One-Shot, There’s a Triple Meaning in That, Deals With a Lot of Themes in a Very Relatable Way at Six Points Theater

Carter Graham, Nico Sacco, and Warren C. Bowles Photo by Sarah Whiting

A one-shot (also called an oner or long take) is a continuous, unbroken camera shot in filmmaking that captures an entire scene or sequence in real time without visible cuts. The title of the show is a reference to the shot that the two young aspiring filmmakers and video store clerks are filming for the movie they are making in the store after hours. It also refers to the characters’ hopes of getting into NYU film school on scholarships. But even in that sense, there is a double meaning, because it means something different for each of the boys. For David, the white Jewish boy, it is the only school he applied to. For Martin, it is his one chance, as an undocumented person living in the U.S., to go to college. All of these meanings seem appropriate for a show that is about so many different things, set among characters for whom movies have become the way they communicate. Video store owner Charles describes the former manager, who has quit to work at Blockbuster, by referencing Gaslight (1944, dir. George Cukor).

One-Shot by Andrew Rosendorf is having its world premiere at Six Points Theater. In his show notes in the program, Rosendorf describes video stores and movie theaters as his sanctuary growing up as a closeted queer kid in the 1990s. We see that reflected in the characters as well. The video store is like their closet; inside it, they can be themselves. The problem with a retail store as a closet is that it has windows. The window of this video store, at the opening of the play, has been vandalized with the word “Fagot” (sic) and a swastika, and later, the word “Spic” will be added. David is Jewish, Martin is Latino, and Charles is Black. They are all gay.

The window acts as a constant reminder throughout the play of what awaits them outside of the video store. The world does not feel safe for these characters, and now their sanctuary, instead of providing comfort, is a reminder of that fact. There is a plotline regarding the scholarships. Both boys have applied and hope they will both get in so they can go to NY together, because they are a couple. But when one gets in and the other doesn’t, the play adds another layer of jealousy and privilege.

There are a lot of ideas and social issues being explored in the play, and somehow Rosendorf doesn’t make it feel overstuffed. Even the issue of immigration is explored, though the play is set in 1999. It makes the ending feel as though there is still graffiti on the windows.

The three cast members, Warren C. Bowles as Charles, Carter Graham as David, and Nico Sacco as Martin are well cast. Bowles brings a fatherly touch to the role of Charles, who tries to guide the boys. His best moments are when he is talking about his passion for movies or trying to get across to the boys the dangers he faced when he was younger. Graham’s best moment is when he has to admit to his betrayal of Martin. Sacco is excellent throughout, the standout in the show. When he confronts David, you can feel the anger and betrayal in every word and movement.

As a film lover and physical media collector, I absolutely loved the set design by Brady Whitcomb, which has an added surprise in store in the final epilogue scene. I scanned the video store shelves looking for movies that were released after 1999 and am happy to report I didn’t see any anachronistic titles. One thing I thought was strange, though, was that in a play featuring video store clerks who are shooting a movie in the video store after closing, there wasn’t one mention of Kevin Smith or even a Clerks poster among the video store decorations. Missed opportunity.

One-Shot is a real treat for any film lover and a great exploration of a lot of different ideas that are still very much on our minds 27 years after the play takes place. The show runs through November 8 at Six Points Theater in St. Paul. For more information and to purchase tickets, go to https://www.sixpointstheater.org/one-shot-tickets-available

Don’t forget to keep an eye on the new website 79 Seconds on Stage a free and full guide to local theatre in the Twin Cities.

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Jellyfish Shines in U.S. Premiere From Unlabeled Theatre Company at the Gremlin Theater

Joey Deegan, Maeve Linkert, Mason Green, Shanan Custer Photo by Jordan Buckellew

I’ve written before about Unlabeled Theatre Company, which produces theater with casts that include people with disabilities. Their shows have, until now, been musicals that pair adults 18+ with cognitive or physical disabilities with professional actors as shadow partners, performing the roles in unison. I feel I can never fully express how important what Unlabeled Theatre Company does is. Theater should be for everyone. It should reflect the infinite variables of our reality, it should allow for the telling of everyone’s story, and there should be a place for everyone to tell their own stories. Unlabeled Theatre Company takes it a step further and says everyone should be present and afforded the opportunity to tell any story. Someone who is neurodivergent or in a wheelchair should be able to play SpongeBob SquarePants or Nigel Bottom.

Jellyfish by Ben Weatherill is not only their first play, but it is also the U.S. premiere of this play. Weatherill stipulates that anyone who wants to license the play for performance must cast an actor with Down syndrome in the role of Kelly, a 27-year-old woman with Down syndrome. It is a limiting requirement, but a refreshing one. In doing so, Weatherill is undoubtedly sacrificing income in order to ensure that Kelly’s story is told by the right person. Representation is important. We say that over and over because it is true, and yet we constantly see examples where casting sidesteps it. I’ve loved the musicals that Unlabeled has done, not simply because of their mission, but because they have been well done. That is true of Jellyfish as well. This is an excellent script, and the production succeeds without needing any kind of disclaimer or qualifier. You shouldn’t come to an Unlabeled show as a good deed. You should go to see a show, and you should expect it to be everything any other show from a small theater company is.

Jellyfish is about a 27-year-old woman named Kelly who lives with her mother, Agnes. Kelly falls in love with a 32-year-old man named Neil. Kelly and Neil are happy together. They genuinely seem to get on well together, and the love is mutual. When Agnes discovers their relationship, she is furious and assumes that it is an exploitative relationship. Kelly has Down syndrome; Neil does not.

The play explores difficult-to-answer questions, and it’s telling that Agnes, who has been an advocate and caregiver for Kelly her whole life, is dead set against the romance. But why? Doesn’t every parent want their child to find love and be happy? How does that change when your child has a condition that involves even mild cognitive and developmental delays? Why does Agnes try to set up a date for Kelly with another man, Dominic, who is on the autism spectrum? Why, in her mind, is that an appropriate pairing, but Neil isn’t? Do we, on some level, understand her concerns? As the audience, we are shown the beginning of Kelly and Neil’s romance. We see that she is the instigator, that he is cautious, but that he also really likes her. We are given glimpses that allow us to be more accepting of the couple. But without that, would we also jump to the conclusions that Agnes does?

These are not easy questions, and there are no definitive answers. My first child, Alex, was diagnosed with Asperger syndrome, the same thing the character of Dominic is said to have in the play. Asperger’s is no longer a diagnosis that is used; it has since been merged into autism spectrum disorder (ASD). When your child has something, anything really, that makes them different, your gut reaction as a parent is to try and protect them, to worry about how they might be treated differently, and to worry that their options will be different from those without whatever it is that makes them different. Earlier this year, Alex got married. He is in Italy right now with his wife on their honeymoon. Now, a mild case of ASD is not the same as having Down syndrome. But my experience as a father, and having those impulses, particularly when Alex was younger, to try and protect him, does help me relate to Agnes on some level. But my experience as Alex’s dad now also helps me understand that differences and diagnoses don’t preclude people from wanting what every person has the right to want. Love, marriage, independence, even parenthood.

Maeve Linkert, who plays Kelly, is assisted by a shadow partner, Lisa Hanson. Unlike the traditional shadow partner process, Hanson does not act out the role with Linkert but is seated at the back of the stage and reads the lines along with her. Kelly is a big role, and I never had the sense that Linkert didn’t know the next line. I think Hanson was there for clarity of the line readings. The script is also projected on the wall to the side of the stage. In this case, to be honest, the shadow partner made it more difficult to hear the dialogue. I think we would have attuned our ears to Linkert’s line readings more easily if we weren’t trying to filter out Hanson as well. But it’s possible Hanson was there as reassurance for Linkert, too. As I said, Kelly is a big part, and if that was an accommodation Linkert needed, I’m glad she had it. By 15 minutes in, my ears had attuned, and if I ever missed a line of dialogue, I just glanced at the script projection.

What really impressed me about Linkert was her ability to bring out the humor of the play so effectively. There are a lot of dramatic moments, but the play is also very funny. It is in the extremes that Linkert is best. Her arguments with Agnes and a fight with Neil are powerful, and the light moments of humor are perfectly placed.

Shana Custer is a Stages of MN favorite, and it was great to see her tackle such a meaty role in Agnes. She invests Agnes with so many conflicting elements that it’s like she is a real person. Agnes is patient, Agnes is a fierce mama bear, Agnes is weary, Agnes is judgmental, Agnes is flawed, Agnes is real. Custer, always an effective comedian, is great with moments of humor. It’s the moments of confrontation and frustration that were the most enjoyable to watch, because we don’t often get to see Custer given the chance to play such a complex role as Agnes. I had no doubt she could do a role like this. We just don’t get to experience it that often, and she was so good at playing all these aspects of Agnes. Sounds like a great name for a band: Aspects of Agnes.

Joey Deegan, as Neil, has the very difficult role of playing someone not labeled with a diagnosis, though there are definitely hints of ASD (he reminded me a lot of my son Alex), who falls in love with Kelly. Deegan makes it clear to us that Neil is really in love, with no creep factor, which is exactly where Agnes jumps to. He has to convince us of their mutual attraction and of his character’s innate goodness, more so than in a traditional play, because we have to be on their side for the rest of the play to work. We have to believe these things in order not to lean toward Agnes’ alarm bells. Deegan is very good at playing off both women, creating a connection and a palpable sense of caring with Linkert while holding his own against Agnes, who is constantly attacking and threatening him. He comes off as the guy you want your daughter to meet, whether she has Down syndrome or not. Deeply good-hearted is a hard thing to project, but Deegan does it beautifully.

And finally, in a small but very fun role, Mason Green plays Dominic. His humorous line readings as he sits in Agnes’s living room waiting for his date with Kelly, who doesn’t know she’s coming, are great. They are the sort of honest, no-filter things that Alex has been known to come out with. Green feels just perfect in the role and is also very effective as a sounding board and friend for both Kelly and Agnes in later scenes.

The show is directed by Jessica Froehlich. It runs about two and a half hours long but doesn’t feel it. Jellyfish is an extremely good play, and given the requirements to perform it, this may be one of your only chances to see it. It raises a lot of thought-provoking questions and will make you reflect on and question your own responses. It’s also very entertaining and features strong performances by the whole cast. I highly recommend checking this one out, but it runs just one more weekend, so hurry.

Jellyfish runs through November 8 at the Gremlin Theatre in St. Paul. For more information and to purchase tickets, go to https://unlabeledtheatre.org/

Don’t forget to keep an eye on the new website 79 Seconds on Stage a free and full guide to local theatre in the Twin Cities.

Twelve Angry Men at Lyric Arts is Guilty of Being Terrific Beyond a Reasonable Doubt

I first encountered 12 Angry Men in the seventh grade. We watched the film version in English class. I’m not sure why, but as a kid who grew up on black-and-white movies, I took to it immediately. It’s one of those films I go back to every five or six years for another screening, one I’ve probably purchased in every format I’ve collected over the years: VHS, LaserDisc, DVD, and Blu-ray. This is the second stage adaptation I’ve seen, following the musical version from Theatre Latté Da a few years back. Watching Twelve Angry Men today reinforced my feelings that this is a story that doesn’t lend itself well to the musical form. As with the film, this is a fast-paced, no-frills, emotionally raw, and tense drama. Coming in at a lean 85 minutes with no intermission, the play speeds by, with the drama steadily ticking upward like the mercury in the thermometer measuring the increasing heat of the unairconditioned jury room. Lyric Arts’ production hits the mark with an exceptional cast who quickly and believably deliver twelve distinct personalities.

Twelve Angry Men is set in a Chicago city courthouse on a particularly hot day, in the 1950s, I assume, based on the set design and costuming. The play opens with a voice-over of a judge giving the jury their instructions, reminding them that if there is reasonable doubt in their minds that the defendant committed the crime he is being tried for, they must vote not guilty. With no air conditioning, nerves are already raw as the twelve jurors file into the room to deliberate on a murder trial in which a nineteen-year-old Black man is accused of murdering his father. Based on the conversations as they take their places around a long rectangular table, it seems like they are all of the opinion that it is an open-and-shut case and that the boy is guilty. They take a vote immediately and discover that there is one vote for not guilty. The next 80 minutes or so have the characters debating the case, with Juror 8, the holdout, slowly convincing others that there is reasonable doubt.

The case is intriguing, and the debate about the details of the crime and the questioning of the evidence are great, entertaining stuff. And to be sure, the play works as a tense, thriller-esque drama, but it is really about something larger: it is a microcosm of our society. Sometimes we think we have evolved and become more enlightened than previous generations, or at least we used to. The last decade has revealed that we are closer to the world these twelve jurors inhabit than we once thought. For those interested in looking beyond the entertaining story, there are themes of institutional racism, racism, ageism, and the ways in which our own personal pasts inform how we project onto others.

The cast is solid, with several standouts. As the two ends of the guilty/not guilty spectrum, David Denninger as Juror 3, who is convinced the boy is guilty because of his anger at his own son, and Davin Grindstaff as Juror 8, who feels that before you pass judgment on a man’s life, you should at least discuss it for a little bit, are great sparring partners. Dominic Delong-Rodgers is exceptional as the logical Juror 4, never losing his buttoned-up, emotionless cool while broadcasting intelligence and a sense of fair play. He holds out until close to the very end, but not out of prejudice or personal baggage. Instead, he is weighing all the facts, and one can almost see the scales of justice in his mind and know that if the evidence shifts enough and the scales tip toward reasonable doubt, he will vote accordingly. Abdoul Kondo, as Juror 11, an immigrant, is our reminder of the ideals on which our country is supposed to be founded. This role could easily become a caricature, but Kondo refuses to be just a mouthpiece for ideas. He internalizes the dialogue and makes it organic and character-driven.

Cory Skold’s set design is spot-on, giving us a sense of the ordinary so that we feel like we are in this place at this time without ever distracting us from the people inhabiting the space. Director Julie K. Phillips does an excellent job of ratcheting up the tension as the play goes on. There is a creative choice to black out the set at moments when emotions boil over. At first, I thought it was a lighting cue error, but after it happened a couple more times, I realized what was going on. Despite my initial reaction to the choice, I actually think it’s a brilliant decision. It gives us a moment to breathe and emphasizes those moments so that the points being made, whether it’s a declaration of “I’ll kill you!” or something else, are not lost in the momentum of the play.

My verdict on Lyric Arts’ Twelve Angry Men? GUILTY ON ALL COUNTS! Guilty of delivering a riveting production of a classic that holds a mirror up to our strengths and weaknesses as humans and as a society. Guilty of ratcheting up the tension until the final moments. And guilty of being first-rate entertainment. No reasonable doubt about it!

Twelve Angry Men runs through November first at Lyric Arts in Anoka. For more information and to purchase tickets go to https://www.lyricarts.org/twelve-angry-men

I want to alert you faithful readers to a new Website that has just started up in the Twin Cities. It’s called 79 Seconds on Stage and it is a free and full guide to local theatre in the Twin Cities.

Twin Cities Horror Festival XV Reviews II: Lumbrada, and The Slender Vale Archives.

Hello faithful readers, I’m back with reviews of two more shows running at this years Twin Cities Horror Festival. The festival runs through Oct 31st and it’s the perfect way to celebrate Monster Month. Here is a link to the festival website so you can get all the details: https://www.tchorrorfestival.com/

Every show can’t be a winner. I see everything so that I can hopefully guide those who can only make it to a few shows to the best ones, or the ones that are going to hit your sweet spot. Lumbrada is kind of a miss. It’s confusing. One character is someone whose voice we only hear, and we’re unsure why that is. It doesn’t become clear at any point. The performances vary in terms of the actors’ comfort on stage, with dialogue getting lost in some less-than-confident performances.

There are about four or five moments, lines, or an effect that work great! But the rest seems underwritten and/or doesn’t make sense. The story is about four friends camping out and telling stories. One example of a head-scratching line comes when one character is telling their scary story, and another comments on a detail that seems very much in tune with the story they’re relating: “Why would you share that with us?” I wanted to shout out, “Because she’s telling you a story!”

I love that the TCHF gives newer artists opportunities. Sometimes you get something truly great. This time, it just doesn’t really work, aside from those four or five moments. But if you’re looking to catch only a few shows, this is probably one to skip.

The Slender Vale Archives is another improv show, sharing some of the creatives involved in Tales of Terror…From the Tomb!!! This one is narrated by the always reliable Sean Dillon, who sets up the show with his opening narration. Dillon explains that the town of Slender Vale is full of unexplained stories and uses a deck to select three words from which the improvisers must spin one long-form story.

As is the case with these improv shows, it’s really about the improvisers themselves and whether the show succeeds or fails. The TCHF jury has its pulse on the Twin Cities improv scene, so you know you’ll be in safe hands with any of those shows. This group features several performers who will be familiar to Twin Cities improv fans, like Destiny Davison, Ross Flores, and Chris Rodriguez.

I’ll be back at the Horror fest next weekend to see the remaining Eight shows, so check back then, but if your schedule only allows you to go this week, let me fill you in on a little secret. Being surprised is part of the fun. It’s like getting home to check out your trick-or-treat haul. My Mummy always said Horror Fest is like a pillowcase of candy, you never know what you’re goin ta get.

The Rocky Horror Show is an Absolute Joy of Overloaded Spectacle From Mixfit Theatre at Lush Lounge & Theater

Mixfit Theatre’s production of The Rocky Horror Show is unlike any other production I’ve seen, which is in keeping with the oddity that is the legacy of The Rocky Horror Show. A love letter to genre sci-fi and horror films, it is best known to the general public through the film adaptation, which, after a poor initial theatrical release, found new life during midnight screenings. Due to the popularity of those midnight screenings, in which the audience interacts with the film, shouting lines and throwing rice, it has become the longest-running theatrical release in film history. Now, this production doesn’t want you throwing rice, but the cast may ask you to participate, which is a nice nod to the film’s traditions. But fear not, introverts! You will be asked at the entry if you wish to be interacted with. If you select no, you will be given a red glow necklace to wear.

This is the second show I’ve seen at Lush this season, and they have both been a blast. The theater at Lush is primarily used for their drag shows and isn’t really designed for full-on staged musicals. So there is literally nothing in terms of set, but there are costumes, video projections, props, and an assortment of aerialist equipment. The show is billed as a burlesque circus cabaret, but that seems to imply it doesn’t tell the story of the show, which it absolutely does. But there is a lot going on at any one time. As characters are singing the songs, there is usually someone either on stage or out in the center of the audience performing aerial acts that are jaw-dropping. Throughout the show, you will literally not know where to be looking from moment to moment. It is complete sensory overload, but in the best possible way. To say I was wowed by some of the circus performers’ aerial choreography would be an understatement.

The show starts with the song “Science Fiction/Double Feature,” the lyrics of which string together titles and facts from various sci-fi and horror films. Director Siddeeqah Shabazz has utilized projections that exactly mirror the content of the lyrics of the song. We get a really well-edited montage of shots from many films, including The Day the Earth Stood Still, Night of the Demon, and the old Flash Gordon serial starring Buster Crabbe, all with a very queer-feeling color overlay. I knew from the first moment that montage appeared that I was going to love the show.

For those familiar with the show, you may already be aware that the first act is the strongest. All the best songs are in the first act, and the story is relatively easy to follow, even in this unique staging. The second half can be a little muddled in terms of plot, but again, there is so much going on in the space that, while you might be a little fuzzy on what is happening, you will be completely entertained. Even when the songs are not that strong, the band, led by Musical Director Bradley Beahen, wins you over with their clean, tight sound.

The cast has a lot of performers who are new to me, including El-Sara Duopu as Dr. Frank-N-Furter, whose vocals and stage presence are equally powerful. Lee Garr, as the Narrator, is full of strut and coolness as he dips in and out of the story to give us a guiding voice. The cast also has some Stages of MN favorites, including Monty Hays in the dual role of Eddie and Dr. Scott, who really makes the song “Whatever Happened to Saturday Night?” his own. Nora Sonneborn, as Riff Raff, is a powerhouse. Her vocals are always top-notch, but this role is a million miles from what I’m used to seeing her in, and I thought she was fantastic here. And another really strong performance comes from Caitlin Sparks, who brings a new edge to the character of Janet. That was really fun. She plays it big, which works perfectly for this production, where mousey would have been lost in the cacophony of the show.

This is one to attend with friends, have some drinks, and just relax and enjoy the spectacle. But hurry, the show is selling out its short run quickly. The Rocky Horror Show runs through October 24 at Lush Lounge and Theater in Minneapolis. For more information and to purchase tickets, go to https://www.mixfittheatre.org/tickets.

Abuelita From Prime Productions Needs More Time To Tell its Characters Stories.

The cast of Abuelita Photo by Dan Norman

Prime Productions closes out its 8th season with the world premiere of ABUELITA, a new play by Nathan Yungerberg. There is a lot of good stuff here, but there also seem to be many threads that don’t really lead anywhere. What this material feels ideally suited for is a TV series. There are seven great characters, and four of them get about one scene in which to shine, when they are clearly interesting enough to hold our interest for dozens. In its present form, it feels like there are three characters too many, or perhaps three who are given stage time that should have gone to others, so that more of them could fully realize their roles in the story.

The play opens with Davia, a 72-year-old white grandmother from Iowa who has moved to Spanish Harlem in the summer of 1993 with her fifteen-year-old mixed-race grandson, Jesús, to expose him to his father’s Puerto Rican culture. They meet the other residents of their apartment building on the stoop when they arrive. Davia and Yvette quickly bond over being grandmothers raising grandchildren who have lost their mothers, getting drunk on some sort of alcohol Yvette smuggled back from her last trip to Puerto Rico. Yvette’s granddaughter, Sonya, and Jesús become friends, and she introduces him to her group, some of whom are gay, as we learn Jesús is as well. Davia, in turn, begins to find companionship with Yvette, her sister Indigo, and Wilfredo, a bongo-playing singer who lives next door.

It’s hard to escape the feeling that many of these interactions play like the first of what should be many scenes, or like the third scene, with the previous two missing. Davia is a great character, but almost every moment with her feels like it needed more room to breathe and develop. I also don’t think the character was helped by Mary Gant’s performance; there were simply too many missed or flubbed lines. There is real potential here, but Gant doesn’t quite convey the nuance the role requires. Or perhaps the issue lies more in the script, which rushes toward “aha!” moments that would land more effectively if the relationships had time to grow and unfold.

There are, however, several very enjoyable performances. Skyler Seiler as Sonya is sassy and fun. King Jackson as Jesús starts out somewhat awkwardly, but that seems to be a deliberate choice that tracks with the character; as he becomes more comfortable in his new environment and freer to be himself, the performance comes alive. Pedro R. Bayon is very good as Wilfredo, though he’s another character who gets one strong scene and little else to do, despite feeling like someone you’d want to follow further. Gabi Del Moral as Yvette is also very good, though her relaxed, fluid performance only highlights Gant’s relative stiffness, and their instant friendship doesn’t quite feel earned. Adlyn Carreras as Indigo has a few line flubs as well, but her swagger and attitude carry her through them more successfully. Like others, Indigo feels like a character with much more story to tell. And since I’ve mentioned everyone else, I should note Elsa Vega Pérez as Niego, who is apparently related to Yvette and Indigo, though it’s not entirely clear how. She has only a few lines in Spanish before disappearing for a stretch and then briefly reappearing. She’s good, but likely the first character to cut if tightening the piece.

Ultimately, I’d happily watch these characters for 10 or 12 hours a year. If this play were the first season of a TV series, the ending we see here would probably land around episode six. It’s not that the play is bad, it’s one of those cases where you can clearly see its potential to be something more, and it’s hard not to focus on that. Most plays are easy to take as they are: good, bad, or somewhere in between. But every once in a while, you encounter something that so clearly should be, not different, just more. These characters don’t need better writing; they simply deserve more of it.

ABUELITA runs through March 29th at the Capri Theater in Minneapolis. For More information and to purchase tickets go to https://www.primeprods.org/abuelita

The Stages of MN YouTube channel is home to the weekly Stages of MN Show. You can watch it by clicking here. Be sure to check out the latest episodes and subscribe so you’ll always know when a new one drops. Not sure you agree with one of my takes? I’m also part of the Twin Cities Theater Bloggers (TCTB), where you can find review roundups from my colleagues and me. Follow us on Facebook at @TwinCitiesTheaterBloggers.

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

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

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

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

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

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

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

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

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

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

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

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