A Wrinkle in Time Full of Stage Magic at Theatre in the Round

A Wrinkle in Time is an American Newbery Award winning young adult novel published in 1962 by Madeleine L’Engle. Cherished by many, not me, but many. I’m not saying it’s not a good book, I’m saying I haven’t read it, and honestly now I wish I had. A little research has informed me that there are actually 5 books in the series that make up the Time Quintet. A Wrinkle in Time tells the story of Meg Murray, her younger brother Charles Wallace and their new friend Calvin O’Keefe who are sent on an adventure through time and space to rescue the Murray children’s father. The story takes us to several different planets where the trio will encounter strange beings and a powerful darkness known as It. Their guides on the journey are the three Mrs. W’s: Mrs. Whatsit, Mrs. Who, and Mrs. Which, who it is suggested by a line of dialogue could perhaps be the three Witches from Macbeth.

The Director Penelope Parsons-Lord has chosen to produce the show using only practical effects so there are no projections or recordings used. For the most part this approach works and in fact is one of the charms of the production. There are a few aspects of the story for those of us not familiar with it that are a little hard to follow. When they reach the planet Camazotz where Mr. Murray is imprisoned, much of what occurs there is hard to follow in the literal sense, though you get a general understanding of what happens overall. I mention this because the play is appropriate for younger audiences say Ten and up, but those unfamiliar with the story might get lost during this section. In terms of the production design I enjoyed the fairly barebones approach; I always like what I call stage magic. It really is a combined effort to create the illusions used to illustrate the fantastical elements of the story. Lighting Designer Mark Kieffer makes excellent use of Black Light technology for the interplanetary traveling sequences. The team behind the characters’ looks: Co-Costume Designers Krista Weiss and Penelope Parsons-Lord, Makeup/Hair Designer Robin Gilmer, and Puppet Designer Elliot Van Winkle create some very distinct images and creatures very simplistically.

The three leads are all relatively new to me; Ryan Pierce as Charles Wallace, Harriet Spencer as Meg, and Tic Treitler as Calvin. Pierce has it the toughest, being the biggest of the three but playing the youngest (six years old in the book), it’s an uphill battle, but I’m not sure most child actors would be able handle some elements as when the character is possessed by the spirit of It. Spencer and Treitler have an easier time suspending our disbelief, as they are playing 13 and 14 year olds. They also somehow create a romantic connection between the two characters that you can sense but I’m not sure is explicit in the script; in my research I find it foreshadows their relationship in the later books. My favorite performances were those of the Mrs. W’s played by Shelley Nelson, Robin Gilmer, and Ariel Pinkerton. Nelson’s portrayal of the quirky Mrs. Whatsit who is the quirkiest of the three is especially fun.

Highly recommended for fans of the book or those who have seen one of the two screen adaptations. I think foreknowledge of the plot is a great help in following certain elements of the plot. The story is full of ideas, themes, and concepts that I think an audience not struggling to follow the plot will focus in on more completely. A Wrinkle in Time runs through July 14th at Theatre in the Round Players for more information and to purchase tickets go to https://www.theatreintheround.org/home/season-placeholder/72nd-season/wrinkle/

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Radiant Vermin a Darkly Comic Play at Lyric Arts

Callie Baack and Noah Hynick Photo by Molly Weibel

Radiant Vermin by Philip Ridley is a dark and twisted tale about the evils of consumerism taken to the extreme. A struggling couple who are expecting their first child are given the chance to to move into a home of their own at no charge to themselves. It’s their house lock stock and barrel, the only thing they will have to do themselves are the renovations. It’s a fixer upper you see, but Ollie played by Noah Hynick is handy and his wife Jill, played by Callie Baack, has taste which makes them in the eyes of Miss Dee, played by Danielle Krivinchuk, the perfect couple for the house. Miss Dee is said to represent a new government program whose aim appears to be the gentrification of undesirable neighborhoods. The plan is that Ollie and Jill will fix up their house and that will attract others to the area, and it’s a plan that comes along like a house on fire. The story is told directly to the audience by Ollie and Jill after a disastrous garden party for their sons first birthday. They want to explain to us how they came to live in their dream house. All of which is a faithful set up for the play but at the same time doesn’t prepare you for what you are about to witness. This is the blackest of comedies and it takes the idea of the lack of morality in consumer culture to a whole new level. The script is extremely well written and tackles issues of class, religion, and privilege while being enormously entertaining.

Hynick and Baack give fantastic performances and hats off to the dialect coach Gillian Constable, because they sound authentically British with Hynick having a distinctly early Hugh Grant quality minus the poshness. Their performances really shine in the reenactment of the garden party in which they each play along with Ollie and Jill at least four other characters, it’s a scene that reminded me of the terrific Stones in His Pockets which closed last week at Theater Latte Da. If you caught that show you’ll know what I’m talking about and if you loved it this is another show you should check. I’m not sure if Lyric Arts has Hynick under exclusive contract or what, I don’t think I’ve ever seen him on stage anywhere else, but everything he’s been in at Lyric he has impressed the hell out of me. Krivinchuk along with playing the devilishly well informed Miss Dee also has a scene as Kay, a homeless girl whom Ollie brings home to help renovate the house. The roll is a complete 180 from Miss Dee who is all knowing winks and wicked manipulation, while her performance as Kay is surprisingly moving and subtle in comparison.

The set design by Cory Skold is impressive, it looks like a multistoried construction site, with painters plastic hanging all over and walls exposed down to their studs. The whole thing is pulled together by the lighting and sound design by Shannon Elliott, there are some cues that really help to sell the story as it unfolds. The production is directed by Callie Aho who also services as the Intimacy Director. Aho’s handling of that garden party scene shows a talent for making the fast paced and chaotic still surprisingly clear in terms of who’s who when there are literally 11 characters speaking at once being played by two actors. Radiant Vermin runs through March 24th at Lyric Arts in Anoka, don’t let the drive stop you it’s really not that far and this show is so very worth your time. For more information and to purchase tickets go to https://www.lyricarts.org/radiant-vermin

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I am also a member of the Twin Cities Theater Bloggers (TCTB), where you can read roundups of shows by my colleagues and I when you follow us on facebook @TwinCitiesTheaterBloggers. We also produce the podcast Twin Cities Theater Chat!! which you can access through this link or wherever you enjoy podcasts https://twincitiestheaterchat.buzzsprout.com/ . We post biweekly longer form episodes that will focus on interviews and discussions around theater topics. There is also shorter episodes in which we Bloggers tell you what we think you should get out and see as well as what we have on our schedules that we are most looking forward too.

Silent Sky Soars to Dizzying Heights At Theatre in the Round In Minneapolis

Silent Sky by Lauren Gunderson concluded its opening night performance at Theatre in the Round Players (TRP) to a thunderous standing ovation that you could tell caught the actors by surprise. I imagine, when you are working on a play day after day, you are a little too close to it to know if it’s working as well as you hope. Well I can’t imagine a better production of Silent Sky then I saw tonight, at least in the ways that matter. It’s a small intimate story about one woman’s passion that also encompasses the infinite in terms of the universe and the human spirit. Like her Christmas at Pemberley trilogy, Gunderson exhibits here a gift for the emotional resonance, knowing humor and female empowerment that characterizes the work of Jane Austen. She is undoubtedly the modern playwright successor to that genius of English literature. The only thing that could lessen her work would be a cast who doesn’t rise to its quality, blessedly TRP has assembled a cast that bring humor and heartache in equal measures from reciting the phonebook if called upon. Lucky for us they are instead given Gunderson’s wonderful words and with those they soar to the heavens and beyond.

The story, set in the late 1800’s and early 20th Century tells the true story of Henrietta Leavitt, a pioneer of Astronomy whose contributions have had an immeasurable effect on science and our understanding of the universe. Leavitt left home after graduating college to work at the Harvard College Observatory where she learns that as a woman she is not allowed to operate the telescope. She is put to work instead with the other “computers” Williamina and Annie measuring and cataloging the brightness of stars from photographic glass plates. She is passionate about her work and lives for it forgoing visits home and staying late, sometimes overnight, working on ideas of her own. Henrietta is played Eva Gemlo who recently played Elizabeth Darcy in The Wickhams: Christmas at Pemberley, and there is much of that character and that of Jo March in Henrietta. Gemlo is marvelous at playing the smartest woman in the room, she is fire and passion, wit and intelligence with a gift for putting her boss Peter Shaw in his place. When an attraction begins to develop between the two, it happens so naturally that one is caught off guard at first but suddenly become excited by the budding romance. Peter is played by Ben Qualley who is a master at be being put in his place, thrown off balance and generally run circles around by his female employees. Annie and Williamina are played by Rachel Postle and Wini Froelich who seem so incredibly in sync and casual with each other I wouldn’t be surprised to learn that they are old friends in real life. These rules are crucial to widening the scope of the play beyond Henrietta’s ambition and the posible love story. They show that Henrietta isn’t the sole woman capable of being more than was allowed of a woman at that time. Through them we see other shades of how woman greatly contributed to the world without getting credit. They also provide a lot of the gentle humor that flows through the piece, Postle and Froelich give wonderful performances creating fully realized characters that it is a joy to spend two hours with. The cast also includes Clare Rolinger as Henrietta’s sister Margaret, through her we also get to see a woman who has chosen to stay at home, marry and raise a family, because that’s not just what most women did back then, but it’s also an acceptable choice for women to make today if they wish. But, we also learn at the end that she composed a symphony, so don’t judge a book by its cover.

The production is directed by Gretchen Weinrich, who obviously generates great performances from the cast finding just the right tone for every scene. There is a some extraneous set piece movements that felt unnecessarily busy, but they didn’t really detract from the production as a whole. Sadie Ward’s Set Design is simple but kind of magical with the cosmos painted on the floor and walls. The lighting design by Peter W. Mitchell continues the motif with star fields appearing all around at various points. I also really enjoyed the costumes by Colleen O’Dell, which isn’t something I ordinarily notice, but the period dress was really excellently realized, particularly the slacks worn by Annie in the last scene.

Silent Sky Runs through March 17th at Theatre in the Round Players in Minneapolis, for more information and to purchase tickets go to https://www.theatreintheround.org/home/season-placeholder/72nd-season/silent/