A Christmas Carol Still Has it, at Least For Me, at the Guthrie Theater

The cast of A Christmas Carol Photo by Dan Norman

It’s hard to get through the holiday season without experiencing at least one version of A Christmas Carol, and the Guthrie Theater’s annual production seems particularly inescapable for me. I usually end up seeing three or four versions each year, and because it’s such a busy time both theatrically and personally, I always tell myself I’ll skip the Guthrie’s for once. But then someone in my inner circle really wants to go, and they pull me back in. Thankfully, it’s always a journey worth repeating, and one I’m glad I never miss.

This marks the 51st production of the Guthrie’s A Christmas Carol and the fifth year of the current adaptation by Lavina Jadhwani, first performed in 2021. This year’s staging is directed by Addie Gorlin-Han, based on the original direction by Joseph Haj, the Guthrie’s Artistic Director.

After so many years and so many versions, I’m still amazed by this story’s capacity to captivate me. There’s something enduring about Dickens’s tale of reflection and redemption. Its familiarity allows it to be endlessly adaptable. The core plot and themes appear throughout modern storytelling. Everyone has a favorite version: for my son Alex, who was my plus-one this year, it’s Patrick Stewart’s made-for-TV version; for me, it’s the 1951 British film starring Alastair Sim. Alex wasn’t completely won over by this stage version, perhaps he holds his favorite too tightly to let another in. That’s fair and I think something we’ve all experienced from time to time. I’m happy to say that once again the Guthrie’s version did completely win me over. And I had the telltale tears on my cheeks at the end as proof.

Last year my review focused on changes I wasn’t sure were new, this year I had the same thoughts. Was that second hug Bob Cratchit gives Scrooge there last time? Was the astonishingly quick transport of Scrooge from the trapdoor to his bed new? Regardless, it all works beautifully. There aren’t many cast changes this season, but it was great to see Daniel Petzold join as Young Scrooge and Aimee K. Bryant in a newly credited role as Kitty’s sister Dahlia. Kitty herself finally gets a name after years of being listed simply as “Fred’s wife.” Both are welcome additions. I also loved seeing Noah Hynick, apparently on loan from Lyric Arts, joining the ensemble. Hopefully it’s just a matter of time before he takes on larger roles at the Guthrie.

The elements that have wowed me in past productions continue to shine. Nathan Huberty’s Ghost of Christmas Future, in a haunting costume by Toni-Leslie James, remains nightmarish enough to give the wee ones a genuine scare. The moment when the ghost emerges from the darkness, engulfed in fog and towering over a cowering Scrooge, is pure theatrical adrenaline—especially from my front-row seat. Alex said that moment almost triggered his fight-or-flight response. The set design by Matt Saunders and lighting by Yi Zhao strike a perfect balance between detailed realism and expressionistic atmosphere. Sound designer Mikaal Sulaiman and music director Jason Hansen weave together Jane Shaw’s evocative score, traditional carols, and well-timed sound effects to create a rich, immersive experience.

The one scene that still puzzles me is the brief moment when Scrooge and the Ghost of Christmas Present observe the ship at sea. I know it’s in the book, and many adaptations include it, but it’s so short and requires such elaborate staging, complete with, to be fair, excellent projections and a separate set piece, that I can’t help wondering if the payoff justifies the effort. I promise to stop harping on this by next year; I know it’s a dead horse.

As I’ve said before: if you’ve never seen A Christmas Carol at the Guthrie, it’s actually required by the state constitution once you’ve lived here more than five years. And if you’ve seen it before, even this same adaptation, it absolutely rewards repeat viewings. Unless, of course, you’re fiercely loyal to Patrick Stewart’s version; then all bets are off. I’m not sure how this story keeps reaching me year after year, but I think Dickens’s source material is simply too brilliant to ever grow old. Its message remains timeless: our fellow man is the business of all of us.

A Christmas Carol runs through December 28 at the Guthrie Theater in Minneapolis. For more information and tickets, visit guthrietheater.org.

Don’t rely on Facebook or Instagram algorithms to keep you in the loop about great shows. Subscribe and have every post from The Stages of MN delivered straight to your inbox. It’s the best way to make sure you never miss out on the theater action. To subscribe on a computer, enter your email address on the home page (right-hand side) and click subscribe. On mobile, scroll to the bottom of the page to find the same option. You can also follow me on Facebook @thestagesofmn and on Instagram thestagesofmn.

The Stages of MN YouTube channel is home to the weekly Stages of MN Show. You can watch it by clicking here. Be sure to check out the latest episodes and subscribe so you’ll always know when a new one drops. Not sure you agree with one of my takes? I’m also part of the Twin Cities Theater Bloggers (TCTB), where you can find review roundups from my colleagues and me. Follow us on Facebook at @TwinCitiesTheaterBloggers.

Episode 19 or The Purple Rain Episode of The Stages of MN Show is Up on Both YouTube and the Podcast Version!

Hello faithful readers this is to let you know that the latest episode of The Stages of MN YouTube and podcast is up and ready for your enjoyment! Mostly reviews this week but it’s got a big one Purple Rain! Even if you read my print reviews this one might be work taking a look at. But there are also two other reviews One for Primary Trust at the Guthrie and the other for Natasha, Pierre, and the Great Comet of 1812, both are fantastic shows but Primary Trust closes this weekend and Natasha, Pierre…… is almost sold out. So watch and then get online and book those shows ASAP. Here’s a link to all three so you can do just that. https://hennepinarts.org/events/purple-rain-2025, https://www.guthrietheater.org/shows-and-tickets/2025-2026-season/primary-trust/, https://www.theatreelision.com/comet

You can view the show here bit.ly/TSOMNEpisode19 or listen here https://bit.ly/TSOMNEpisode19Podcast .

The Resistible Rise of Arturo Ui Plays Like a Comicstrip Allegory for Authoritarianism Told Through the Lens of the Godfather

Gary Briggle and David Beukema Photo by Tony Nelson

The Resistible Rise of Arturo Ui is a 2½-hour play written in 1941 by Bertolt Brecht about the rise of Nazism, told through the lens of Chicago gangsters. Brecht. The rise of Nazism. Two and a half hours. Sounds like heavy stuff, right? Perfect material for a Sunday afternoon nap at the theater. But while the show deals with dark, all-too-topical themes, it’s entertaining as hell.

I’ll admit it, I’ve caught myself almost nodding off at more shows than I’d care to confess lately. Luckily, I’m the type who jolts himself awake the second his head tips forward, so I rarely miss anything. It’s never a reflection of the show, I’m just exhausted most of the time. Despite that tendency, I still refuse to give up my favorite seat: the front row. And I’m proud to say there wasn’t a single moment of head nodding during this performance. Partly because the room was a crisp (and probably only to me, comfortable) 65 degrees, but mostly because the show is completely engaging.

The play is an allegory for the rise of Adolf Hitler, reimagined through the story of Arturo Ui, a Chicago gangster who takes control of the cauliflower market and runs protection rackets on local grocers. The tone is distinct, a product of Brecht’s epic theatre philosophy. Brecht wanted audiences to remember they were watching a play, not reality, so actors occasionally break the fourth wall and address the audience directly. The makeup is stylized, almost a subtler Kabuki style, and the performances are broad without being cartoonish. Everything about it, from the make up to the costuming, evokes the visual world of the old Dick Tracy comicstrips. It’s not laugh-out-loud funny, but it’s not strictly dramatic either, “entertaining” really is the best word for it.

The cast is terrific. David Beukema shines in multiple roles, starting as the announcer who humorously introduces the major players and later in a great scene as a washed up Shakespearian actor brought in to give Arturo tips on how to come off more polished to the everyman. Jim Ramlet is sympathetic as a politician seduced into corruption in a moment of weakness. E.J. Subkoviak stands out as Ernesto Roma, Ui’s right-hand man, exuding both dry humor and menace. But the undeniable star of the show is Gary Briggle as Arturo Ui. His performance feels like a cross between two Al Pacino roles from 1990, The Godfather Part III’s Michael Corleone and Dick Tracy’s Big Boy Caprice. Yet it’s entirely his own creation, filled with menace, manipulation, weariness, and a darkly comic edge. Briggle commands the stage with equal parts charm and danger.

Frank Theatre’s The Resistible Rise of Arturo Ui runs through November 23 at the Ivy Building for the Arts in South Minneapolis. For more information and tickets, visit franktheatre.org.

Natasha, Pierre and the Great Comet of 1812 Blazes Across the Stage at Elision Playhouse

Remember last month when I told everyone to get tickets to LIZZIE: The Rock Musical? Some of you listened and some of you didn’t. Then it sold out, they added a week, that sold out too, and you missed your chance. Well, here’s your second warning: get tickets to Natasha, Pierre & the Great Comet of 1812 now! It runs through November 22, but only a few performances still have tickets available. I’d be shocked if this one doesn’t completely sell out.

So, what is this unusually titled show about? Here’s the biggest surprise of all: it’s a sung through electro pop opera adapted from a 70 page section of Leo Tolstoy’s War and Peace. A word of warning to students, don’t think you can catch this show and then fake your way through a book report on War and Peace. A nice hardcover version I found on Amazon is a little over 1200 pages, so this adaptation is just telling the smallest sliver of that grand story. If you do see the show and want more but don’t have two years, seven months, three weeks, and five days to invest in reading the novel, there is an absolutely spellbinding Russian film version that runs a mere seven hours that I highly recommend. It is available on physical media from the Criterion Collection and is absolutely stunning.

This small taste of that story focuses on the romance of Natasha, who is engaged to Prince Andre who is “not here” (off fighting the Napoleonic wars), and Anatole, who is “hot” and well, here. It also follows Pierre, Andrei’s friend and Anatole’s brother-in-law, a man unhappily married and searching for meaning. Around them swirl half a dozen vivid characters, including Andrei’s eccentric father, Pierre’s unfaithful wife Hélène, and Balaga who’s there “just for fun!” In early 19th century Russia, Natasha’s affair has devastating consequences.

Theatre Elision, much like Open Eye, has a distinct artistic identity, where Open Eye is known for its inventive design, Elision is renowned for its musical excellence. Yet Natasha, Pierre and the Great Comet of 1812 bridges both worlds beautifully. Directed and designed by Lindsay Fitzgerald, the show transforms the black box space into an immersive, electrifying environment. Actors move among the audience, and high tables around the central performance area (available for reservation at an extra charge) enhance the atmosphere. Fitzgerald’s unified vision creates a fluid, exhilarating experience that exceeded all expectations. Laina Grendle’s lighting design adds surprises and depth, while the unnamed costume designer deserves special mention for the richly detailed period aesthetic. Harrison Wade’s music direction is, as always, impeccable.

The cast is uniformly excellent. Phinehas Bynum (Pierre) and Anna Beth Baker (Natasha) are outstanding, Bynum even plays the accordion during the show. Hawken Paul pulls double duty as violinist and the hilariously energetic Balaga, while Christine Wade handles three roles Hélène, vocal director, and oboist with skill and charisma. Bradley Johnson is pitch perfect as the “hot” womanizer Anatole, and it was a delight to see Kyler Chase back onstage, a familiar face from Lyric Arts several years ago. Honestly, I could name the entire ensemble, they’re all terrific, trust me.

And trust me when I say you need to get your tickets now. Like LIZZIE, this is one you’ll regret missing. Natasha, Pierre & the Great Comet of 1812 runs through November 22 at the Elision Playhouse in Crystal. For more information and tickets, visit theatreelision.com/comet.

Purple Rain Leaves an Ugly Muddy Mess Behind

If there was ever a show you wanted to love, it’s Purple Rain. The new musical adaptation of Prince’s iconic film and soundtrack held its official opening night after three weeks of previews. It’s scheduled to run for about three weeks before theoretically transferring to Broadway—though the production’s website currently lists tickets only for the Minneapolis engagement.

Prince is a Minneapolis legend, and premiering the show here was absolutely the right choice. Unfortunately, that’s where the good decisions seem to end—because if there was ever a show that’s hard to love, it’s Purple Rain.

The musical follows the film’s plot up to a point, then veers off course in ways it can’t recover from. The Kid (Prince’s character) is remarkably unlikable in Act I. Unlike the movie, his brilliance as a performer isn’t really established that strongly up top, so his entitlement and self-centeredness feel neither earned nor forgivable. He comes across as someone everyone around him would be better off leaving behind. Perhaps the Kid’s charisma is meant to carry the audience, but this production was surprisingly low energy. I saw a more electrified crowd at The SpongeBob Musical at Lyric Arts two years ago, that audience treated it like a Beatles concert. Here, applause rarely rose above a golf clap.

The Kid is unlikeable for most of the first act and downright misogynistic in the second. The show aims for redemption but doesn’t come anywhere close to earning it. He’s a jerk who becomes a monster, and feeling bad at the end doesn’t excuse what he does to Apollonia. She’s portrayed as a troubled young woman scarred by childhood trauma, yet in Act II she’s humiliated and reduced to a reality TV punchline. she’s mistreated by the Kid and get’s no happy ending. The show’s book is mean spirited and I had very little tolerance for it by the end.

Purple Rain the movie certainly hasn’t aged super well in terms of the way it portrays women. Those of us who lived through the 80s kind of run into that a lot when we revisit the blockbusters of our past. It’s a sign of how far we really have come despite how it may feel sometimes. I expected this musical to address some of those issues, to correct them. Which, for the record is what I think would’ve been the right thing to do. Instead it doubles down on everything it should have corrected. It shows us women being strong and supportive of each other, but then decides to punish Apollonia in the end. While The Kid is rewarded, because after he’s horrible, he feels kind of bad about it. Ending with the kid being forgiven and him allowing Wendy and Lisa to collaborate with him, which is really a sucky message.

The cast is a mixed bag. Kris Kollins as the Kid moves like Prince and, while not a vocal match (who could be?), that’s forgivable. What’s missing is charisma. Perhaps a result of the exhausting lead up to opening night? I know they’re making changes up to the last minute, but I have to review what I saw. Jared Howelton delivers a spot-on Morris Day, clearly the audience favorite. Grace Yoo shines as Wendy, her commanding presence only highlighting Kollins’ lack of energy. Rachel Webb is excellent as Apollonia. Strong vocally, physically, and emotionally.

Choreographer Ebony Williams offers some intriguing movement, especially shadow partner sequences that suggest the eroticism that they’re not going to show us on stage. There’s nice dance moves from the bands as they are performing at The First (First Avenue). Still, I was surprised there wasn’t more dancing overall.

Production design by David Zinn is strong. The Purple Rain logo against a floral backdrop is striking, and the First Avenue recreation works beautifully. I also liked how the design allowed seamless shifts to other locations, such as the Kid’s apartment, and his motorcycle entrance was handled effectively.

Prince fans will want to go, and knowing what to expect may help you enjoy it for the music alone. But if you plan to share it with your kids, especially your daughters, I’d advise against it. The show leans toxic, its redemption arc forced and unconvincing. The book for this show left me with such a bad taste in my mouth, that no rain, purple or otherwise could wash out.

Purple Rain runs through November 23 at the State Theatre before its anticipated Broadway transfer. It’s a rare opportunity for Minnesotans that should’ve been a celebration of Prince and his music; instead, it felt like they were dragging him through the mud. The lack of energy from some of the cast, made it feel like they thought that as well. For more information and to purchase tickets go to https://hennepinarts.org/events/purple-rain-2025

Don’t rely on Facebook or Instagram algorithms to keep you in the loop about great shows. Subscribe and have every post from The Stages of MN delivered straight to your inbox. It’s the best way to make sure you never miss out on the theater action. To subscribe on a computer, enter your email address on the home page (right-hand side) and click subscribe. On mobile, scroll to the bottom of the page to find the same option. You can also follow me on Facebook @thestagesofmn and on Instagram thestagesofmn.

The Stages of MN YouTube channel is home to the weekly Stages of MN Show. You can watch it by clicking here. Be sure to check out the latest episodes and subscribe so you’ll always know when a new one drops. Not sure you agree with one of my takes? I’m also part of the Twin Cities Theater Bloggers (TCTB), where you can find review roundups from my colleagues and me. Follow us on Facebook at @TwinCitiesTheaterBloggers.

The Last Yiddish Speaker is a Frightening Cautionary Tale at Six Points Theater

Six Points Theater’s production of The Last Yiddish Speaker is a terrifying look at what we want to tell ourselves “could have been,” yet something in it whispers, unsettlingly, “what might still come to be.”The premise is that the January 6th 2021 insurrection in Washington succeeded. The setting is a small rural community, the year 2029, the signpost up ahead, The Twilight Zone.

We open in the home of Paul and Mary, a father and daughter — Jewish by birth, Christian by necessity. Mary’s real name is Sarah, but that, like their true identity and beliefs, must remain hidden if they are to survive. Mary is a high school senior still reeling from the latest news: women are no longer allowed to attend universities. That was her path out.

Her boyfriend, John, is part of the MAGA youth movement. His after-school job? To search Paul and Mary’s house every day, checking browser history and making sure there are no banned books. They aren’t under suspicion, it’s simply protocol when someone new moves to the town. One more month, they tell themselves, until they hit their one-year mark and the surveillance ends.

They have internalized the roles they must play: a Jesus loving, Walmart working, churchgoing father and daughter. That fragile safety shatters one night when pounding on the door wakes them. They fear discovery, but instead, an elderly woman is dropped on their doorstep. She claims to be their great aunt Chava. She is the last Yiddish speaker of the title. She is not their relative in a literal sense, but a spiritual ancestor to be sure. A woman who has lived 1,000 years and as long as Jews exist, will live 1,000 more.

The play portrays John not as a villain, but as sheltered. Someone who has grown up surrounded only by people who believe exactly as he does. He could easily be one of the many Americans who receive all their “news” from Fox News and mistake it for truth. John respects Mary, and we can see the capacity for him to change; he has simply never had the opportunity. He is the blind led by the hateful, yet we sense within him the ability to see, if shown the truth. I appreciate that playwright Deborah Zoe Laufer makes the only non-Jewish character, and by default the antagonist, a figure of hope. A reminder that some minds may shift when exposed to love, truth, and humanity. Nothing can be done about those who knowingly stoke hate and greed, except, perhaps, to ensure they are not re-elected, assuming elections continue to exist at all.

Sally Wingert is, of course, perfect as Chava, carrying not only centuries of wisdom, but the heartbreak and clarity that come with witnessing humanity repeat its cycles. Avi Aharoni brings depth and conflict to Paul, a man choosing survival and safety for his child over resistance. It’s an argument that, outside ideology, becomes painfully understandable. But the true standouts are Charleigh Wolf as Sarah/Mary and Carter Graham as John, two performers I don’t recall having seen before, and I now hope to see much more from. They provide the drive and heart of the play, they are the future Chava and Paul are the past and present. It’s a scary view of the world, but it does end with a glimmer of hope. It may not be the light hearted entertainment you are looking for, but it is the kind of important work that needs to be seen.

A note on Michael Hoover’s set design: walking into Six Points Theater some patrons might be a little surprised at the decorations covering the walls. If I were John I would be saying “The lady doth protest too much, methinks.” If ever a show needed trigger warning for Jesus this is it. I don’t have a problem with Jesus he seems like a cool cat. I just disagree with what some people do in his name. I think people who have been victims of such misappropriations of his name, might actually appreciate the warning.

The Last Yiddish Speaker runs through November 9th at Six Points Theater in St. Paul. For more information and to purchase tickets go to https://www.sixpointstheater.org/last-yiddish-speaker

Episode 18 of The Stages of MN Show is Up on Both YouTube and the Podcast Version! But Hurry it’s Dated Material.

An episode is up early for a change and that’s because it’s the final Monster Month episode and is primarily reviews of shows from the Twin Cities Horror Festival which ends this Thursday October 30th. So head over and watch (the preferred method) or listen to the episode and then head to https://www.tchorrorfestival.com/ to check the schedule and purchase tickets. I don’t mean to frighten you but some shows are selling out so don’t dilly dally. You can view the show here https://bit.ly/TSOMNEpisode18YouTube or listen here https://bit.ly/TSOMNEp18Podcast.