Theater Mu which is one of my favorite Theatre companies. One of the things I love about Theater Mu is that aside from always putting on quality productions I almost always learn something new about various Asian cultures. Sometimes it is as intricate as learning about a war I knew nothing about, other times as simple as how to pronounce a word. I love what the two companies have done with this production geared towards people age five and up; however, the up doesn’t mean 14 or 17 it means 101+. The message here is simple enough for school age children to understand but universal enough for anyone to learn from. It’s short, energetic, and yes geared towards children, but did I mention it’s short? Two hours of a showed geared towards five years old, without having a five year old with me would be rough. But I attended this on my own at 45 minutes I found if engaging and full of heart and I felt I gained knowledge and understanding.

The plot follows Unhei, a young girl who has just moved to the United states from Korea, as she attends her first day at school. None of the other children can pronounce her name and she starts to wonder if she should pick out an American name to go by at school. This is a difficult decision, in her family and indeed her culture, names are very important. It’s important to note that her classmates are not intentionally mean or tease her about her name. But, the enthusiastically grasp onto the idea of her picking a new name and create the name jar of the title into which they place suggestions of what she can call herself. We see how not Unhei feels different from the others and understand her natural instinct to try and change to fit in with her classmates. We also gain an understanding through her interactions with her Umma (Mom), Mr. Kim the Korean Grocery store owner, and her Halmoni (Grandma) about the ways in which a name differs in Korean culture from those of the average midwestern family. Director Sullivan does a great job keeping the play moving and of engaging the audience through some mild interaction. Encouraging the audience say Korean words and names along with the characters involves us in the story but also in the learning, we don’t simply let things wash over us we actively engage. Technically the show has subtle but effective use of projections, the scenic design by Sarah Brandner is versatile and well suited and more elaborate than I expected for the studio space. There’s also nice work done by Lighting Designer Alice Endo and Sound Designer Gretchen Katt in helping to create the locales and make for effective transitions.

The Name Jar is running through April 14th at Stages Theatre Company in Hopkins. For more information and to purchase tickets go to https://www.stagestheatre.org/name-jar/

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.

A Unique Assignment at History Theatre Humanizes the Past Forging a Greater Understanding of a Dark Period in Our History

Pearce Bunting, Kevin Fanshaw, James A. Williams Photo by Rick Spaulding

Presently we are faced with a great and grave racial problem in our country. It points deep in many directions. I feel that it is essential that we solve this problem, if America is to hold the place among nations that it deserves.

James Meredith in a letter to Lt. Gallagher from A Unique Assignment by Harrison David Rivers

The excerpt from the script of A Unique Assignment by Harrison David Rivers may or may not be based on a real letter, I suspect it is. If so, it was a letter written in either 1962 or 1963, but it feels like it could have been written today. One of the important things about History is to remind of where we were and how far we have come. Sometimes I despair at the state of our country and I wonder how we came to a place where ignorance is so prevalent. Then, I see a play like A Unique Assignment, and I realize we have always been in that place, we just cycle through periods when hatred and small mindedness are emboldened. A period of silent stupidity began to dawn in 1962 when, as noted in the Playbill, President John F. Kennedy had to mobilize: “31,000 American servicemen were required to quell the violence – the largest ever invocation of the Insurrection Act of 1807.” In 2021, at the urging of President Donald Trump, another insurrection completed the journey of the previous four years to a new era of open intolerance and ignorance. The play illuminates an event in history that I was shamefully under informed about, it also contributes to this writers growing perception of the what life was like for a fellow human of a different skin color just 60 years ago. Something I will never be able to fully comprehend, but must continue to strive to increase my understanding. With this work as with so many others before it, History Theatre continues to facilitate that growth through their powerful telling of the stories of those who lived through the dates and places that shaped our world.

The History Theatre’s new play tells the true story of Lt. Henry T. Gallagher who was in charge of security for James Meredith. Meredith was trying to exercise his constitutional right to enroll in and attend the University of Mississippi, his attempt to integrate the Ole Miss resulted in a riot and threats of violence against Meredith and the US Marshals assigned to protect him. The story is told in flashback by Gallagher at the age of 73 played by Pearce Bunting who shares the stage with Kevin Fanshaw playing Gallagher aged 23. James A. Williams plays James Meredith as well as other ensemble characters, the cast is rounded out by Kevin Brown Jr. who plays a multitude of characters. Bunting and Fanshaw do a nice job of creating connection between the versions of Gallagher separated by 50 years. Rivers script allows for moments of humor to create a connection between the character and the audience, he doesn’t shy away from having Gallagher detail his missteps, and even finds a little Minnesotan humor. Bunting is open and able to laugh at his younger self, Fanshaw gives us those moments in a way that allows us to laugh but also relate, which is key to our identifying with the character. Williams as James Meredith in contrast is given little in the way of humor, instead he has a wisdom and gravitas that puts his character at the moral center of the story. Gallagher becomes our stand in, an example of how a cross between how we hope we would respond and how we suspect we would, Meredith is our intellect and our ideals. Williams is excellent as Meredith, he portrays him with a calmness that signifies someone who knows what is right and has accepted the costs associated with doing it. Williams ensemble roles give him the chance at some moments of humor as well, he gets to do a little of everything and he does it all brilliantly. Kevin Brown Jr. plays a lot of different roles and proves a versatile actor, both with serious characters and the more comical. My favorite was his portrayal of a member of the Navy who’s basically kidnapped by Gallagher to help them find their way to the University of Mississippi.

The play is directed by Richard D. Thompson the new Artistic Director of History Theatre. Thompson knows that when you have a memory play with a cast of four, two of whom will be playing multiple characters, that realism takes a backseat to telling a story in a clear and understandable way. He keeps the set design by Ursula K. Bowden simple with angled black flats on which images can be projected to convey visual cues to locations and events. A few rectangular boxes can be shifted around to stand in for counters, desks, bunks, and jeeps. Thompson understands that when you have actors changing characters from one moment to the next that you need to let go of the idea of trying to create realism with sets and costumes, you focus on the story, the characterizations and let simple shapes and images stand in for concrete places and objects. If the play works, which this one most certainly does, less is more, we are happy to accept the same actor in multiple roles when lens we are seeing them through is one of minimalism and suggestion rather than attempted realism and intricate details. There were some nice lighting moments from Lighting Designer Kurt Jung, one involving photographers flashbulbs was a really effective touch.

A Unique Assignment runs through April 7th at History Theatre in St. Paul. For more information and to purchase tickets go to https://www.historytheatre.com/2023-2024/unique-assignment

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