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.

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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 .

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.

Twin Cities Horror Festival Day 10 Reviews: The Final Two Shows, Cursed Objects and Terms

Show numbers 13 and 14 of the 14th Annual Twin Cities Horror Festival gave me a full TCHF Bingo! I’ve seen them all, and lived to tell the tale. Day 10 was a night of highs and lows, but as my mama always said, TCHF is like a street of houses on Halloween: you never know what you’re going to get. Sometimes it’s a Snickers bar; other times, it’s those orange-and-black wax paper wrapped chewy mystery candies. But that’s part of the fun, the unexpected.

The festival runs through October 30, and there’s still time to catch most of the shows. Visit tchorrorfestival.com to explore the schedule and purchase tickets. A few shows are worth planning ahead for, especially Terms, which is hands down the best production in this year’s festival.

Cursed Objects, from Dolly Who? Productions, was a bit of a disappointment. Destiny Davison, the creative force behind Dolly Who?, stars as the Webb sisters, Millicent and Melody, two consciousnesses sharing one body. The pair runs The Cabinet of Cursed Objects, a curiosity shop celebrating its 13th anniversary with a gathering of loyal “Cabineteers.”

When a mysterious door arrives in a shipment, strange things begin to happen, though what exactly is never quite clear. That’s the problem. The setup has potential, and the concept of the Webb sisters is clever. The set design is well done, thanks to the show having the Studio space, which allows the show to remain set up throughout it’s run, but the script lacks focus.

The performances feel under rehearsed, and much of the exposition is delivered inaudibly. Once again, it feels like strong production design is being used to mask a script that wasn’t ready. Davison’s performance as the Webb sisters starts promisingly, but the idea never quite reaches its potential. The shop itself and its clientele are intriguing ideas, but too vague and underdeveloped. And while it isn’t fair to judge a show by what it isn’t, I couldn’t help wishing Davison had woven in some of her delightful cartoon creations.

With Terms, my Twin Cities Horror Festival journey comes to an end, and what a high note to finish on. It’s easily the best show of the festival.

Four Humors, the company that started TCHF 14 years ago, proves you can go home again. The cast featuring company members Ryan Lear, Brant Miller, Matt Spring, and Allison Vincent, and joined by newcomer Corie Casper, is fantastic, as anyone familiar with Four Humors would expect.

The story combines the otherworldly horror of H. P. Lovecraft with the even more terrifying evil of insurance companies. As the show began, I was reminded of a line from The Rainmaker: “Deny all claims.” The plot centers on the firm of BGW, which seems to confirm what we’ve always suspected, That they exist to serve their evil overlords in this case the board of directors.

Terms showcases everything that makes Four Humors special. The performances, script, and production design, from costumes and props to projections, are all at a level few TCHF shows reach. That’s not a knock on the others; it’s the bar to aspire to.

I brought my son Alex and his fiancée Jayla with me. Jayla had seen Rasputin, Four Humors’ 2023 TCHF hit, with me, and we loved it so much we went back for the encore at Open Eye in 2024. On the way home, Alex remarked that Terms, expanded into a longer version, could easily play at the Guthrie. That’s a comment on quality, not content. And honestly, I’d choose a Four Humors show over just about anything at the Guthrie, any day of the week and twice on Sunday.

I’m not sure why Four Humors doesn’t produce more often, but the talent of this quartet is evident in every aspect of Terms. It’s laugh-out-loud funny, razor-smart, and executed with split-second precision.

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.

The Cherry Orchard a Co-Production By The Moving Company and Jungle Theater

Nathan Keepers, Tracey Maloney Photo by Lauren B. Photography

This was my first experience with Chekhov’s The Cherry Orchard. I’ve seen three Chekhov adaptations over the last few years, but before that, I only knew him by reputation and the titles of his plays. With this production, I’ve now seen an adaptation of what Wikipedia calls “the four outstanding plays by Chekhov.” Out of curiosity, I read the synopsis there to see how faithful this version might be, but I resisted reading any analysis or criticism as I didn’t want to be told what I was supposed to think or feel about this revered work. I wanted my reactions to reflect how I responded in the moment, not through the lens of 1902 Russia when it was written.

These are my initial gut impressions, which I think are valid if you’re deciding whether The Cherry Orchard is something you want to experience. We all want to know up front: am I going to enjoy this? I did. I found it surprisingly funny, which sent me back to the synopsis to confirm whether that was typical. I’d never heard Chekhov described as funny; I always imagined his work as dark or depressing. This isn’t a straight-up comedy, but I didn’t expect the amount of humor in this production. The internet tells me Chekhov considered it a comedy; “dramedy” might be the best descriptor. Like Shakespeare, the play seems flexible allowing directors and actors to lean into either the drama or the humor depending on their interpretation.

The Moving Company consistently delivers strong performances, and this production is no exception. Nathan Keepers, exquisitely dressed by costumer Sonya Berlovitz, is excellent as Lopakhin, a wealthy businessman who once worked for the family that owns the cherry orchard of the title. The story follows a once-wealthy family who, through denial and poor decisions, have squandered their fortune. Their land and its famous orchard are about to be auctioned to pay their debts. Lopakhin offers a plan to save their estate, but the family is too paralyzed to act.

The concept of a privileged but foolish family losing everything feels like a reflection of Russia’s shifting social order—The Cherry Orchard premiered just thirteen years before the Revolution. Director Dominique Serrand, who also plays Leonid, the aging uncle, brings both humor and pathos to the production. Alongside Tracey Maloney as Liubóv, his sister and head of the family, the two create characters we should want to shake some sense into, but can’t help pitying even as they bring about their own downfall.

I don’t know if this is a typical interpretation of the play, but I thoroughly enjoyed it and am glad to have finally experienced such an important work.

The Cherry Orchard runs through November 2 at Jungle Theater in Uptown. For tickets and information, visit jungletheater.org/the-cherry-orchard.

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.

Two Gents Another Delightful Shakespear Interpretation From Ten Thousand Things

Kimberly Richardson and Michelle de Joya Photo by Tom Wallace

Shakespeare’s The Two Gentlemen of Verona is believed to be his first play, and many consider it one of if not the, weakest of his works. You can see the early seeds of plots and themes he would later refine, but as a whole, it’s undeniably problematic. Because of that, it’s performed far less often than his more popular comedies like A Midsummer Night’s Dream, Much Ado About Nothing, or Twelfth Night. I’ve only seen one other production, at the Jungle Theater more than a decade ago, and the plot had completely left my memory. That’s fine, though, since this new version makes some changes, which feels like a valid way to approach it. One of the most remarkable things about Shakespeare’s work is its universality, which allows artists to continually reinterpret it in new ways.

Nobody does Shakespeare quite like Ten Thousand Things (TTT), and Two Gents, their take on Two Gentlemen of Verona, is no exception. Part of the company’s mission is to make art accessible to everyone. They create stripped-down productions that can travel easily, bringing theater directly into the community. But they also make Shakespeare accessible by casting performers who can make the language clear and engaging for a modern audience. Which is something not every actor can do as skillfully as this cast.

I won’t try to summarize the plot, it can be a bit convoluted, but I always understood what was happening in a general sense, even if the finer details occasionally blurred. With this particular play, perhaps more than any other, the pleasure comes from the performances rather than the story itself.

This five-actor ensemble plays roughly sixteen or seventeen roles, and that’s where much of the production’s joy lies. One character, Sir Thurio, is actually portrayed by four different actors throughout the show. That might sound confusing, but Caitlin Lowans, the new artistic director of TTT who is making her directorial debut for the company, ensures it’s always crystal clear who’s who at any given moment.

As usual with TTT, the entire cast is strong. The standout is Kimberly Richardson, who plays Launce, the play’s most beloved comedic character. Richardson, a gifted comic actor, brings her considerable talents to all eight of her roles, stealing nearly every scene she’s in. Don’t mistake me though, the rest of the cast, which includes Michelle de Joya, Kamani Graham, Kurt Kwan, and Sara Richardson, definitely hold there own. It’s a true ensemble piece and every player adds to the whole!

Faithful viewers of The Stages of MN Show may remember my interview with Ryan Lee and Tod Petersen back in Episode 4. This production was one of the projects Ryan hinted at but couldn’t announce yet. Here, he creates an unobtrusive soundscape that perfectly complements the action onstage.

This may not be the best Shakespeare adaptation I’ve seen from Ten Thousand Things—which makes sense given the play’s reputation—but even weak Shakespeare, in TTT’s hands, is always entertaining.

Two Gents runs through November 2 at various locations. For more information and to purchase tickets, visit tenthousandthings.org/two-gents