The Hobbit at Theatre in the Round, the Story You Love Told Like You’ve Never Seen it Told Before.

Issabelle Hopewell as Bilbo Baggins Photo by Richard Hudson

The Hobbit at Theatre in the Round is not what you expect it to be. Those familiar with Theatre in the Round will go in knowing there isn’t going to be a huge animatronic dragon at the end. There isn’t going to be a cast of dozens, in fact, the cast isn’t even a dozen. It’s made up of ten performers, nine of whom are listed as ensemble because they each play multiple roles. Only the main protagonist, the hobbit of the title, Bilbo Baggins of the Shire is given a single, dedicated performer: Isabelle Hopewell.

That’s right, Isabelle. You wanna make something of it?

Fans of IP properties like Tolkien’s Middle-earth can get a little precious about their expectations, so let’s get this straight right out of the gate: this production tells the story of The Hobbit faithfully, but it does so in its own way. If you relax and open yourself up to it, you’ll have a blast. If you’re going to get hung up on the fact that a female actor is playing Bilbo and another is playing Gandalf, then stay home. There aren’t enough tickets to go around as it is, so don’t rob someone else of the chance to enjoy this wildly creative take on the fantasy classic.

This version of The Hobbit begins not long, long ago, but thirty years in our future, and not in a land far, far away, but in the Seven Corners area of Minneapolis. I can already hear the “WTFs?” But trust me, faithful readers: this is a true and faithful telling of the story. It’s just a bit meta.

What we’re watching is The Hobbit performed as a makeshift play by a group filling in for a professional troupe whose caravan broke down and couldn’t make it. But don’t worry, they’ve seen the show many times. They know the story, and they even have some of the props. And while they may be short a few performers, they find inventive ways around that, some of which involve gently wrangling the audience into the action. Don’t worry, Cherry and Spoon, it’s low key group participation.

Coming off what is probably the most impressive display of stage magic I’ve ever seen in Harry Potter and the Cursed Child (and yes, remember to make your donations to Transforming Families https://www.tffmn.org/ to counteract the bad works of J.K. Rowling), this was a nice reminder that theatrical magic doesn’t have to be high-tech to be effective. This show is filled with low-tech, creative solutions to the story’s fantasy elements. None of it will leave you wondering “How did they do that?” but much of it will have you cheering at how clever and funny it is. It doesn’t wow, it delights, which is just another form of theatrical joy.

Oh, and that dragon? I may have misled you. There is a dragon, and it’s more than you expect and exactly what you need it to be.

And that cast, Isabelle Hopewell absolutely Baggins the hell out of the role of Bilbo. Wini Froelich is a fine Gandalf (among several other roles). The entire cast is fully committed, you can tell they’re having a blast, and so is the audience. Several cast members also double as the band.

The band, you say?

Yep. It’s not billed as a musical, but there are several short songs included in the price of admission. Bravo to director Scott Gilbert and his technical staff and designers, they’ve created something that feels truly unique and engaging.

After the last three shows at TRP, all of which were excellent but played to half-full houses, it was a pleasure to sit in a sold out theater. The longest running community theater in the Twin Cities is doing great work, and it’s nice to see them filling seats again.

The Hobbit runs through May 31 at Theatre in the Round in Minneapolis. For more information and tickets, visit theatreintheround.org but hurry, performances are selling out.

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Harry Potter and the Cursed Child Dazzles, Astonishes, and Wows! You Will Believe a Boy Can Wizard!

Adam Grant Morrison, David Fine, and Maren Searle Photo by Evan Zimmerman

First off, let’s deal with the Dementor in the room: the Dark Lord, J.K. Rowling. I struggled with whether or not to review Harry Potter and the Cursed Child. Faithful readers know that transgender issues are very important to me and my family. It’s one of the oldest conundrums in the world of art, can you still love and enjoy the art when the artist is revealed to be someone you cannot, in good conscience, support?

I own all the movies on Blu-ray, so as long as I don’t upgrade to 4K UHD, can I still watch and enjoy them, since I’m not adding any money to Rowling’s Gringotts vault? I love the Harry Potter books and films, and I really wanted to see the touring production of this Broadway show, but I was torn. I receive press tickets, so in that regard I’m not putting money in she-who-must-not-be-named’s pocket. But what about those who might read my review and decide to see it? I can’t just take the press tickets and then not review the show.

And what about the hundreds of people a tour like this employs, the actors, many of whom, if they’re just starting out or aren’t big names, don’t have the luxury of turning down a steady job? Doesn’t their work deserve to be acknowledged and praised or critiqued on its own merits? Then the rationalizations start to kick in, driven by that primal urge to see a favorite story continue, to find out what happens to characters I fell in love with a quarter of a century ago. Can the $5 or $10 that might go to Rowling from each ticket really matter at this point? Doesn’t she already have more money than she could ever need to spread her particular brand of ignorance? Probably. And yet, I was torn.

My fellow Twin Cities theater blogger over at Cherry and Spoon suggested that, even though our tickets were free, we could offset our attendance by donating the cost of those tickets to an organization that supports and protects the transgender community. So I’ve made a donation to Transforming Families equivalent to the full cost of the tickets.

Transforming Families is a Minnesota-based 501(c)(3) nonprofit that provides:

Monthly support groups for youth and caregivers
Educational and social events that build confidence and connection
Advocacy and outreach to create safer schools and communities
Family mentorship to help relocating families build supportive networks

When my son George first transitioned, we found answers and community through Transforming Families of Minnesota. At the time, the group consisted of maybe a dozen families gathering for peer-led support. Over the past decade, it has grown to more than 1,000 members. I offer this as a way to ease the guilt of any other Potterheads who can’t help but go to the show but feel conflicted.

Now, the review.

Harry Potter and the Cursed Child, pared down from its original two-part version (still running in London), is written by Jack Thorne, based on a story conceived by Rowling, Thorne, and John Tiffany. I had never read the script, though I believe someone in my family owns it. So I can’t say what’s missing from the extended version, which runs over five hours. What I can say is that, at just under three hours, this version absolutely flies by.

There’s a campaign called #KeepTheSecrets that urges audiences not to spoil the plot or its twists. There’s even a spoiler notice in the cast list asking audiences not to read it until after the show. So I’ll keep it simple: the story takes place 19 years after the events of Harry Potter and the Deathly Hallows. The children of Harry and Ginny, Ron and Hermione, and Draco Malfoy take center stage, but don’t worry, their parents are very much present and play significant roles.

But let’s be honest, what you really want to know is: how’s the magic?

It’s everything you want it to be and more.

There are effects I have no idea how they accomplished, and others where I can guess the technique, but they’re executed so flawlessly that they’re still astonishing. One effect, used whenever reality is distorted, makes the entire stage seem to ripple, as if the world itself is being rewritten before your eyes. I assume it’s some lighting or projection, but it looks uncannily real.

And it’s not all massive, mind-blowing spectacle. One of the most jaw-dropping moments happens right at the beginning: as the kids run toward Platform 9¾, the actors, dressed in ordinary street clothes, spin once and instantly appear in full Hogwarts robes. It happens in a fraction of a second. It’s completely unexpected and utterly magical.

Technically, every aspect of the production is flawless, with one minor exception. During a climactic wand battle, there appeared to be a glitch, the flames that should have appeared didn’t. It was a bit of a bummer (and forced me to rethink the photo I planned to use for this review), but honestly, the show is so dazzling that the moment barely registers. I suspect it will be fixed quickly.

Performance wise, the cast faces a daunting challenge. The films have left such an indelible impression of these characters that it’s hard not to compare. Still, I found myself adjusting fairly quickly. Ryan Hallahan felt a bit too jockish as Draco Malfoy, and Adam Grant Morrison was perhaps slightly too whiny as Albus Potter. On the other hand, David Fine is terrific as Scorpius, bringing warmth and humor to the role.

If you’re a Harry Potter fan, you’ll want to see this. It truly is magical. Ticket prices are a bit steeper than most shows, but you can see where the money goes, it’s all onstage, and it’s worth it for true believers.

But if you do go, please consider making a donation to Transforming Families. I know tickets are expensive, so even contributing the $5 or $10 that might otherwise go to Rowling per ticket would be a meaningful gesture.

Harry Potter and the Cursed Child runs through May 17 at the Orpheum Theatre in downtown Minneapolis. For more information and tickets, visit hennepinarts.org.

Treasure Island at Children’s Theatre Company Sets Sail for High Adventure

Truman Bednar, Reed Sigmund, Theo Janke-Furman, and Jon Schumacher Photographed by Glen Stubbe

Treasure Island by Robert Louis Stevenson was the first “classic” novel I read on my own which I found thrilling. I was also a fan of the Walt Disney film starring Robert Newton as Long John Silver. So I was excited to revisit this tale of pirates and buried treasures. Children’s Theatre Company’s (CTC) production of Stuart Paterson’s adaptation remains true to the source material. Just as with reading of young Jim Hawkins’ adventures as a young boy, I once again found myself setting course for danger and adventure upon the high seas. Marking the CTC directorial debut of new Artistic Director Rick Dildine, he proves that CTC has the ship heading in the right direction. The show which is recommended for ages 8 and up may be a little violent and dark for some of those 8 year olds. There are sword fights, gunfights, talk of hangings, and several on stage murders occur. There are also moments such as during a storm at sea where the theater is darker and the storm noises may be too much for some more sensitive children. The key is to know your children, and whether this is one that will thrill them or frighten them.

The role of Jim Hawkins in shared in alternating performances by Truman Bednar and Mason Yang, I saw Bednar perform the role and thought he did a great job. Reed Sigmund, braves his fear of water and loses a leg to play Long John Silver. Sigmund and the entire cast play their roles completely straight, there is no pandering to younger audiences. They’re there to tell the story of Treasure Island with all it’s thrills and dangers intact. Sigmund is electric as the ships cook who befriends young Hawkin’s only to be revealed later as the mastermind behind the pirates who want to take over the ship they serve on to steal the gold for themselves. The show also features some Stages of MN favorites in roles. Max Wojtanowicz plays Doctor Livesey and Em Adam Rosenberg plays Squire Trelawney, the two men who have arranged the trip to find the buried treasure and represent the heroes of the tale. Rosenberg lends their beautiful voice along with other performers including Matt Riehle to a surprising amount of musical performances that act as interludes between scenes. They are very well done and I really enjoyed their inclusion, and it felt as if those moments gave the children an opportunity to reset between moments of conflict.

Technically the production is wonderful as well. The set design by Christopher and Justin Swader is elaborate able to open as a Seaside Inn, transform into a mighty ship, and then become the Island destination of the title. The decorative motif of books throughout the set is a nice reminder that the story comes from a classic of children’s literature. Alexa Behm’s costumes are top notch whether adorning the sophisticated Squire Trelawney and Doctor Livesey, or a boatload of pirates. Lighting Designer Jeff Behm’s contributions are significant in creating the look and feel of the open sea and the storm which also uses projections by Blake Manns to complete the illusion. Sound designer Melanie Chen Cole completes the illusion and also has a lot of effective cues throughout like well timed splashes when something or someone is tossed overboard..

The production was darker in tone than I was expecting from the CTC, which was a pleasant surprise. If you love the story as I do, but don’t have any kids to take, don’t worry. This is one of those CTC shows that is as entertaining for the parents as it is for the kids, perhaps even more so. Treasure Island runs through October 19th at Children’s Theatre Company in Minneapolis. For more information and to purchase tickets go to https://childrenstheatre.org/whats-on/treasure-island/

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Spellbound Launches World Premiere From Threshold Theater at the Phoenix Theater

Zakary Thomas Morton and Leor Benjamin Photo by Nick Mrozek

Threshold Theater, a company dedicated to telling stories by and about the LGBTQ+ community launched the world premiere of Matthew A. Everett’s new play Spellbound at the Phoenix Theater in Uptown tonight. It’s an incisive work that begins with a high concept comedic idea and then uses it to explore the issue of consent in a whole new way. Grounded by strong performances and skillfully directed by Denzel Belin, this is a new work that has a lot to say and does it in a fresh and exciting way. It addresses outmoded perspectives by coming at them via a non traditional route. Allowing us to process something we know in a new way, reinforcing our collective values and allowing us to clear our minds of any lingering traces about consent and gender. We don’t need reminding of what is right and what is wrong, but we need to fully understand that those distinctions apply in every circumstance. This play imagines something that we assume can’t really happen, but treats it seriously and explores the ramifications that this fantasy would have on real people and relationships. It also acknowledges the darkness and selfishness that exists in everyone without excusing it.

The plot sets up what could have been a funny Three’s Company episode, if there was magic in that show. Micah and Auggie are best friends. Micah is gay, Auggie is straight, married to Sarah, who is pregnant with their first child. Jeffrey is Micah’s second best friend, he is gay and grieving the loss of his Grandmother, who was a witch. Jeffrey has made a potion from his Grandmothers grimoire (spell book) which he gives to Micah to give to Auggie, that he says will make is tongue turn colors. Micah thinks it will be funny to tease Auggie about his strange colored tongue and is assured it will only last for 24 hours. It’s really a love potion that has made Auggie fall in love with Micah, laughs do occur, but I assure you hilarity does not ensue. It becomes a race against time for Jeffrey and Sarah with the help of a metaphysical supply store owner to create an antidote before anyone does something they will forever regret.

Zakary Morton plays Micah and I don’t think I’m exaggerating when I say his performance affected every molecule in my body. Morton has you liking Micah from the first scene, he plays the opening with the beats of a sitcom, but if you really watch and listen to what he is saying, he genuinely is concerned over what has happened, and feels guilty for his part in it. He thought he was playing a harmless prank on his best friend, now if he stops holding Auggie’s hand for a moment, Auggie will start to cry. As the play progresses Morton, above everyone else in the cast, breathes a sense of reality into every line of dialogues. We feel his guilt, we feel his affection, we feel his fear and his pain and we believe every moment. At the end, he’s left devastated but we are given hope that everyone will heal and who knows what will happen, but the romantic in me wants to believe that Micah and Duncan, played very sweetly and with perceptive understanding by Xae Copeland, will get together. Auggie is played by Leor Benjamin who finds just the right moments to make eyes at Micah, or put a head on his shoulder for comic emphasis, but his truest moments are when he’s teaching Micah how to play a song his written for him on his guitar. And when Morton sings that song for Duncan, your heart heals a little bit. Keira Kowal Jett is good as Sarah, but she does play her a little too collected and controlled, she’s good at being the voice of reason, but I’d like her to have gone a little bigger when confronting Jeffrey, I’d like to see her lose it occasionally, then pull herself back together to accomplish what needs to be done. David Schlosser as Jeffrey is a piece of work, he perfectly captures that guy who doesn’t have many friends because he’s basically missing that part of a human being that gets it.

There are nice touches sprinkled throughout the production, in the opening scenes we have Auggie unable to not hold hands with Micah, we transition to flashback scenes of Auggie and Sarah with the transition occurring by Micah handing Auggie’s hand off to Sarah and then back again when we come back to the present. It’s a very cinematic transition and a nice detail. The set and prop designs by Jenna Mady are effective, giving us the bed that Micah and Auggie will have to share while they wait for the Supply shop to open in the morning. and the Supply shop portion of the stage is nicely detailed. The lighting design by Jack Hinz solidly assists with scene changes by shifting the focus to different areas of the stage, at times blacking out the rest while at others allowing us to see how the characters who are not the focus, here as well Morton shines in his performance.

Spellbound runs through May 3rd at the Phoenix Theater in Uptown. For more information and to purchase tickets go to https://www.thresholdtheatermpls.com/#/

Now more than ever in the wake of the most recent election and the hailstorm of stupidity and hate it has unleashed, theater companies need you and we need them. Buy tickets to shows, go out and support work that reflects diversity and inclusiveness. Donate to your favorite theater companies, don’t wait until they are on the brink of shutting down. We all need to stand up and fight for our theaters whose funding is under attack for promoting inclusion, equality and diversity. In short, theaters are being threatened for sharing stories that reflect our countries cultural and racial diversity.

Don’t depend on a Facebook or Instagram algorithm to insure you hear about a great show. You can subscribe and have every post from The Stages of MN sent directly to your email box. It’s the best way to ensure you don’t miss out on any of the theater action. 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.

Think I may have steered you wrong on a show? Well, I’m also a member of the Twin Cities Theater Bloggers (TCTB), where you can read review roundups of shows by m’colleagues and I when you follow us on facebook @TwinCitiesTheaterBloggers. New things are in the work! Click here to go to The Stages of MN YouTube Channel. https://www.youtube.com/@TheStagesofMN. Right now there is just a short introductory video, but there will be much more coming this summer. For now, check out the intro video and subscribe to the channel so that when we fully launch you’ll be the first to know!

The Lightning Thief: The Percy Jackson Musical Should Please Fans at Stages Theatre Company

The Lightning Thief: The Percy Jackson Musical is an adaptation of the first book in the Percy Jackson book series by Rick Riordan. Riordan’s series inspired a generation of kids, my youngest George included, to take an interest in Greek Mythology. From what I remember of the film version, I’m afraid I never read the books myself, it felt as if the book by Joe Tracz for this musical version adheres fairly closely to the plot of the book. Young fans of the series should get a kick out of seeing their favorite characters brought to life and singing on stage. There’s a fair amount of stage magic used to create some moments of wonder but audiences shouldn’t go in expecting Harry Potter and the Cursed Child level effects. Still for the scale of a Stages show I was impressed with what they did and the scenic design by Joe Stanley, props by Marc Berg, sound design by Gretchen Katt, and costumes and make up by Samantha Fromm Haddow are all well done. The lighting design by Tony Stoeri however, seemed to leave the characters in the dark on several occasions though there were also some very effective lighting queues. The songs by Rob Rokicki unfortunately are for the most part forgettable and a lot of them do seem to be pushing many of the performers ranges, so that aspect of the production isn’t ideal.

The story follows a group of half bloods, meaning they are half human and half God, known as Demigods. The main character Percy doesn’t know that he is a half blood he just thinks his father abandoned him and his mother before he was born. When he is attacked by a Fury during a field trip his mother takes him on to a camp for half bloods and he learns who he really is. Unfortunately, they are attacked on the way by a Minotaur and Percy’s mother is presumed dead. Percy’s only friend Grover from his former school turns out to be Satyr, he has the legs of a goat, and accompanies Percy to the camp. There he meets other Demigods including Annabeth who is the child of Athena, and Luke who is the son of Hermes. When Percy is accused of stealing the lightning bolt of Zeus ha must go on a quest to the underworld with Grover and Annabeth to try and retrieve the lightning bolt and avert a war between the Gods. Percy takes on the task in hopes of also reclaiming his mother from Hades in the underworld.

The performers are all confident and handle the the fight choreography by Anna Crace well. George Wellens as Percy really belts out the songs reminding me a bit of performances I’ve seen of Roger in Rent. The role doesn’t always hit his vocal sweet spot and can sound at times slightly discordant, but when it does hit his range perfectly he’s very strong. Other favorites are Willa Breen as Annabeth, who brings the character to life as a formidable and resourceful young woman, exuding quiet strength and imbued with resilience and intelligence. Her vocals are among the best. Another favorite is Henry Halverson who plays Luke, he’s solid in the first half of the play but then disappears as we follow Percy and his friends on their odyssey. But when he comes back at the end of the play, he gets a really nice scene with a song that is just right for his voice. It was probably the best performance in the play his anger in the moment feels authentic and I wish we’d gotten more of him in the show, definitely one to watch for in future productions.

The Lightning Thief: The Percy Jackson Musical runs through May 11th at Stages Theatre Company in Downtown Hopkins. For more information and to purchase tickets go to https://www.stagestheatre.org/the-lightning-thief-the-percy-jackson-musical/

Transatlantic Love Affair’s Red and the Mother Wild Worthy of Illusion Theater’s 50th Anniversary

front: Amber Bjork, Adelin Phelps rear: Allison Vincent, Derek Lee Miller, Mark Benzel, Peyton McCandless, Jack Bechard photo by Lauren B Photography

Red and the Mother Wild is the latest from the physical Theater company Transatlantic Love Affair. Their shows are created in collaboration, they are developed and performed without the use of set and props. The wonderful thing about them, is that those elements are not missed. Like listening to and old time radio show your mind fills in that which your eyes cannot see. There is no sound design, but the production is filled with sounds. Those of the birds, of the wind, the sounds of the woods, and the animals that inhabit it. All of the sounds are created by the actors live on stage using their voices and bodies. The cast perform the roles of human characters as well as anything else that might aid in creating a picture in the minds eye of the audience. This includes everything from animals, to the walls of Mother Wilds home, and the trees of the forest. The story is grown from the seed of the Little Red Riding Hood fairytale. It tells of a village of people, one of whom is a little girl named Red who has no parents and so the villagers all take turns raising her. Red is inexplicably drawn to the woods, the one place she is told she must never go. When she is older she will venture in and discover the darker side of the world.

Directed with creativity and exacting detail by Isabel Nelson the first and former Artistic Director of Transatlantic Love Affair. There is one element of production design that they do rely upon and that is lighting which was designed by Dante Benjegerdes and really is well done and integral to the story. The entire ensemble is fantastic and the magic of the piece being the way they have managed to create an entire world using only their voices and bodies. They find the perfect way to suggest a fish in a stream, or a way to embody a tree that is being chopped down, in a way that we know exactly what is happening and also earns a laugh. The cast is a seven Actor ensemble comprised of Jack Bechard, Mark Benzel, Amber Bjork, Peyton McCandless, Derek Lee Miller, Adelin Phelps, and Allison Vincent. While a few have bigger roles, it really is an ensemble in the way they all contribute to creating the world of the play. It’s fascinating the details they add like a dripping faucet in a village home or the layering of sounds to capture the aural experience of the forest at night.

I do want to highlight a few performance moments that really connected for me. Phelps as Red is the perfect performer to take us on this journey, she captures Red’s curiosity about the woods beautifully and is equally effective when shutting down after a traumatic event. Allison Vincent in the role of one of the village mothers has again displayed her gift for line readings that are flat out the best possible way to say anything. She and Phelps together create a very special bond, their connection is felt and is one of the strongest in the production. Vincent also knows how to play a tree falling down in such a way that it elicits a big laugh from the audience. Derek Lee Miller is plays Daniel Vincent’s characters husband, a woodsman, he allows Red to come into the woods. When things take a turn, Miller does a nice job of portraying the two sides of this character. Finally, Amber Bjork plays the Mother Wild, a woman who lives in the woods and takes Red in, this character made me think of Dorothy Molter, the Root Beer Lady, if you saw History Theatre’s show this winter you’ll know what I mean. Bjork plays her very no nonsense and practical, with little jabs of humor now and then.

Red and the Mother Wild runs through April 12th at the Center for Performing Arts in South Minneapolis. For more information and to purchase tickets go to https://www.illusiontheater.org/red-and-the-mother-wild

Now more than ever in the wake of the most recent election and the hailstorm of stupidity and hate it has unleashed, Theater companies need you and we need them. Buy tickets to shows go out and support work that reflects diversity and inclusiveness. Donate to your favorite theater companies, don’t wait until they are on the brink of shutting down. We all need to stand up and fight for our Theaters whose funding is under attack for promoting inclusion, equality and diversity.

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Witch From Walking Shadow Theatre Company at Open Eye Theatre Selling Out, With Good Reason!

Wini Froelich and Nick Ericksen Photo by Amy Rummenie

Witch by Jen Silverman is another play, like Arthur Miller’s The Crucible, that seems to be commenting on our current society through the lens of the past, and with false accusations of Witchcraft. but that is where the comparisons end, both are great, but they go about it in almost polar opposite ways. Whereas Miller’s play is tense and riveting and close to three hours long. Witch is about 80 minutes and very funny and entertaining. I highly recommend both, but if you only have room in your schedule for one, let that be a guide to which one you take in. I love Open Eye Theatre, it must have the smallest stage in the city but it always looks amazing and this production is no different. A fabulous cast and top notch production design combine with a script full of humor and cleverness make Witch a deal with the Devil worth making.

While titled Witch it’s really about the Devil or at least one of his soulsmen, Scratch. Scratch is working his way around the village of Edmonton making deals for people’s souls. At the castle he makes deals with both Cuddy Banks, the son of Sir Arthur Banks, the lord of the castle, and Frank Thorney, who is treated by Sir Arthur as if he was his son and held in higher regard than Cuddy. Their deals seem to be in opposition to each others, but there is always a catch when you dance with the Devil in the pale moonlight. Cuddy tries to pretend there is an attraction between himself and the maid Winnifred, but she is secretly married to Frank, and it’s made fairly obvious that Cuddy is in the closet. Everything is smooth sailing for Scratch until he comes across Elizabeth Sawyer who is believed to be a witch by the village, but of course is not. She refuses his initial offer, something no one else has ever done. This intrigues him and he begins to spend all of his time with Elizabeth and things play out in an unexpected way. In the end, Scratch becomes the voice of the audience, in a way that is true and sort of shameful.

Witch features a great cast filled with some familiar faces and some new ones to keep our eyes on. Wini Froelich is fantastic as Elizabeth showing a vulnerable and subtle touch that caught me completely off guard. Frankly, I’m used to her cracking wise while serving me dessert at The Mystery Cafe shows. Here she is the voice of women and men, but mostly women and the world in which she and we live. Her scenes with Nick Ericksen’s Scratch are witty and thoughtful and finally quite unexpectedly moving. There’s an understanding in her eyes that shows a greater understanding of humanity than even Scratch, whose job it is to play upon his deep understanding of human nature. Ericksen is delightfully charming as Scratch dressed in leather pants and jacket, he masterfully plays the puppeteer playing on everyone’s desires and fears, knowing all the right buttons to push. But when he meets Elizabeth and starts to have long conversations with her, he begins to lose a little of the swagger and low and behold, the devil appears to have a sensitive side. The transformation is gradual and effective, and Ericksen, who is new to me, is definitely one to watch, I predict a star is on the rise. The Stages of MN favorite Jake Sung-Guk Sullivan plays Frank Thorney, think Gaston from Beauty and the Beast, you can see why Cuddy is jealous of him, but even he gets a moment to show some real emotion, when he makes what I would consider his real deal with the Devil even though Scratch is nowhere in sight. The cast is rounded out by Peter Colburn as Sir Arthur, Caiti Fallon as Winnifred, and Samuel Osborne-Huerta as Cuddy, all are exceptional in their roles.

I would be remiss not to mention the production design which is detailed and perfect in every way. Open Eye Theatre shows always look like Guthrie show budgets on a tiny little stage, but usually the scenic designer is Open Eye’s Joel Sass, but here we have scenic design by Alice Endo whose work is on par with that of Mr. Sass and that is high praise I assure you. From Elizabeth’s detailed cottage interior, to the trees surrounding it and the castle interior wall, it’s impossible to select a favorite element. Emily Heaney’s costumes complete these characters perfectly, though anachronistic, her choices for Scratch are dead on and help us to understand him before he even utters a line. The lighting design by Tony Stoeri is dynamic and integral to the entire production. There is a moment when Scratch is describing the color blue that appears at a certain point during sunrise, he describes it as the color of bruise and the lighting change that accompanies it achieves that very shade. I also enjoyed the work of Fight Choreographer Annie Enneking which was far more physical than you would expect, particularly given the small stage. Also the Intimacy Coordinator Alli St. John who creates a scene of such tenderness between Elizabeth and Scratch that one almost feels as though they have been witness to a moment that should have been private. Of course all of this was achieved under the steady sure handed direction of Co-Directors Cody R. Braudt and Amy Rummenie.

Due to popular demand Witch‘s run has been extended through April 13th at Open Eye Theatre in south Minneapolis, but I expect there will still be a lot of sold out performances so don’t wait too long to get your tickets. For more information and to purchase tickets go to https://www.walkingshadow.org/witch/