Sleuth Will Keep You on Your Toes and on the Edge of Your Seat as This Classic Thriller Hits The Guthrie Stage

John Tufts (Milo Tindle) and Ramiz Monsef (Andrew Wyke) Photo Credit: Dan Norman

I’m fairly familiar with Sleuth, though I’d never seen it performed. I have seen the two film versions, which have their own interesting backstory. The play, written by Anthony Shaffer, premiered in 1970 and won the Tony Award for Best Play. It was adapted by Shaffer into a film directed by Joseph L. Mankiewicz starring Laurence Olivier and Michael Caine.

The play was adapted again in 2007 with a screenplay by Harold Pinter, who had never seen the earlier film or the play before. That film, directed by Kenneth Branagh, starred Michael Caine again, this time in the older role, with Jude Law taking over the part Caine played in the original film. Few plays have such an interesting lineage, where one generation of actors quite literally inherits the roles from the previous one.

Which made it a particular pleasure to finally see the original version as it was intended: on stage.

The two-act play is a cat-and-mouse game between Andrew Wyke, a writer of mystery novels, and Milo Tindle, who owns a travel agency and happens to want to marry Andrew’s wife. Andrew says he has no objections; he just wants to make sure that Milo can afford her and won’t find her back on his doorstep. Andrew has a plan to have Milo pretend to burglarize his house and make off with a fortune in jewels, which Milo can sell for cash while Andrew collects on the insurance money. But is it as straightforward as that? Is that even straightforward? The twists and turns are what make the show such an enjoyable entertainment, so discussing the plot any further feels like robbing it of its bread and butter.

John Tufts as Milo and Ramiz Monsef as Andrew both do solid work. Tufts in particular is very good, and while Sleuth isn’t exactly a comedic thriller, the performers find quite a bit of black comedy to play with.

That said, I was a little disappointed in the Guthrie for bringing in a cast of out-of-towners rather than utilizing the deep bench of talent we have here in the Twin Cities. Monsef also strikes me as a little young for Andrew. I couldn’t help imagining what someone like David Andrew Macdonald might have done with that role, with Peter Christian Hansen as Milo.

Rounding out the supporting cast is a particularly droll performance by Stanley Rushton as Inspector Doppler, with smaller roles for Liam McNulty and Robin Mayfield as fellow policemen.

I always say that a play that uses black wooden boxes to stand in for every piece of set can be just as thrilling as a set that costs the budget of some theater companies’ entire seasons. And I believe that to be true. But that doesn’t mean I don’t love a well-dressed and elaborate set. Todd Rosenthal has created a playroom of a set, which you can see in the accompanying photo, and it’s a thing of beauty.

If you enjoy a twisty-turny mystery, Sleuth will be right up your alley. It’s a well-mounted production and the cast is really quite good, even if they aren’t local. Sleuth runs through May 10. I read in a program recently that Agatha Christie was single handedly keeping theater doors open. That’s an exaggeration, of course, but this is along those lines and should fill seats and entertain theatergoers.

For more information and to purchase tickets, go to:
https://www.guthrietheater.org/shows-and-tickets/2025-2026-season/sleuth/

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And Then There Were None Gets a Suspenseful and Atmospheric Production at Lyric Arts

Agatha Christie fans who are only familiar with the 1939 novel And Then There Were None should not avoid this under the assumption that they know how it ends. When Christie adapted her novel for the stage in 1943, she made a significant change to the outcome that most adaptations in other mediums have also utilized. I’ll just say it isn’t as bleak as the novel. Those who have seen previous productions, this is my third, should know that if you’re a fan, this is the best adaptation I’ve seen so far. I attribute that to a uniformly strong cast and excellent direction by Lee Hannah Conrads. Conrads and her cast find humor in the character banter and exploit our fear of the dark with well-designed sequences when the power goes out.

I read the novel in junior high for English class, but I was a Christie fan, and an And Then There Were None fan, long before that. I don’t remember a time when I didn’t know who Christie was, and I must have been under ten when I first saw the 1945 film adaptation directed by René Clair. Somehow, a classic whodunnit always feels like it should be in black and white. All the best ones are: And Then There Were None, Green for Danger, The Thin Man. The great missed opportunity of British postwar cinema was that they didn’t make a series of Inspector Cockrill films with Alastair Sim in the 1940s after Green for Danger, one of the greatest mystery films of all time. If you haven’t seen it, seek it out. But I digress.

Christie’s plot will sound familiar to everyone, even those unfamiliar with the title. Ten strangers are brought together by an unknown host. Cut off from the rest of the world on an island, the “ten little soldiers,” as the rhyme goes, begin to find themselves murdered one by one. Each is accused of having murdered someone, and this is their host’s plan to even the scales. Is there a madman loose on the island, or is the killer one of them? It’s devilishly good fun, with a top-notch setup and payoff. Every single slasher movie ever made owes something to it, but don’t hold that against it.

The show does tip its hand a little in that there is a clear attraction between two of the ten, and you can pretty much guess they’ll make it to the final four. Beyond that, all bets are off. Nadya Dominique and Brendan Veerman play the would-be lovers Vera Claythorne and Philip Lombard. Dominique and Veerman perfectly capture the tone, sometimes serious, sometimes playful, of those classic movies I love so much. Bruce Abas gives an intelligent performance as the former judge Sir Lawrence Wargrave, methodical in his attempt to keep everyone safe and root out the true killer. David Denninger gives a very sympathetic performance, particularly in his character’s final scenes, as he seems to get lost in memories of his late wife. It’s disappointing to see Michael Quadrozzi in such a small role as Fred Narracott, who brings everyone to the island at the beginning of the play, and is never heard from again. But perhaps it makes sense, as he’s listed as an understudy, you want someone of his caliber when you need someone who can cover multiple roles. Also, a nod to understudy Sarah Furniss, who stepped in as Mrs. Rogers at the performance I attended and did a very nice job.

Justin Hooper’s set design is well constructed, with perhaps the exception of the glass doors to the patio, which looked to be made of loosely stretched cellophane. It may have been where I was sitting, off to the side of the stage, as the production photos don’t look chintzy, and they hint at a backdrop that adds interesting visuals I may have missed. What was on full display for all to see, or not, was the lighting design by Alyssa Kraft. It’s one of the more effective uses of candlelight I’ve seen in a show. Usually the designer or director is too timid to let the stage be lit solely by candles, but I’ll tell you, it is very effective. I applaud Kraft for going that route, and Conrads stages everything wonderfully, making full use of the darkness to ramp up the tension and play on our collective fear of it.

And Then There Were None at Lyric Arts is a top-notch mystery thriller for those of us who love a good whodunnit and a slap of suspense now and then. The production runs through March 22. For more information and to purchase tickets, go to https://www.lyricarts.org/then-there-were-none.

Cake is Bittersweet With Layers of Rich Emotions Sprinkled With a Dash of Grounding Realism. Yep I Cried at Theatre in the Round

Natavia Lewis, Via Logan, and Jenny Ramirez Photo by Aaron Mark Photo Film

The Cake isn’t your play-it-safe, fairy-tale-ending play about bringing social consciousness to “The South”. You know what I mean when I put “The South” in quotation marks. I’ve made enough comments in these reviews and on the YouTube show that you probably know which side of the bed I fall out of. If you’re reading this, I assume you either land on the same side or at least respect the differences in our sleeping arrangements.

This isn’t really a play about changing someone’s views. It’s about personal growth, and about learning to push back against the things that feel wrong, even when doing so is uncomfortable.

Della, a Southern baker with strong Christian values, is asked to bake a wedding cake for her late best friend’s daughter, Jen. The complication? Jen is marrying another woman, Macy. Della who has trouble supporting this, is supported by her husband Tim. Jen, meanwhile, tries to appease everyone in her life, including Macy, who does not quietly suffer fools. It’s safe to say the situation turns all of their worlds upside down.

What follows is a tender, funny, and complicated reckoning with faith, friendship, love, and tradition. You may think you know how it ends, but it isn’t as neat and tidy as we expect. The play repeatedly subverts expectations, taking turns I didn’t anticipate.

As Della begins to question her stance, she’s also forced to confront other aspects of her life, including her marriage. There’s a pivotal scene in which she confronts Tim, beginning with their sexual relationship and expanding into questions of power dynamics. Depending on your age and relationship experience, their marriage may feel either deeply wrong or deeply real. I don’t personally agree with their dynamic, but there’s a difference between someone imposing a patriarchal structure and a couple who have simply been raised to believe that’s how things should be. Playwright Bekah Brunstetter deserves credit for wading into these murkier waters and embracing nuance. It allows us to see Della and Tim as a real couple, not just a couple from “The South.” By the end, both show a willingness to try, even if neither transforms into a tree-hugging leftist exploring gluten-free veganism and queer theory.

Jenny Ramirez as Della and D’aniel Stock as Tim deliver what we used to euphemistically call “brave” performances. This is where I warn you that this show contains strong language, sexual situations, and partial nudity. Since I doubt I have many 13-year-old readers, I don’t feel like I’m driving exploitative ticket sales by saying so. Ramirez and Stock deserve real credit for their vulnerability, which is what those scenes are about. These scenes are not about titillation, pardon the pun, but about two people opening up to each other in ways they haven’t in years. That’s difficult and deeply human. Is it necessary? I think it’s not only effective but appropriate in this play. It grounds the play and gives the audience a way in. Like Endometriosis The Musical last summer, it creates space for conversations we should be having more openly.

The entire cast is strong, but Ramirez especially impressed me. She plays the character who we assume in most audiences minds has it wrong. She never completely changes, but she does grow, and her performance allows us to view the character sympathetically and to understand her, even if we don’t agree with her. Stock likewise keeps Tim recognizable and grounded, never slipping into caricature.

Natavia Lewis brings confidence and clarity to Macy. She isn’t militant; she’s persuasive, thoughtful, and firm in who she is. Via Logan gives a moving performance as Jen, caught painfully in the middle. She beautifully captures the difficulty of embracing an identity that challenges everything she was raised to believe, not just about her sexuality, but about how those in her orbit think about people from “The South.” It’s an emotionally raw performance that hit home. And yes, I cried. Big surprise.

I’ve avoided mentioning Kjer Whiting as George until now because he provides something entirely different: delightful bursts of comedic fantasy that act as perfect palate cleansers between heavier scenes. It’s impeccable casting. It’s hard to imagine anyone else frosting those lines with quite the same flair.

Director Jennie Ward and Intimacy Director H. Ashley deserve enormous credit for bringing this production to vivid life. Ashley handles the intimacy between Della and Tim with a clear understanding of how longtime partners differ from young lovers. In contrast, the physicality between Jen and Macy emphasizes passion and immediacy over familiarity. Ward makes a particularly effective choice in overlapping Jen and Macy’s love scene with Della lying awake in bed, trying not to think about them. It deepens the emotional resonance of a later moment and ties the themes together beautifully.

The Cake is thoughtful, funny, and deeply human. It doesn’t hand you easy answers, and that’s precisely its strength.

The Cake runs through March 15th at Theatre in the Round. For more information and to purchase tickets go to https://www.theatreintheround.org/thecake/

Watch the 2025 TCTB Awards on the one of the latest episode of The Stages of MN YouTube Show!! https://bit.ly/TSOMNEp25YouTube

Episode 23 of The Stages of MN is up and it’s a Jolly Roger of a Good Time!

We have a new episode up in which we join Fortune’s Fool Theatre in celebrating their 20th Anniversary! I talk with co–Artistic Directors, father and daughter Daniel and Ariel Pinkerton, about how the company started, how they settle disagreements, and what they’re doing to mark this big milestone. Hint: it involves pirates. In fact, they have two pirate shows running in rep at the Hive Collaborative in St. Paul as part of their 20th Anniversary Festival of FREE Musicals. Yep, tickets to both shows are absolutely free.

Watch the episode on YouTube here: https://bit.ly/TSOMNEp23YouTube
Or listen to the podcast version here: https://bit.ly/TSOMNEp23Podcast

We also have a review of Mistletoe & Mayhem from Just Us Theater, which runs through 12/14: https://mistletoe-mayhem.com/

YARRRH! It’s a Double Dose of Piracy, Hilarity, Song, & Bawdy Adventures at Fortune’s Fool Theatre’s 20th Anniversary Festival of Free Musicals at the Hive Collaborative

Wini Froelich, Ariel Pinkerton, and Caitlin Sparks Photo by Kari Elizabeth Godfrey

What started as a Minnesota Fringe Festival show in 2011, followed by a remount at Open Eye Theatre that same fall YARRRH! The Lusty, Busty, Pirate Musical has become Fortune’s Fool Theatre’s biggest hit. For the company’s 20th Anniversary, co–artistic directors (and father and daughter) Daniel and Ariel Pinkerton have revived the smash and paired it in repertory with a brand new world premiere holiday sequel, Have YARRRHself a Lusty Busty Xmas. This double bill of pirate booty and busts is the perfect way to celebrate: sharing their most beloved hit while also giving audiences something new. And thanks to a grant from the Metropolitan Regional Arts Council, both shows are completely free. Yes, free pirate musicals. Worth every doubloon and then some.

Both shows feature the same core characters, and while Have YARRRHself a Lusty Busty Xmas is a sequel, the cast recaps the events of the original musical in the opening number. So if you catch the Xmas version first, you’ll be just fine. The cast includes three women, Ariel Pinkerton, Caitlin Sparks, and Wini Froelich playing a dozen or more characters each (if you count every pirate in the massive sword fights). Also in the cast is Oliver Hands as Toby Bustle, the young boy whose mission to rescue his kidnapped mother drives the first show.

YARRRH! The Lusty, Busty, Pirate Musical introduces the whole crew in a treasure hunting adventure. Toby’s mum, Rosie Bustle, owner of the Inn and Out Tavern (who makes extra money on the side on her back), has been kidnapped by pirate Billy Silverhook. He believes she knows the location of a treasure map and brings her to the Pirate Queen, Captain Desirée La Femme. Toby teams up with pirate Captain Jack O’Reilly to pursue La Femme’s ship, rescue Rosie, and outrun the Governor and his soldiers in Jamaica, where one of their party even finds love with the Governor’s niece, Cecily.

Have YARRRHself a Lusty Busty Xmas features the same crew, at least the ones who survived the first outing. This time, the heroes must save Christmas itself. Father Christmas is kidnapped by Don Fernando del Llania, who wants to Christmas more efficient by firing all the elves and eliminating free gifts. The Krampus, La Femme, and O’Reilly set sail to rescue Father Christmas while Toby, Rosie, and Cecily attempt to deliver the toys themselves.

The first musical is a full throttle parody of pirate movies, packed with big laughs and decidedly adult humor. Consider this one ARRRH-rated, and leave the wee ones at home. It proudly carries its Fringe roots, and if you’ve never attended a Minnesota Fringe show, this will give you a taste of the joyful chaos.

The sequel leans more into political satire and prioritizes swashbuckling over swash-unbuckling, but it still lands solidly in hard PG-13 territory. The songs are fun in both shows, but the sequel contains the two that stuck with me:
• “Whatever Happened to Rough Trade?” hilariously performed by Caitlin Sparks, the strongest vocalist in the cast (though Oliver Hands gives her some competition).
• “On Our Tropical Island” a sweet love duet between Father Christmas and Krampus, played by Wini Froelich and Ariel Pinkerton.
All music is delightfully accompanied by Dee Langley on accordion.

Both shows are written by Daniel Pinkerton and Chris Gennaula, directed by Erika Sasseville, and music-directed by Brenda Varda. Like many Fringe-born productions, the set isn’t elaborate, but what’s there is used extremely creatively. The costumes by Ryan McCanna and props by Jenny Moeller are much more detailed with hooks, hats, swords, treasure maps, corsets, puppets… everything your pirate loving heart desires.

The cast is terrific. They know exactly what kind of show this is and lean into it perfectly. Froelich and Pinkerton aren’t primarily known as singers, but they rise to the musical demands and shine in their comedic timing. Their tossed off asides and improvised moments had the audience roaring. Sparks is not only a fantastic singer but matches the others in tone and energy, with some especially inspired physical comedy in “Whatever Happened to Rough Trade?” Oliver Hands, whom I had not seen before, is someone whose career I’ll be sure to follow going forward. This young performer was in good hands with this cast and I’m sure they played a huge role in helping him deliver such a moving and heartfelt performance.

Their naughty, but also nice pirates, and you are sure to have a blast with both shows! YARRRH! The Lusty, Busty, Pirate Musical and Have YARRRHself a Lusty Busty Xmas run in repertory through December 21 at the Hive Collaborative in St. Paul. For more information and to reserve your FREE tickets, go to:
https://fortunesfooltheatre.org/what-were-doing

Most Saturday and Sunday matinees allow you to see both shows with a 30-minute break between them. Reservations aren’t required, but I highly recommend making one to guarantee a seat. And while the shows are free, please consider giving Fortune’s Fool Theatre’s a gift for their 20th Anniversary with a donation:
https://fortunesfooltheatre.org/support-us

Episode 22: Beware the Phantom of the Stages of MN is Up and Ready to View over on YouTube!

On this very indulgent episode of The Stages of MN Show I sit down with my son Alex and we discuss our Phantastic double feature day! It was a trip down memory lane for both of us as we were surprised by the very good production of R.L. Stine’s Goosebumps: Phantom of the Auditorium at Park Square Theatre and the gorgeous Touring production of Andrew Lloyd Webber’s Phantom of the Opera. You can watch the episode here https://bit.ly/TSOMNEpisode22YouTube. Or if you or not blessed with the power of sight you can listen to the podcast edition here https://bit.ly/TSOMNEpisode22Podcast.

You can still see both of these shows! to get tickets to Goosebumps: Phantom of the Auditorium which runs through December 14th at Park Square in St. Paul bit.ly/ParkSquareGoosebumps and The Phantom of the Opera which runs through December 7th at Hennepin Arts Orpheum Theater in Minneapolis https://hennepinarts.org/events/the-phantom-of-the-opera

R.L. Stine’s Goosebumps: Phantom of the Auditorium is a Surprisingly Effective Production

Jack Bechard, Ani Tonoyan, Jack Bonko, and Sophie La Fave Photo by Dan Norman

R.L. Stine’s Goosebumps: Phantom of the Auditorium is a show that I went to for nostalgic reasons fully expecting to be underwhelmed and I’m delighted to say I was pleasantly surprised. This was part of a day spent walking down memory lane with my oldest son Alex. We did a Phantom Double feature, hitting the matinee of R.L. Stine’s Goosebumps: Phantom of the Auditorium at Park Square Theatre followed by the evening performance of The Phantom of the Opera at the Orpheum Theatre. Is R.L. Stine’s Goosebumps: Phantom of the Auditorium as good as The Phantom of the Opera musically or in any way? Of course not. Is that a fair comparison? Of course not! On the scale that this show is produced on, it is actually Really good.

This is a show that is geared towards tweens and teenagers, fans of the popular Goosebumps book series are it’s primary target. But the show with book and lyrics by John Maclay and lyrics, music, Orchestrations & arrangements by Danny Abosch doesn’t content itself with aiming solely for that demographic. It accomplishes what few shows geared towards that audience even seem to attempt, it is a rewarding and effective production for adults as well. My son Alex was a big collector of the Goosebumps books when he was younger his interest began before he was able to read the books on his own and so I do remember a few of the ones I read to him. But to be sure his interest in the books was as much for their covers and titles as it was for anything found on the pages.

While I never read the book this show is based on a quick look at the Goosebumps Wiki entry for the book #24 in the original book series indicates that it appears to be a fairly faithful adaptation. Brooke and Zeke, best friends and horror fans are excited to be cast as the leads of their school’s production of The Phantom. Brian, who’s new to the school and missed auditions is thrilled to at least help backstage. But when a masked figure begins haunting rehearsals and leaving threatening notes, the fun turns frightening fast. Determined to uncover the truth, Zeke, Brooke and Brian launch an investigation. Could the phantom be Tina, desperate to steal the lead role, or Emile, the odd night janitor who always seems to be lurking in the shadows? With opening night approaching, and Zeke being accused of backstage pranks and vandalism they must solve the mystery before the play becomes a real-life nightmare or is cancelled.

The show premiered in 2016 and I’m a bit surprised I haven’t seen it produced locally before. Park Square doesn’t list it as a Regional premiere so perhaps a school or community theater has produced it. I’m glad I got to see it at Park Square, but also a little surprised that Children’s Theatre Company or Stages Theatre Company hasn’t mounted a production.

This is a show that High schools should be putting on all over the country but I’m not sure I wanna sit through a high school production of this. What really made this entertaining was it’s very good cast and solid and effective production design. Jack Bechard plays Brian bringing a romantic lead vide to the show. Sophie La Fave plays Brooke with Jack Bonko as Zeke the two play off each other well, with Bonko providing clueless comedic relief throughout. Along with the three leads also very good in the cast are are Ani Tonoyan as Tina and Logan Lang as Emile.

R.L. Stine’s Goosebumps: Phantom of the Auditorium is one of those shows that you sort of go in expecting it to be underwritten and it isn’t, this is a tight script. And the songs are fun as well. It opens with the song “Goosebumps” which doesn’t start the plot of the show off but instead pays tribute to the series in general with all sorts of characters from the books making an appearance. The Costumes by Rebecca Gardner are great in particular the recreation of those classic Goosebumps characters for that opening number. The set design by Michaela Lochen seemed solid if unexceptional until we get to the sub basement of the auditorium, then I was truly impressed by what was sprung on us. There is a scene that takes place down there where Zeke, Brooke, and Brian are being pursued that Director Ellen Fenster-Gharib stages to make full use of the design, it’s creepy but also funny. With Karin Olson’s Lighting Design really helping to make that set atmospheric and adding a generally spooky element to many scenes. Lastly I do want to point out Choreographer Jack Moorman, who I assume also choreographed the fight scenes, which there are moments of sword combat that felt real, not the slowly timed and excruciatingly predictable blocking we usually get, it’s fast paced and feels dangerous.

If you were ever or have kids who are into Goosebumps this one should be high on your list of shows to see this holiday season as a bit of counter programing. R.L. Stine’s Goosebumps: Phantom of the Auditorium runs through Desember 14 at Park Square Theatre in St. Paul. For more information and to purchase tickets go to https://bit.ly/ParkSquareGoosbumps

R.L. Stine’s Goosebumps: Phantom of the Auditorium is a show I attended purely for nostalgia, fully expecting to be underwhelmed—and I’m delighted to report I was pleasantly surprised. This was part one of a Phantom double feature with my oldest son, Alex: Goosebumps at Park Square Theatre in the afternoon, followed by The Phantom of the Opera at the Orpheum that night. Is Goosebumps musically or theatrically on the same level as Phantom of the Opera? Of course not. Is that comparison fair? Absolutely not. On the scale it’s produced, this show is actually really good.

Aimed primarily at tweens and teens, especially fans of the famous book series, the musical (book and lyrics by John Maclay, lyrics, music/orchestrations/arrangements by Danny Abosch) doesn’t settle for just appealing to its core demographic. Impressively, it works for adults too. Alex was a massive Goosebumps collector growing up. His love began long before he could read them on his own, and I remember reading several aloud, though I suspect the cover art and spooky titles were the real draw.

While I never read the book this musical is based on, the Goosebumps Wiki assures me the stage version is fairly faithful to the book, which was #24 in the series. Brooke and Zeke, best friends and horror superfans, are thrilled to be cast as the leads in their school production of The Phantom. Brian, new to the school and arriving to late to audition, is happy to be part of the backstage crew. But when a masked figure starts haunting rehearsals and leaving ominous warnings, things turn creepy fast. Determined to solve the mystery, Zeke, Brooke, and Brian investigate. Could the phantom be Tina, who desperately wants the lead role? Or Emile, the strange night janitor who always seems to be lurking just out of sight? With opening night approaching, and Zeke wrongly accused of pranks and sabotage, the trio must uncover the truth before the production becomes a real-life nightmare…or gets shut down.

The show premiered in 2016, and I’m surprised I haven’t seen it done locally before now. Park Square doesn’t list this as a regional premiere, so perhaps a school or community theater got to it first. Still, I’m glad Park Square produced it, though I’m a little shocked that Children’s Theatre Company or Stages Theatre Company hasn’t tackled it yet.

This is absolutely a musical high schools should be producing everywhere, but whether I personally want to sit through a high school version? That’s another matter. What makes this production work so well is the strong cast and the thoughtful, effective design. Jack Bechard plays Brian with genuine romantic lead charm. Sophie La Fave (Brooke) and Jack Bonko (Zeke) have great chemistry, with Bonko providing much of the comedic lift. Also excellent are Ani Tonoyan as Tina and Logan Lang as Emile.

The show isn’t underwritten the way you might expect, it’s a tight script with genuinely fun songs. It opens with the musical number “Goosebumps,” which doesn’t advance the plot but instead serves as a spooky, high energy tribute to the entire book franchise, featuring iconic Goosebumps monsters. Rebecca Gardner’s costumes shine here, especially in recreating those classic characters. Michaela Lochen’s set initially seemed functional but simple, until we descended into the auditorium sub-basement, where an impressive reveal transformed everything. Director Ellen Fenster-Gharib stages the chase sequence in that space brilliantly, it’s eerie, funny, and one of the highlights of the production. Karin Olson’s lighting enhances the chills throughout, and I also want to praise choreographer Jack Moorman, whose staging includes surprisingly convincing sword combat, which elevates the action beyond standard youth theater blocking.

If you loved Goosebumps as a kid or have kids who do now, this show should be high on your holiday theater list as some spooky counter programming. R.L. Stine’s Goosebumps: Phantom of the Auditorium runs through December 14 at Park Square Theatre in St. Paul. For more information and tickets, visit: https://bit.ly/ParkSquareGoosbumps