The Twin Cities Horror Festival Day Two! Madness and Betrayal: A Grand Guignol Double Feature and The Last Menagerie

I can confidently recommend every show I’ve seen so far at this year’s Twin Cities Horror Festival (TCHF). But if you put a hatchet to my noggin and made me pick just one, it would probably be The Last Menagerie. Thankfully, you don’t have to choose. One of the great things about TCHF is that, unlike the Minnesota Fringe Festival, it’s not only possible but easy to see every show. For the full schedule and tickets, visit tchorrorfestival.com.

Madness and Betrayal: A Grand Guignol Double Feature delivers exactly what the title promises, and then some. While it presents two main stories, it also includes a surprise interlude between them that I won’t spoil, but trust me: it alone is worth the price of admission.

The first story is titled The Lighthouse Keepers and was written in 1905 and tells of a father and son who are lighthouse keepers together, when one of them becomes sick hours into their 30 day shift, things turn from bad to worse quickly. follows a father and son tending a lighthouse. When one of them falls ill early into their 30-day shift, the situation spirals from bad to worse. The second, The Final Kiss written in 1912, tells of a woman disfigured by acid at the hands of her fiancé. When he’s released from prison, he visits her to express gratitude for her forgiveness, an encounter that doesn’t go as planned.

Both tales use impressively effective blood and other effects. The first story lands with more impact; the second telegraphs its ending a bit too much. my favorite section was that bonus interlude, which I thought was rather ingenious..

Minnesota Fringe Festival favorites Melancholics Anonymous make a triumphant TCHF debut with a script by Stages of MN favorite Jeffrey Nolan and Managing Director Timothy Kelly. The Last Menagerie reimagines Tennessee Williams’s The Glass Menagerie, with zombies.

It’s been years (high school, to be exact) since I’d seen The Glass Menagerie, but the broad strokes came back as this undead version unfolded. It works remarkably well. Don’t worry if you’re unfamiliar with the original; my plus-one had never seen it and declared this her favorite show she’s ever seen at TCHF. High praise indeed.

After this past summer’s Our Zombie Town (a zombified Our Town) turned out to be one of the weakest shows of the Fringe, leave it to Melancholics Anonymous to redeem the concept. Everything in this production clicks, from the pumpkin-headed projectionist using an overhead projector to create sound effects and title cards, to the outstanding ensemble led by the always-brilliant Jeffrey Nolan as Tom, the narrator.

So far, I’d recommend every production I’ve seen at this year’s festival. But if you can only fit one show into your schedule or your credit card, The Last Menagerie is the one to beat.

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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.

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Come Back, Little Sheba Is a Riveting and Dark & Stormy Production At Gremlin Theatre

Peter Christian Hansen and Sara Marsh Photo by Alyssa Kristine

Come Back, Little Sheba the latest from Dark & Stormy Productions is a strong play featuring some truly great performances from it’s leads Peter Christian Hansen and Sara Marsh. Marsh is miscast as a frumpy overweight housewife, but she’s so good that I prefer to say the fault is with the script that tries to insist the character has those qualities. Marsh finds here own way to accomplish what playwright William Inġe wanted from the character. While I’ve never seen the play before or the 1952 film adaptation, I suspect that Marsh’s interpretation is deeper and more nuanced because she doesn’t rely on that outdated archetype. Hansen and Marsh play Doc and Lola who have been married for twenty years. Doc is almost one year sober, but the presence of their renter, a young college student named Marie, begins to weigh upon Doc’s sobriety. It isn’t the cliche of the older man tempted by the young vibrant woman, it’s the memories her lifestyle brings to the surface. The career as a Doctor that he had to give up when Lola got Pregnant and they had to marry.

Hansen plays Doc as a man working the program, who is making amends to his wife by maintaining a pleasant attitude and being helpful. He is the one making sure that the breakfast is ready for Lola and Marie, trying to make everything run smoothly. He projects a virtue on Marie that isn’t there and feels unrealistic by todays standards. When he realizes she is a normal girl, it brings forth old doubts and repressed guilt about his and Lola’s start in life. He gets every aspect from the sobriety to the slip just right. Marsh slowly reveals the cracks in Lola’s confidence, her uncertainty about how to reconnect with Doc. We see hints of someone recovering from the trauma of living with a substance abuser. When she realizes the Whiskey bottle has vanished and Doc is late coming home, the fears and anxieties come in glimpses and waves. But like all partners of addicts she has to keep his secrets and hide what she is afraid has happened from Marie and others. Marsh shows us in that moment how every choice she has made performance wise up to that point has all stemmed from these moments. It’s a portrayal that seems deceptively simple at the start only to be revealed by the end to be an intricately crafted and complex performance. She give us a character that longs for connections but has been forced into a world of isolation, who clings to hope through the belief that her dog Sheba, who has been missing for months will come home one of these days.

Come Back, Little Sheba runs through September 7th at The Gremlin Theatre in St. Paul. For more information and to purchase tickets go to https://www.darkstormy.org/current-production-1

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Secret Warriors Examines the Sacrifices and Heroism of Japanese Americans in WWII at History Theatre

Erik Ohno Dagoberg, Clay Man Soo, Tony Larkin, Stephanie Anne Bertumen, Kendall Kent Photo by Rick Spaulding

Secret Warriors by R.A. Shiomi reminds us that the ugliness we see around us everyday, especially from our government is not new. It tells a story from a shameful moment in our country’s history, when Americans of Japanese descent were rounded up and imprisoned in camps after the bombing of Pearl Harbor. That is the backdrop upon which this story is told, in the foreground are four soldiers, who despite what was happening to their families volunteered for a secret project that saved thousands of lives during the war. While we follow these four soldiers through their agreement to enroll in the program, the subsequent training, and their ultimate deployment in the Pacific theater, we are constantly aware of internment camps. The set design by Erik Paulson significantly contributes to this by having the back of the set inclosed in tall chain link fences panels with barbed wire along the top. Whenever the scene changes and wherever the action on stage is taking place, that barbed wire fence stands as a reminder of the injustice that is occuring to the characters families back home. Just as this play, masterfully directed by Lily Tung Crystal, should stand as a reminder that we’ve done all of this before and regretted it.

The four soldiers whom we follow throughout the production are played by Erik Ohno Dagoberg, Song Kim, Josh Kwon, and Clay Man Soo. The story really focuses on two of the soldiers, Tamio played by Dagoberg, and Koji played by Clay Man Soo. While they seem to clash when they first meet, Tamio being a cocky and aggressive personality compared to Koji’s more reserved demeanor, they soon become friends. Soo is good, particularly once he enters the war and uses his skills as a translator to get the enemy to surrender or talking officers of the Japanese army into providing information that will save lives on both sides. Dagoberg is electric, from the moment he comes on stage, it’s a role that requires a big personality and he delivers that but without being over the top, he’s subtly charismatic and that draws the audience into him even more. One of the things that bonds the two is they both meet and fall in love with girls at the same USO dance. Stephanie Anne Bertumen reunites with her Sanctuary City costar Soo, as Koji’s girlfriend Natsuko. While Tamio’s eventual fiance Denise Murphy is played by Kendall Kent. Bertumen and Kent’s performances are crucial to the audiences involvement in the show. The idea itself would make an interesting play to be sure. But, the romantic relationships made so heartfelt by Bertumen and Kent are key to raising our emotional involvement in the characters and raising the level of the play from interesting to compelling. Their letters from home help to build the tension and the concern for the characters raising the emotional bar of what is at stake.

Paulson’s set design in effective in Act One, with a backdrop on which Kathy Maxwell’s projections are splashed, giving us virtual locals or context to the scenes. When the audience returns from intermission for Act Two, we are astonished to see the stage transformed. Wooden structures that formed stairways on the sides of the stage have been moved to the center and combined to represent for example, a ship carrying the soldiers to the Pacific theater of the war. But the surprises do not end there, though I think I’ll keep that to myself as I was rather amazed by the transformation that occured next. Meghan Kent has designed period costuming that perfectly captures the era. Behind the scenes rounding out the overall high quality production design are Lighting Designer Wu Chen Khoo, Properties Designer Kenji Shoemaker, and Sound Designer Frederick Kennedy.

Secret Warriors runs through April 19th at History Theatre in St. Paul. For more information and to purchase tickets go to https://www.historytheatre.com/2024-2025/secret-warriors

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Future Reference is a Father/Son Act Worth Checking Out at Bryant Lake Bowl & Theater

Future Reference is a short program of about 80 minutes with no intermission that presents two short plays, one by Joshua English Scrimshaw (JES) and the other by his son Aaron English Scrimshaw (AES). Faithful readers will know of my love of The Mysterious Old Radio Listening Society (MORLS) of which JES is a member, but he was also the recipient of the first ever The Stages of MN Fringe of the Day Award for the 2022 MN Fringe show Bob & Reggie Go to Bed. The first play is by AES entitled End of the Line in which a higher being named Rob (no relation), played by JES must pass his final exam by helping a recently deceased young man named Jim, played by AES, accept his death and move forward. It is clear that AES shares his father’s gifts for writing and performing. His script shares a similar stylistic blending of humor and philosophical ideas. Its entertaining, funny, and warmly touching in its final thoughts. JES is very funny as the unconfident Rob who seems to be out of his element and makes things worse more often than better for Jim. Directed smoothly by Bianca Rose, who also plays Jim’s best friend Charley in an end scene that attempts to answer the question that we all ask at some point, what matters?

JES’s script is entitled Watchbird and is based on a story by science fiction author Robert Sheckley and is directed by JES and Adrienne English Scrimshaw (AES….2?). Originally adapted for and performed by the MORLS, JES made further adjustments to the script in order for it to be a fully staged play. This very much has an old radio show feel to it. The tone is that of a 50’s sci-fi film which matches the original stories publication date of 1953. It’s a interesting little story that feels very portentous in the age of AI. The plot is about a fleet of robotic birds that can predict when someone will murder someone and prevent the crime before it happens, very Minority Report. The issue becomes the learning circuit of the Watchbirds, which is designed to gather data with which to access new information in order to determine murderous intentions. The problem comes when the watchbirds begin to learn and adjust the definition of murder to include a living organism harmed by another living organism. Eventually it is murder to even step on grass which begins a series of events that leads to further and further escalations. JES again gives a nice performance here, this is totally in his MORLS wheelhouse and the kind of role he can do standing on his head. I really want to call out the really fun performance of Natalie Rae Wass who plays Mac, the designer of the watchbirds. I loved how Wass instilled Mac with this complete confidence, Mac is always coming late to the logical conclusion. I also loved the costume design for Mac which reminded me instantly of the Iconic Rosie the Riveter illustration from the 1940’s.

Future Reference Runs through March 30th at Bryant Lake Bowl & Theater in Uptown. The shows begin at 7:00 PM but the doors open at 6:00 PM, that’s when I like to get there to get a good seat and order some dinner and drinks before the show begins. For more information and to purchase tickets go to https://www.bryantlakebowl.com/theater/future-reference-2

Triassic Parq! Minneapolis Musical Theatre’s Regional Premiere at Lush in Minneapolis

Triassic Parq! is a great idea for an outrageous musical. Jurassic Park told from the point of view of the dinosaurs. If you remember the film, the line “life finds a way” refers to how the dinosaurs manage to procreate even though they are all genetically engineered to be female. The gene sequencing of the dino DNA was incomplete and the scientists filled in the gaps with frog DNA. Some frogs can change their gender if needed and thus one of the dinosaurs becomes male. There is an interesting theme there that could be a wonderful allegory for the Transgender community. But like most nuggets of potential in this show, with book and lyrics by Marshall Pailet, Bryce Norbitz, and Steve Wargo with music by Pailet, it never amounts to much of anything. It’s a show full of potential written by people without the wit or vision to capitalize on an idea brimming with possibilities.

The show doesn’t know what it wants to be and thus doesn’t commit to anything. Does it want to be a parody of Jurassic Park following the films plot but with a perspective change and comedy? Then it needs to be funnier. Does it want to be an LGBTQ+ anthem? Then it needs to embrace those aspects much more. Does it want to be a raunchy adults only show full of risque humor? Then it needs to go a lot further. Before seeing the show I enjoyed a lovely brunch in Lush’s bar area with some fellow Twin Cities Theater Bloggers and one said he’d be surprised if there wasn’t a joke about a Triceratops and Tricerabottoms, which is far better than anything in this script. As for the songs, in general they were much too loud and bombastic for my taste. There were a couple of songs that were alright, but again nothing that proclaimed itself as particularly clever or moving. This is not a reflection on the cast or the theater company, Minneapolis Musical Theatre, the issue is completely with the material, not the execution.

As for the execution let me first say that Minneapolis Musical Theatre whose motto is “Rare Musicals, Well Done” holds a special place in my heart. They produced one of the shows, Be More Chill, that led directly to me starting The Stages of MN. They produce the kinds of musicals that don’t get produced by other theaters and that’s a valuable thing, and I’ve seen a lot of really fun and interesting shows produced by them. When that is your mission, occasionally you are gonna hit on something that just doesn’t work. For the most part, I enjoyed the cast; they were doing everything they could with the material as was director Kjer Whiting. A couple of the performers were pushing outside their vocal range but others were really strong. The band led by Musical Director and Pianosaurus Amanda Weis were excellent, again unfortunate that they didn’t have something more memorable to perform. Unfortunately it’s hard to make a lump of coal sparkle no matter how much you try.

Perhaps my expectations were too high going into this as I saw all the possibilities and felt the end result squandered the majority of them. It isn’t without its charms mainly a cast and crew that give it their all. While I can’t recommend the show very highly, I know that some I was with found it more enjoyable than I did. But whether you decide to take in Triassic Parq! or not, I encourage you to make a donation to Minneapolis Musical Theatre, the work they do in bringing us rare musicals is important and needs to be supported. Triassic Parq! runs through April 13th at LUSH Lounge & Theater, 990 Central Avenue NE in Minneapolis. For more information and to purchase tickets go to https://www.aboutmmt.org/tickets/

Legacy of Light at Theatre in the Round

Anna Olson, Rachel Postle, and Emma Tonn Photo by Tom Taintor

Legacy of Light is the second ply by Karen Zacarias that I’ve seen at Theatre in the round. The first was The Book Club Play which has a run coming up at Lakeshore Players this March. Of the two plays The Book Club Play is the more entertaining of the two, but Legacy of Light is definitely the more ambitious work. The scenes alternate between France in the 1700’s and New Jersey present day. They have common themes connecting the two timelines, astronomy, love, pregnancy, ensuring family is cared for, nontraditional procreation relationships, and family histories. The connection happen thematically and by the end the two threads don’t just compliment each other but actually intersect in several surprising ways. It’s generally well acted, though it wasn’t until the second act that the characters gelled into what they are intended to be.

In the past we follow Emilie du Chatelet, who is the wife of the Marquis du Chatelet, the mother of
Pauline, the lover of both the young poet Saint-Lambert, and the older Voltaire whom she collaborated with on philosophical and scientific works. She becomes pregnant at 42 and fears due to her age and the fact that she almost died from a previous pregnancy that she will not survive the childbirth. In the present day we follow Olivia, an astronomer who may have discovered an embryonic planet, she’s a cancer survivor who can no longer bear children. She and her husband Peter contract a young woman named Millie to be a surrogate for their child. Millie is doing it for the money so that she and her brother Lewis can pay off their debts which have mounted since the death of their mother the previous year.

David Denninger as Voltaire and Hawken Paul as Saint-Lambert and Lewis, are the two Actors who seem to have taken their characters, at least initially in directions that don’t mesh with their characters at the end. But perhaps this is the script or Kari Steinbach’s direction. Voltaire at first seems to be a character we are to see as ridiculous, but that idea is completely wiped from our idea of the character by the end. Saint-Lambert seems the young romantic before becoming ridiculous. Their fight at the outset while humorous seems to come at the cost of a unified character. Paul’s second character Lewis remains constant throughout, which is that of a completely idiotic tunnel visioned and illogical manchild. Paul plays the role well, but it is a character that is hard to feel anything but frustration and dislike for. Rachel Postle as Emilie du Chatelet, Anna Olson as Olivia are very strong as is Emma Tonn as Millie and Pauline, though there is more for her to do as Millie she does get a few good scenes as Pauline as well. Finally Mark Sweeney gets to show a little versatility as a rather direct and centered man in the past and a more easy going, and low key husband in the present day storyline.

The set design by Sadie Ward works well with some creative lighting cues from Lighting Designer Bill Larsen. The apple tree being a nice touch and the math equations and celestial markings painted on the floors and walls combined with light projections of astronomical shapes are nice touches. The period costumes are especially well realized by Costume Designer Colleen O’Dell. Legacy of Light runs through March 16th at Theatre in the Round. For more information and to purchase tickets go to https://www.theatreintheround.org/legacy-of-light/