Once on This Island, Is Not Enough. You’ll Want to Go Again and Again to Artistry Theater

“Beautiful.” That was the word that floated up from someone in the audience behind me as the cast prepared to take their bows after the final preview performance of Once on This Island at Artistry in Bloomington tonight. I was sorely tempted to leave it at that. I won’t be able to capture the evening any more perfectly than that, even if I used 5,000 words.

The best word to describe the music? Beautiful.
The best word to describe the story? Beautiful.
The best word to describe the cast? Beautiful.
And the best word to describe the star, Antonisia Collins, who plays the grown Ti Moune? Here I can add some qualifiers: possibly the most beautiful woman I’ve ever seen on stage. It’s perhaps the best casting of the year. Collins, who seemed to come out of nowhere and first caught my attention as Robin Hood last summer, has just made the jump to light speed and now sits atop The Stages of MN favorites list.

Once on This Island tells the story of Ti Moune, a young girl saved from a storm by four gods and placed in a tree to be found and adopted by a peasant couple. Mathias Brinda is also excellent as Little Ti Moune, showing remarkable stage presence for an eighth grader. Ti Moune wonders her whole life why the gods saved her as a child. When Daniel, a rich boy from the other side of the island, is in a car crash, Ti Moune discovers him. She knows in her heart the reason for her being saved was so she could save him. She nurses him back to health, falls in love, and when Papa Ge aka Death, comes for Daniel, she offers her own life in his place. Once Daniel is taken home, Ti Moune follows, and he seems to return her love. But where she sees with her heart, he is led by the expectations of others. In the end, he casts her aside and marries someone from his own class. It is Ti Moune’s innocence, her faith, and her belief in love that Collins captures so effortlessly.

There are many excellent members of the cast. A few of note: Darius Gilllard as Tonton Julian, Ti Moune’s adoptive father, whose voice is deep and powerful. Ninchai Nok-Chiclana, who plays the god Papa Ge, is also very good, getting a standout vocal moment in “Promises/Forever Yours (Reprise),” when he offers to spare Ti Moune—if she kills Daniel.

I’d seen the show once before when the tour came to the Ordway in the winter of 2020. Because I’d bought the tickets, I was probably seeing it at the end of its run, and I didn’t write a review. My only real recollection was that we were seated onstage, which was pretty cool, but that’s about all I remember. This time, I was in my favorite seats—front row center. Less novel, but arguably better than being behind the performers.

The production is simply staged, but with a beautiful simplicity that fits the story within a story style. Director Kelli Foster Warder adds some wonderfully creative flourishes, including a scene played entirely in shadows behind a white screen recounting Daniel’s family history. From my vantage point, I may not have been able to fully appreciate Nikki Long’s choreography, but what I could see up close looked fantastic—and I can only assume it looks even better from further back.

Music Director Sanford Moore, as always, draws a big sound from his orchestra, this time infused with a wonderful Caribbean flair. Once on This Island runs through October 26 at Artistry in Bloomington. For more information and to purchase tickets, visit artistrymn.org.

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Oops, I Did it Again! Episode 14 of The Stages of MN Show is Posted…Days Ago

So sorry, once again I took way too long to create the blog post that the latest episode of The Stages of MN is up and ready to be viewed on YouTube https://bit.ly/TSOMNEpisode14YouTube. Or listened to in a slightly condensed version in podcast form here https://bit.ly/TSOMNEpisode14Podcast or wherever you enjoy podcasts.

Episode 14 is sponsored by Prime Productions, a theater company devoted to celebrating women in their second act. Check them out here https://www.primeprods.org/

This episode opens with a special announcement from Theater Blogger Jill Schafer about the 15th Anniversary of her blog Cherry and Spoon. Find out how you can help mark the Occassion and win theater tickets in the process! check out the details here http://www.cherryandspoon.com/

We also have another segment in our “What the Hell’s a Theater Blogger?” series. This time I’m chatting with Erica Skarohlid of Lettered in Theatre fame. You can read her blog here https://letteredintheatre.wordpress.com/

We’ve two reviews for you, one from guest blogger Jill Schafer of Cherry and Spoon. Jill gives us a review of The Ruins running through October 12th at the Guthrie Theater. Get tickets here https://www.guthrietheater.org. I’ll review the latest from Theatre Pro Rata, The Book of Will which runs at the Crane Theater through October 11th. Click here for tickets https://www.theatreprorata.org/

Special thanks: To Ryan Lee for the use of his music catalog which is available at https://ryanlee.bandcamp.com/

If you are interested in sponsoring an episode of The Stages of MN or just have a question of comment on the show or want to join The Stages of MN + 1 Club you can email me at robdunkelberger@thestagesofmn.com

It’s Only a Play is a Hilarious Love Letter to the Theater World at Park Square Theatre

The Cast of It’s Only a Play Photo by Dan Norman

I’d like to be able to say that the cast is the reason to see It’s Only a Play part of Park Square Theatre’s 50 year celebration season. But that’s only one of the reason. There’s also the elegant set design by Benjamin Olsen, the creative and excellently staged Direction by Stephen DiMenna, and of course the knowingly hilarious script by Terrence McNally. Set in the bedroom of the townhouse of Broadway producer Julia Budder on opening night of her first solo production. Below there’s a party going on while upstairs a group of those involved with the play, their friends, the help, and even a critic, await the reviews. Filled with in jokes that those up on theater and pop culture will enjoy, but I feel like the humor is universal enough that you don’t have to be a theater nerd to enjoy it.

The cast is so good that rather than use a more interesting photo from the production I wanted to use one from the curtain call that featured the entire cast, because they are all so good and I can only comment on a few. The largest role is played by Jim Lichtscheidl, as James Wicker the playwrights best friend and an Actor who turned down the male lead he says because of his TV series, but really he thinks it’s a turkey.

For Fans, A Beautiful Noise: The Neil Diamond Musical Will Turn On Your Heartlight at The Orpheum Theatre

Hannah Jewel Kohn and Nick Fradiani Photo credit Jeremy Daniel

When I was growing up, Sunday was chore day. On the stereo, DJ’d by my stepmom, played a steady mix of the Statler Brothers and Neil Diamond. From a young age, I was immersed in Neil Diamond’s music, and I liked it. I still do. So for me, The Neil Diamond Musical: A Beautiful Noise was a chance to revisit one of the soundtracks of my childhood. Diamond wrote so many great songs, not just for himself but also for other performers, including The Monkees and UB40.

This jukebox musical is framed as a series of flashbacks, told by a retired Diamond in conversations with his therapist. His life story unfolds through the songs he wrote, offering a glimpse into how a songwriter draws inspiration from real life. I know Diamond’s songs well, but I don’t know much about his personal story. I can’t say how accurate this depiction is, but it feels plausible, and the show weaves the lyrics of his music into the narrative with remarkable skill.

The production features several strong performances, but the standout is Nick Fradiani as “Neil—Then” (the younger Diamond). His voice is about as close to the real thing as you can get without being Neil Diamond himself. Also noteworthy are Tiffany Tatreau and Hannah Jewel Kohn, who play Diamond’s first and second wives. When the lyrics are given to these characters, the songs reveal Diamond’s awareness of the emotional lives of those around him. The musical portrays him as deeply dedicated to his work, often on the road, and difficult to connect with, a true “Solitary Man” despite long-term relationships. These moments, especially the struggles within his marriages, are the most emotionally powerful.

The set design by David Rockwell is simple but effective, with a second-act reveal of the band in the background providing a delightful surprise. Kevin Adams’s lighting design heightens the energy and gives the impression of a much larger show than what is physically staged. The one disappointment is Emilio Sosa’s costume design, particularly for Diamond. While some work well, too many appear ill-fitting and don’t reflect the iconic looks I remember from his concert footage and television performances.

The bottom line: if you’re a Neil Diamond fan, you’ll probably love this show. It features many of his greatest hits, performed with energy and care. Even when Diamond isn’t singing them, the numbers can be extraordinary—especially Spencer Donovan Jones’s stirring rendition of “Shilo” late in the second act. If you’re not a superfan, you’ll still likely enjoy the show. And if you don’t know Neil Diamond, it just might make you a fan. But if you don’t like his music or his persona, this isn’t the show that will convert you.

The Neil Diamond Musical: A Beautiful Noise runs through October 5 at the Orpheum Theatre in Minneapolis. For more information and tickets, visit hennepinarts.org/events/a-beautiful-noise.

Misery at Yellow Tree Proves the Old Adage Third Times the Charm

Laura Esping and Dustin Bronson Photo by Alex Clark

I like to begin all of my reviews of Misery—and this is the third—by saying I’m Stephen King’s number one fan. Although after watching Annie Wilkes demonstrate the extremes of fandom toward writer Paul Sheldon, I’m not sure I should be so quick to claim it. I say it because it’s true, but I realize faithful readers may find the line repetitive. That was also my first reaction when I saw Yellow Tree Theatre was producing Misery again, making this the third production in as many years. There’s so much good theater I miss because I simply can’t see it all. Having already seen Misery twice since 2023—including Yellow Tree’s last staging—I thought I might skip this one. Then I saw the cast list: Laura Esping as Annie Wilkes and Dustin Bronson as Paul Sheldon. F*#%!. And so there I was once more, seated in the audience for Misery, William Goldman’s stage adaptation of King’s novel (Goldman also wrote the screenplay for the 1990 film).

The play opens with writer Paul Sheldon regaining consciousness in the home of Annie Wilkes, his self-declared “number one fan.” Disoriented, he learns he’s been rescued from a car wreck caused by a snowstorm. With both legs broken and a dislocated shoulder, he’s at the mercy of Annie, a former nurse who has splinted his injuries and dosed him with her stockpile of painkillers. But the phone lines are down, the roads impassable—or so she claims. What begins as a story of apparent salvation quickly shifts into one of entrapment. Annie’s quirks spiral into unsettling behaviors, until it becomes clear she loves Paul too much to ever let him go.

I want to tread carefully here, because I enjoyed both previous stage productions I’ve seen—Yellow Tree in 2023 and Lakeshore Players in January 2025. The actors then gave fine performances, and I praised them in my reviews. But Esping and Bronson deliver the strongest portrayals I’ve yet seen of these roles. Esping doesn’t command the physically intimidating presence of earlier performers or Kathy Bates’s iconic film version, so she wisely takes a different approach. Her Annie is less explosively menacing and more quietly dissonant, at times even comic. A scene where she clambers onto the bed to pull Paul back feels borrowed from silent film comedy, yet lands perfectly in character. She channels something closer to Julie Harris with violent mood swings—an unsettling mix that makes Annie’s darkness even more disturbing.

Bronson’s Paul Sheldon brings a sharper intelligence and freshness to a role I thought I knew inside out. I’ve read the book, seen the film in theaters when it premiered, owned it on VHS, Laserdisc, DVD, and Blu-ray, and now watched three stage productions. Yet Bronson made it feel new again. Previous actors played the part well; Bronson inhabits it. In moments, I forgot I knew the script by heart, hearing familiar lines as though for the first time. That’s an extraordinary achievement—and it’s exactly why we return to plays over and over: great actors breathe fresh life into familiar works.

As with all productions of this script, the weak link is Buster, the sheriff. That’s no fault of Chance Carroll, who plays him here. In the film, Richard Farnsworth made the role memorable, especially alongside Frances Sternhagen. The stage version drastically trims Buster’s part, leaving it underdeveloped and his fate underwhelming. Goldman might have been better off cutting the character entirely. Still, the limitation lies in the script, not the performer.

If you’ve never seen Misery, now is the time. If you have, this production is well worth revisiting for its fresh, incisive performances. Esping and Bronson prove how much a cast can transform a play.

Misery is directed by John Catron, who also helmed Yellow Tree’s 2023 production. The show runs through October 19 at Yellow Tree Theatre in Osseo. For tickets and information, visit yellowtreetheatre.com/misery2025.

Red Paints a Bold Portrait at Lakeshore Players

Red is a fictional account of the relationship between artist Mark Rothko and his assistant, Ken. To call it a “relationship” might suggest they connected on a personal level—which, at first glance, they do not. Their dynamic appears to remain strictly that of boss and employee, or perhaps teacher and student. The play unfolds as a series of conversations between the two men about art—what it is, what it means, and how each interprets and values it.

On reflection, though, one might reconsider the claim that they never connect personally. After all, what could be more personal to an artist than their beliefs about art? Though they withhold most details of their private lives, they reveal their deepest convictions to one another in the area that matters most to them: art.

The production takes place in the Black Box Theatre of the Hanifl Performing Arts Center. Seating is general admission, and the theater is kept on the cooler side. The intimate setting is well-suited to this two-hander, which is set in Rothko’s studio.

Both roles are played by actors I was unfamiliar with prior to this production, but I won’t soon forget them. Justin Hooper, who identifies primarily as a scenic designer, plays Rothko. He alternates between curmudgeon and lecturer—full of opinions and impatient with fools. He is the kind of mentor the mentee both admires and resents. Hooper excels, perfectly capturing the cantankerous artistic temperament while also exposing the intellectual workings of a man who deeply understands what art is and represents.

Brian McMahon plays Ken. He begins timid and unsure, but by the end, he is standing up to Rothko and calling out his hypocrisies. McMahon skillfully conveys Ken’s initial hesitancy while gradually giving his character a stronger voice and growing conviction. When the two finally clash in heated exchanges, the sparks truly fly.

Red offers an engaging glimpse into the life of a working artist, from preparing a canvas to mixing paints. It feels like a play about painters where you actually leave with a slightly better understanding of what an artist does and how they think about their art form.

Red runs through October 12 at Lakeshore Players Theatre in White Bear Lake. For more information or to purchase tickets, visit lakeshoreplayers.org/red-season-73.

The Book of Will is Both Funny and Moving From Theatre Pro Rata at the Crane Theater

Sean Dillon, Jeremy Motz, Nissa Nordland, Kjer Whiting, Alex Hagen, Andrew Toth, Sandesh Sukhram Photo by Alex Wohlhueter

The Book of Will is a play by Lauren Gunderson, co-author of the much-beloved Christmas at Pemberley Trilogy of which I have gushed on more than one occasion. The play tells the true story, though through a fictional lens, of the men and women, chiefly, Henry Condell and John Heminges, who worked alongside Shakespeare, who ensured that William Shakespeare’s work survived after his death. The play opens With Condell and Heminges in The Globe Tap House with the actor Richard Burbage. The three friends of Shakespeare’s, actors in his theater company, discuss the poor quality of the pirated versions of Shakespeare’s plays that were being performed by younger actors after his death. Burbage dies the next day. Condell and Heminges realize that with Burbage, who had the plays memorized, gone, they no longer have copies of most of his plays. They make it their mission to track down the plays and through their efforts we learn a lot about the theater practices of the period. The play is both funny and emotionally poignant as it explores the importance of story and theater in the lives of its characters and society at large. It is a theme I am completely in sync with.

The cast is incredibly talented, including favorites like Nissa Nordland, who plays Heminges’ daughter, providing brief moments of the sort of romantic spark with Carter Graham’s Isaac Jaggard, that we have come to expect from Gunderson. Though unconsummated, Graham and Nordland generate the kind of instant chemistry that made me wish the play was ten minutes longer to devote to developing that spark. Kjer Whiting, whose Ben Jonson was Shakespeare’s rival, but here clearly a friend as well, plays it so that we can clearly see that duality. The always interesting Jeremy Motz gives a rapid-fire mashup of Shakespearian dialogue in a scene where he confronts one of the younger actors he sees as ruining Shakespeare’s works. It’s a moment that sets the bar high for the night. Sean Dillon as Condell is passionate, refusing to give up on the project. His best moments come in his portrayal of the friendship between Condell and Heminges, with the ability to convey heartfelt compassion, and with decency always being chief among Dillon’s strengths an actor and a person.

This brings us to Andrew Troth, who plays Heminges. Troth is absolutely heartbreaking as a bereaved Heminges trying to make sense of the world after his wife passes away. I’ve always enjoyed Troth’s performances, but here he surpassed mere enjoyment and left me impressed with his emotionally raw performance.

Gunderson’s script plays well to general audiences, but for those of us with a familiarity with much of Shakespeare’s canon, it’s filled with Easter eggs that reflect the author’s love of the plays. It’s easy to be amazed at the lack of foresight the people of Shakespeare’s time had in the importance of preserving the plays. He was one of the most popular playwrights of his time, and yet three years after his death, his acting company had but a handful of his scripts. It’s easy to scoff at the short-sightedness of those in the arts of the time and think we would never be such poor custodians of our cultural and artistic heritage. Then we remember that three hundred years later, the motion picture industry was making the same mistake, leaving us a world where 75% of all silent films are lost. Is the lost Lon Chaney film London After Midnight as important an artistic achievement as Shakespeare’s lost Love’s Labour’s Won? Who is to say? Rubble&Ash provides the wonderful period costumes, which are always one of the joys of a play set in this time. But my favorite visual element of the show was the set design by MJ Leffler. I ran into Leffler before the show, when we discussed the design. Leffler informed me that the design was made up 100% of recycled and repurposed pieces. There is a giant feather standing like a pillar along the back wall that rang a distant bell for me. It turns out the feather was part of the Guthrie’s Cyrano de Bergerac from 2019. It makes the perfect accent to this play about the greatest English language writer of all time.The Book of Will is a treat for any fans of Shakespeare, to be sure. But understanding Shakespeare or even appreciating him isn’t necessary going into the show. It’s a fascinating look at the idea of legacy and the importance of preservation. The play runs through October 11th at the Crane Theater in Minneapolis. For more information and to purchase tickets go to https://www.theatreprorata.org/production-history/book-of-will.