Santa’s Surprise Party is, No Surprise, Hilariously Fun at The Hive Collaborative in St. Paul

Santa’s Surprise Party is the party to attend this holiday season. This new show from The Mechanical Division, the brainchild of Ben Thietje and Amanda White formerly of DalekoArts, continues that Theater’s tradition of holiday fun. Directed by White who plays the voice of Jessica Claus and written by Thietje who appears in the cast as an elf named Sandwich. The show takes place at an assembly of the ELFS (Midwest Chapter). While waiting for the meeting to start Mrs. Clause joins the meeting through Microsoft Teams and reminds the Chapter that it’s Santa’s 250th birthday and so far none of the other Chapters has even said happy birthday to Santa. This Chapter is going to be the last meeting and it’s up to them to wish Santa a happy birthday and raise his spirits. Before they can begin to make plans, a human discovers them inside the building without permission. They must use elf magic to keep him from leaving and with his help they plan a surprise party for Santa.

I don’t want to give away the best bits or the surprises in store so I’m going to keep things vague. First off, if you enjoy Christmas at all and love a good laugh, you’ll want to snatch up tickets for the three remaining performances. If the show I was at tonight wasn’t sold out, there couldn’t have been more than one or two seats left. I’ve written before about a game we sometimes play on the drive home from a show called who was your favorite. When you can’t name who was your favorite, it’s either one of two things, no one is any good, or everyone is perfectly cast in their roles. This is the latter. Let’s start with Ben Thietje usually cast as the romantic lead due to his matinee idol looks, completely disappears into the role of Sandwich. He’s the nerdy, not dealing with a full deck, possibly a touch psychotic elf with slicked over hair and glasses with lenses as thick as coke bottles. He’s found the character and never breaks from it whether he’s pushing to burn the human or just in the background ritually touching a Christmas light. He hasn’t the fewest lines but makes the biggest impression. Siri Hellerman plays Bing Bong, the President of the Midwest Chapter of ELFS. She runs the meeting like a pro and knows exactly how to keep control of everyone, but is particularly adept at calming Sandwich down with a sip from a juice box. Hellerman handles such absurd moments so matter of factly that they become even funnier. Nora Sonneborn who really caught my attention earlier in the year in Lyric Arts Production of 9 to 5 proves that notice was well deserved, she has comedic chops and displays once again a really strong singing voice, which I’d like to have had even more of. Bradley Beahen who serves as the Music Director also plays Sprinkles. Beahen whom I’m used to seeing mainly as a Music Director is great in the role and his rendition of “Like a Virgin” but with festive lyrics is a blast. Finally, Patrick Kozicky plays Cole, the human who reluctantly helps them plan the party. Kozicky masterfully captures the human responses to the ridiculousness of the elfs. I loved watching him process the rules to the elf party games like Tinsel and Tickle and Elf or Dare.

Santa’s Surprise Party is everything it needs to be, it has holiday spirit, a touch of darkness, a ton of super silly elf nonsense, and even some great singing. It runs a quick 70 minutes with no intermission so there’s still plenty of time in your evening to get presents wrapped and nog some eggs. It runs through 12/21 at The Hive Collaborative in St. Paul, which if you haven’t been, you’re in for a treat. It’s just about the coziest little theater there is, bring some cash so you can make a donation and enjoy some snacks and beverages. Plus whether you need it or not, visit the furthest restroom, or perhaps I should say the Batroom. For more information and to purchase tickets go to https://www.thehivecollaborativemn.com/events/santas-surprise-party

Tired of missing reviews from The Stages of MN? Do you find yourself left out when all your friends are talking about that great new play that you didn’t even know about? Never fear, that need never happen again. Now you too can subscribe and have every post from The Stages of MN sent directly to your email box. No more hoping the algorithm works in your favor and you actually see a post on facebook or Instagram. No relying on so-called friends to tip you to the best shows in town. To subscribe on your computer: from the home page on the right, enter your email address and click subscribe. On your mobile device scroll to the bottom of the page and do the same. You can also follow me on Facebook, @thestagesofmn click follow and on Instagram thestagesofmn. You can also read some of my reviews syndicated on the MN Playlist website https://minnesotaplaylist.com/ from time to time. But that’s not all! Think I may have steered you wrong on a show? Well, I am also a member of the Twin Cities Theater Bloggers (TCTB), where you can read roundups of shows by m’colleagues and I when you follow us on facebook @TwinCitiesTheaterBloggers.

The Best Christmas Pageant Ever! Is a Great Holiday Show For Families at Park Square Theatre

The Best Christmas Pageant Ever! may not be all that, but it’s pretty good, and for about three minutes towards the end it achieves greatness. Those three minutes alone are worth the time and price of admission. You’ll know when the moment is if you go because a character will tell another that someone is crying. Which is when I realized I was as well. The moment belongs to River Clementson and is so unexpected that it felt like a Christmas miracle. In what is a fairly entertaining if slightly underwritten comedy from playwright Barbara Robinson, there is a moment of clarity and beauty. I’m not sure where Miss Clementson came from but I’m excited to see where she goes from here. The story is about the staging of the annual church Christmas Pageant, only this year the woman who usually runs it is in the hospital. It’s up to Gabe Bradley, one of the fathers of the narrator of the story, young Beth Bradley, to take over the Christmas Pageant. It’s the same every year so it should be impossible to mess up and it would be, except for the Herdman kids. Six kids who have never been to church and have a reputation around town that would make Scut Farkus and Grover Dill run for cover. They get the idea that they want to be in the pageant, chaos and humor insue.

One thing that is special about this production is that of the 21 cast members there are only 3 adults. Don’t let that scare you, this isn’t like going to the Christmas Pageant at church. While yes, the acting ability is uneven, the vast majority are quite good, and no one is bad. I don’t know if you’ve ever been in a Christmas Pageant, I have, I’d almost forgotten that until I saw this show. I think I was a Shepard, but I may have just been a donkey, still I’d rather be a donkey than an elephant any day and twice on Sunday. If you’ve ever been in one or had to sit through one, you’ll know they are, more or less, the same. You’ll probably also mirror the sentiment of one of the fathers in the show who is always asking if they have to go to it. Thankfully that is a joke in the show but not the reality of this show. Typically, I try not review the performances of children, so aside from singling out River Clementson’s show stealing performance, I’ll restrict myself to the adults. Berto Borroto plays Gabe and Nathan Tylutki plays his husband Ned. While the roles are not written incredibly deep they bring to it a casual, give and take that feels genuine. Beth Gilleland plays basically all of the other adult roles, most of them Church ladies talking on the phone. She does a nice job changing voices and carrying on conversations with herself. I’m glad they went the route of just having one actor play all those roles, it added a nice sprinkling of humor.

The Best Christmas Pageant Ever! runs through December 22nd at Park Square Theatre. A great family show it runs a little under 80 minutes with no intermission. For more information and to purchase tickets go to https://bit.ly/49ITRAZ

Black Nativity Creates a Joyful Noise for the Holidays at Penumbra Theatre

Penumbra Theatre has been staging Langston Hughes’ Black Nativity since 1987, it’s another annual holiday tradition that brings audiences back year after year while also drawing new audiences. This was my second time seeing the show and as I like to do when seeing a repeat I brought someone who had never seen it with me. Her reaction was that it was just like church. As one can surmise from the title it’s the story of the birth of Jesus told from a cultural perspective that reflects the Author’s experiences on the world and of this story. While heavily steeped in Christianity, take it from a lapsed atheist, around the holidays I tend to forget not to believe, that there is much joy, hope, and understanding to be found in Black Nativity. The show is Directed by Lou Bellamy who has been involved with the show in every iteration at Penumbra since they began presenting it in 1987. Bellamy states in his Directors notes that Hughes left room for a wide variety of interpretations and that Penumbra’s productions have evolved over time, much like the Guthrie’s annual A Christmas Carol offerings. This years format is the same as last years, more or less in the style of a concert with a few brief scenes of interpretive dance Choreographed by Marciano Silva dos Santos. I love the idea that if I go again in two or three years time I may see it mounted in a different way, but also knowing that the joyful noise of it will remain intact.

The cast features Jennifer Whitlock as the Narrator whose text is based in the scripture verses I have grown up with, but there are moments where it departs or where the emphasis that Whitlock brings to them casts a new light on the words, one that we can recognize as a question to the audience. Asking does this sound familiar? Does this still hold true today? Do you see the parallels? Of course the answers are sadly yes, but the show doesn’t lead us to these reflections in order to leave us mired in our reality but to then lift us up with hope and the message of love and salvation and peace. It’s a message we all need to be reminded of this time of year and above all, this year, whatever our denomination, race, or financial situation. It’s a reminder that hope can come from the lowest of places and greatness can come from one born in a manger.

The main soloists are Greta Oglesby and Dennis spears, and watch out when they come on stage, because it’s from them that much of that joyful noise comes and it will have your hands clapping and your feet stomping along with them. Oglesby is amazing in a room filled with wonderful singers she shines bright like a star above a manger in a long ago time. Spears is rich of voice but can also become playful with breathy vocals that take on a jazzy scat quality to match is occasional fits of fancy footwork. He’s clearly having a great time and feeling the joyfulness of the music. Angela Stewart as the Choir Director and a Soloist pulls the rug out from under the audience with her rendition of “O Holy Night” she starts out breathy and while it’s well done you suspect that maybe her voice isn’t as strong as the other soloists, than the other shoe drops and she kicks it into another, lower gear and you realize, that’s where the power is and she stuns you with it. The dancers I mentioned are Hassan Ingraham and MerSadies McCoy and they stand in during a couple of songs as Joseph and Mary. This was one of my favorite parts of the show, coming at just the right place to add something new visually and unlike some dance this felt like it was driven by the story of the songs and gave an illustration of the emotions within. Ingraham and McCoy move wonderfully and gracefully together and watching them was a delight. The Musical Director was Sanford Moore and his musicians really raise the roof. The main performers are accompanied by the Kingdom Life Church Choir who lend an angelic and soulful quality to the proceedings.

If you’ve never been to Black Nativity, I encourage all to add it to your calendars, it is such a joyful and celebratory show. You don’t have to believe the same things to appreciate the beauty and joy of it’s message. There something beautiful about going and watching others celebrate their beliefs. This Holiday season why not start a new tradition of taking in a live theater production with family and friends? It’s a great way to create lasting memories and will give you something to look forward to every year as you experience the magic of live theater. Whether your budget is large or small, there is a show for you. Looking for gift ideas? Don’t we all have enough “stuff”? Give the gift of live theater, go to your favorite theaters website, see what shows they have coming up in the new year and give the gift of an experience over material.

Black Nativity runs through December 22nd at Penumbra Theatre in St. Paul. For more information and to purchase tickets go to https://penumbratheatre.org/event/black-nativity-6

Scrooge in Rouge Still Brings the Laughs at Open Eye Theatre

Tom Reed, Abilene Olson, and Maren Ward Photo by Bruce Silcox

*Note much of this review was adapted from my 2023 review of the show as I got it right the first time.

There are a lot of shows with Christmas themes this time of year, and several that are quite funny, but in terms of being a consistently funny, audience pleasing production, this one probably takes the fruit cake. I saw it last year and in the busy Holiday season was probably going to skip seeing it again to make room for new shows. Then I heard that there was a cast change and the new cast member happens to be on my Must See List so I booked the show again and am glad I did because it’s such a fun show. The premise is a British Music Hall production of A Christmas Carol where 17 of the 20 performers are out sick with food poisoning. So the three healthy performers play all the roles, as of course, for Queen and Country, the show must go on. Some of the humor comes from the backstage plotline of how the three will perform a script meant for 20. While much more comes from the music hall tradition of double entendres, silly word play, and wacky characters. Some of the jokes are old, but then so are many of the audience members. Old or new, obvious or out of the blue, it’s the delivery that makes the show. These are three performers who are brilliantly cast, they are completely believable as over the top music hall performers. This is the show to go to with your group of friends who love a good laugh, a great time will be had by all, respectful rowdiness is encouraged.

The cast is expertly accompanied on piano by Patrick Adkins who has the odd line as well but, declines to take the role of Tiny Tim when called upon. Will you answer the call? If you don’t want to be asked, avoid the aisle seats, you’ve been warned. Now when I say the three performers take on the roles of 20, I really mean two of them do. You see Maren Ward who plays Vesta Virile, a male impersonator mainly plays Ebenezer Scrooge, ge sund heit. She is excellent as Scrooge and as the center around which all the chaos revolves. Neal Skoy who played Charlie Schmaltz in the production is in New York City performing in Big Apple Circus. So this year the role is played by a The Stages of MN favorite Tom Reed, who in turn plays everyone from Bob Cratchit, to the Ghost of Christmas Past. My favorite roles of Reeds were that of Scrooge’s nephew Freddie and Bob Cratchit. As Freddie he plays it as a cartoon version of Whodehouse’s Bertie Wooster, and Cratchit is a lovesick softie. Abilene Olson is the the singing soubrette Lottie Obbligato, I’m not going to tell you what that means, I had to google it and so do you. Lottie makes it clear she’s happy to take in a little extra cash for extra services, wink-wink, nudge-nudge. Olson has a wonderful singing voice which serves her well, legitimately but also for comic effect. She’s the sauciest and bawdiest of the trio and gets a lot of laughs with her thinly disguised euphemisms. I’d have to say my favorite role she plays is that of Lottie herself. As opposed to Schmaltz, who is listed in the program as a “character actor” and thus tries to create a new personality and look for each role. Lottie isn’t, and thus it’s perfectly fine that Olson let’s Lottie shine through quite a bit no matter what role she’s performing in the show, within the show. If that didn’t confuse you … can you explain it to me?

The show has a book and lyrics by Ricky Graham with music by Jefferson Turner, additional bits and bobs of material were added by Jeffery Roberson and Yvette Hargis. The production is Directed by the Open Eye Theatre Producing Artistic Director Joel Sass. Sass knows his space well and makes effective use of Open Eyes small stage and all it’s nooks, crannies, and trap doors. As is always the case with Open Eye productions, the look of the show is one of the stars. Michael Sommers set design and Kathy Kohl’s costumes are gorgeousities. There really is nothing quite like the designed theatricality of an Open Eye production, merely functional is never the aim. Every wall, every sign, every prop, every effect has to do more than exist, it has to add to the atmosphere of the piece. Helping achieve the look and overall feel of the show are the expert skills of Lighting Designer Bill Healey and Sound Engineer Dan Dukich. And I think a special shout out is due to Stage Manager Brian Hirt and Assistant Stage Manager Evelyn Kelly who keep the show flowing and one assumes helping the performers do their quick costume changes.

Highly recommended Scrooge in Rouge is a hilarious take on A Christmas Carol done in the tradition of the English Music Hall. The show runs through December 29th at Open Eye Theatre in South Minneapolis. For more information and to purchase tickets go to https://www.openeyetheatre.org/scrooge-in-rouge

A Christmas Carol Continues to Enchant as it Celebrates 50 Years at the Guthrie Theater

Cast of A Christmas Carol Photo by Dan Norman

Every year come November and December we are exposed to multiple version of of A Christmas Carol. From films to episodes of TV series that use it’s plot to stage productions. I’ll likely see at least three stage productions this season that are based off of it. This was the fourth production of the Guthrie’s latest adaptation of Charles Dickens’ classic A Christmas Carol and also marks it’s 50th Production overall. I’ve seen all four years of this current incarnation which was adapted by Lavina Jadhwani and first performed in the 2021 season. This years production is directed by Addie Gorlin-Han based on the original direction by Guthrie Artistic Director Joseph Haj. After spending time with so many versions of this story year after year I’m amazed at it’s capacity to captivate me each time. There is something so enduring about Dickens tale of reflection and redemption, and its familiarity to audiences, which accounts for its adaptability. It’s core plot and themes can be seen in so many different works. Even that other mainstay of the holiday season It’s a Wonderful Life shares DNA with it. In it, we see George Bailey’s past, then his present, and then an alternate reality which is what the Ghost of Christmas Future shows Scrooge, a possible future, but one that may not come to pass. Like Scrooge who changes his ways and embraces life, George changes his mind deciding it’s better to live and we get a happy ending for all.

What struck me this year is how fresh the production felt and a lot of details or moments that I either didn’t remember or are new. Being the fourth year in a row, knowing it was the same adaptation with the same sets, I admit I did entertain the idea of giving it a skip this year. So glad I didn’t. Now I’ve reviewed nearly 200 productions since I last saw A Christmas Carol at the Guthrie last fall, so I struggle to remember last years in detail. Are the things I noticed this year new or have they just slipped my memory? This year it felt like there were some different songs and more choreography between scenes, but that may not be the case at all. There is a scene before the Ghost of Christmas Past visits when the ensemble is forming the hands of the clock on stage as the hour between Midnight and one A.M. passes. This struck me as a really creative touch from Choreographer Regina Peluso, but was it new this year? I don’t know. The only change I am certain of are those of casting. There are a lot of the same actors but many of them have changed roles this year. After years in the role of Bob Cratchit, John Catron has been promoted to Fred, Scrooge’s nephew. This was due to former Fred, Eric Sharp moving into the role of the Ghost of Christmas Past. It also led to Tyler Michaels King taking on the role of Bob Cratchit leaving his role as Collector 1 and Dick Wilkins. That in turn leads to the addition this year of Max Wojtanowicz to the cast in those vacated roles. It’s very interesting to notice the changes that each performer brings to the roles and how that subtle changes the play as a whole and giving it a breath of fresh air. The biggest cast change this year is the replacement of Matthew Saldivar, who was very good in the role, but always struck me as a little too young, with David Beach who feels very age appropriate, is fantastic.

The things that wowed me in previous production continue to do so now. The Ghost of Christmas Future portrayed by Nathan Huberty in a costume created by Toni-Leslie James is still effectively nightmarish and might give the very wee ones in the audience a genuine fright. The moment when the Ghost comes out of the darkness engulfed in fog to tower over a cowering Scrooge is truly a heart pounding moment. The set design by Matt Saunders in conjunction with the Lighting design by Yi Zhao manages to be both detailed and expressionistic. Sound Designer Mikaal Sulaiman and Musical Director Jason hansen also contribute greatly to the tone and atmosphere of the work whether through Composer Jane Shaw’s score, traditional Christmas carols, or well times sound effects. The one scene that has always been a head scratcher for me is when Scrooge and the Ghost of Christmas Present observe the ship out at sea. I know it’s from the book, I know many adaptations include it, I understand there is a point to it. But it’s so short and requires elaborate, and very effective projection, a separate set piece that has to be built and wheeled on and off the stage. I wonder if what it brings to the show ultimately justifies that build out and expense.

If you’ve never seen A Christmas Carol at the Guthrie it’s something you are required by the State Constitution to do at least once if you’ve lived her more than five years. If you’ve seen it before, even this very adaptation, I promise you it rewards on multiple viewings. I think the cast changes do shift the whole piece enough that you are going to find it remarkably fresh and entertaining. A Christmas Carol runs through December 29th at The Guthrie Theater in Minneapolis. For more information and to purchase tickets go to https://www.guthrietheater.org/shows-and-tickets/a-christmas-carol/

Irving Berlin’s White Christmas Brings Holiday Cheer Early to Chanhassen Dinner Theatres

The Cast of White Christmas Photo by Dan Norman, 2024

I know what you are thinking, and I was thinking the same thing, Christmas already? It’s still Monster Month! Well, when you mount a musical at the Chanhassen Dinner Theaters, even an abbreviated run like this, you have to start a little early and run a little late. And guess what? If you want to see this production before Christmas, you’ll need to purchase tickets for an October performance because a quick perusal through the CDT website shows every show from November 1st through until New Years Eve is sold out already. The kicker is, this production, it’s really really good. The dancing alone is worth the price of admission and it will be just as spectacular in October and January as it is in November and December. Choreographer Tamara Kangas Erickson has created some brilliant dances, many for large groups, but even the duet routines contain showstopping moves. Filled with perfectly synchronized tap, the cast really gives everything and it pays off. Under the musical direction of Andy Kust, the orchestra and vocalists are as is always the case at CDT of the highest level. Long time Artistic Director Michael Brindisi shows that after over 120 productions he knows just how to stage a show for this theater and its audiences. I promise you, even the Scroogiest will come away from Irving Berlin’s White Christmas with the holiday spirit.

Song and dance man Michael Gruber plays Bob Wallace one half of a song and dance team along with Tony Vierling’s Phil Davis. These two sound and act the part of 1950’s wholesome crooners perfectly. After an opening set in 1944 Europe in which Bob and Phil are entertaining their fellow soldiers including General Waverly, whom they all would follow to the ends of the earth, we jump ahead to 1954. Bob and Phil are huge stars and on their way to Florida over the holidays to work on and rehearse a new Broadway revue. When Phil falls for one half of a sister act, who are on their way to Vermont to perform at an Inn, he tricks Bob onto the wrong train so they can tag along. It turns out the Inn is owned by their former commanding officer General Waverly, it is also financially deep in the red. When they arrive the Inn has just lost all of it’s reservation due to a heat wave that makes skiing and other winter activities unavailable. Bob and Phil decide to move their rehearsal to Vermont and mount a show, getting all their old infantry division to come over the Christmas holiday and save the General’s Inn. Of course the two sisters they followed, Betty and Judy played by Ann Michels and Andrea Mislan, are on again off again romantic interests for Bob and Phil. Misunderstandings occur to keep the couples apart until the end of course, but they continue to make beautiful music together throughout the show. Helping the General to run the Inn is Martha Watson played by Michelle Barber, who used to be a performer herself. Barber has a great bickering chemistry with Joenathan Thomas who plays the general, as well as with his Granddaughter played in rotation by Jenalia Valerio and Malee Cenizal.

The main leads all mentioned above are exceptional at recreating the light and wholesome feel of the 1954 film on which the stage musical is based. They get great support, particularly in the dancing department from the ensemble. There are also a couple of character roles that add immensely to the humor of the show. Jon Andrew Hegge plays a few different roles but it’s as the Inn’s handyman Ezekiel, who apparently came with the place when the General bought it, that he gets some of the biggest laughs of the show, all by seemingly to do very little, but very slowly. In his first scene I swear he was cracking up Michelle Barber with the pace at which he was executing his performance. Another standout is Mark King as the harried stage manager Mike Nulty, he adds a bit of comic flair with his exasperated performance throughout the five days of trying to get the show up and running. But, it’s his interactions with Hegge’s Ezekiel that bring out the best in both performers who feed of each other with a perfect comic timing.

Irving Berlin’s White Christmas runs through January 25th at Chanhassen Dinner Theatres. I’d be remiss if I didn’t mention the wonderful food that comes included with your tickets. They also have delicious beverages and desserts you can enjoy, I highly recommend indulging in the Tiramisu. For more information about the show, the menu, and to purchase tickets go to https://chanhassendt.com/whitechristmas/

How the Grinch Stole XXXMas at Minnsky Theatre in NE Minneapolis.

Tifd Ynamite and Mimi Clochette photo by Upper Boundary Photography

OK, I feel like I’ve finally seen a typical Minnsky theatre production now. What I’ve learned is there is nothing typical about a Minnsky theatre production. I’m three shows into my Minnsky experience I can tell you this much: it could contain amazing singing or lip synching, a beautiful dance routine or striptease, it might have funny smart dialogue or the performers might seem lost on stage, there maybe acts of acrobatic wonder performed on poles, hoops, and giant swings or someone might fall off of a black box. More than likely it will contain some combination of all of these. In short a production at the Minnsky is something of a wild card. I guess you could say a show at the Minnsky is like a box of chocolates, you never know what you’re going to get. How the Grinch Stole XXXMas is no different. To be blunt, it’s a bit of a hot mess. The only thing wrong with describing it as such, is that you might think that’s a bad thing, you silly goose (that’s an inside joke for Betty Lou Whooterson).

I’m coming to relish these shows, there is always so much that works, that it offsets what doesn’t. In a more serious theatre the ratio might be maddening, but at Minnsky you tend to just enjoy what works and shrug off what doesn’t. One moment you are tickled at the sheer number of Dr. Seuss references they can squeeze into the first 5 minutes of the play, the next you’re trying to figure out if the chaos on stage is planned or if they didn’t remember what happens next. But before you can figure it out, someone is taking their clothes off, and it isn’t going to be who you think. Yes, I’m talking about you fishing husbands. This show was less than the sum of its parts. If you judge How the Grinch Stole XXXMas as a whole, it doesn’t add up to the fun you have as you watch it. That is the key to enjoying these shows, focus on the moment, the moments are where these shows come alive.

There is a story here that could be turned into a fun cohesive play. I could tell you the plot, explain where I think it could be tightened what could be added in order to develop a stronger theme. But again, that really isn’t the point. Suffice to say it’s the plot of the classic Grinch story filtered through a romantic comedy, with a healthy dose of Minnesota and risque humor, and topped off with iconic 90’s music. I can tell you who belongs on the stage, and I will point out the standouts, and who maybe wasn’t ready for the big show yet, which I will not do. Because this is another key to enjoying a Minnsky show, inclusion. You get the feeling watching a Minnsky show that if you have a desire to perform, they are going to give you a shot. Most productions that would be a negative, but somehow the Minnsky has turned this into one of it’s most winning characteristics. Not only are you being entertained by the cast but you are also being inspired by them. There are performers on stage doing things that require confidence and courage. A meaner audience might mock some of them, but that would be a comment on that audience not these performers. You feel watching them that they are embracing who they are and what they want to be doing. I am envious of those who achieve that level of unselfconsciousness. It is beautiful to see someone achieving this level of self love and embracing their beauty and talents. This is a cast to be celebrated, not criticised.

So let me briefly celebrated a few of the standouts, let me first acknowledge I know these are not their actual names, but I’m going off of the cards in the lobby. Jac Fatale as Betty Lou Whooterson the Mom of the Whooterville family the show is focused on. She is channeling the Fargo characterization to great effect. There was also a duet towards the beginning that starts out as a lip synch and then turns into the performers actually singing I’ll Always Love you … really good! it was a scene that was silly, funny and then amazing. Tifd Ynamite as The Grinch has an ease on stage and delivery that carries the show, whether it be interacting with Cindy Lou, The Narrator, or his Dog Max. Mimi Clochette as Cindy Lou Whooter also shines and comes across as an experienced performer who can bring the naughty and the nice. There are two near silent roles that were probably the most accomplished of the show Bookie Blues as Max and Miss Pussy Willow as Mittens the Cat. Both of these performers perfectly stayed in character, they were always doing some piece of business that fit, even when the audience wasn’t supposed to be looking at them. Mittens would be crawling across the table licking the food staying in true cat form. Max is allowed to be more than just a dog, he is more like Silent Bob to the Grinch’s Jay. That is a parallel that could probably be mined for a joke or two. The two animals also share my favorite acrobatic sequence when they take turns and then share the giant air hoop, again staying in character while doing so.

How the Grinch Stole XXXMas plays through December 13th for more information and to purchase tickets visit their website at https://www.minnsky.com/ If you are looking for something fun to do with your adult friends this holiday season check it out, it’s a wacky, Silly and naughtily fun. It is an 18+ show, it’s probably not something to take Grandma or your look obsessed judgemental friends too. But anyone else 18 or older, particularly if you were pop culturally aware in the 90’s will enjoy it.