Gary Briggle and David Beukema Photo by Tony Nelson
The Resistible Rise of Arturo Ui is a 2½-hour play written in 1941 by Bertolt Brecht about the rise of Nazism, told through the lens of Chicago gangsters. Brecht. The rise of Nazism. Two and a half hours. Sounds like heavy stuff, right? Perfect material for a Sunday afternoon nap at the theater. But while the show deals with dark, all-too-topical themes, it’s entertaining as hell.
I’ll admit it, I’ve caught myself almost nodding off at more shows than I’d care to confess lately. Luckily, I’m the type who jolts himself awake the second his head tips forward, so I rarely miss anything. It’s never a reflection of the show, I’m just exhausted most of the time. Despite that tendency, I still refuse to give up my favorite seat: the front row. And I’m proud to say there wasn’t a single moment of head nodding during this performance. Partly because the room was a crisp (and probably only to me, comfortable) 65 degrees, but mostly because the show is completely engaging.
The play is an allegory for the rise of Adolf Hitler, reimagined through the story of Arturo Ui, a Chicago gangster who takes control of the cauliflower market and runs protection rackets on local grocers. The tone is distinct, a product of Brecht’s epic theatre philosophy. Brecht wanted audiences to remember they were watching a play, not reality, so actors occasionally break the fourth wall and address the audience directly. The makeup is stylized, almost a subtler Kabuki style, and the performances are broad without being cartoonish. Everything about it, from the make up to the costuming, evokes the visual world of the old Dick Tracy comicstrips. It’s not laugh-out-loud funny, but it’s not strictly dramatic either, “entertaining” really is the best word for it.
The cast is terrific. David Beukema shines in multiple roles, starting as the announcer who humorously introduces the major players and later in a great scene as a washed up Shakespearian actor brought in to give Arturo tips on how to come off more polished to the everyman. Jim Ramlet is sympathetic as a politician seduced into corruption in a moment of weakness. E.J. Subkoviak stands out as Ernesto Roma, Ui’s right-hand man, exuding both dry humor and menace. But the undeniable star of the show is Gary Briggle as Arturo Ui. His performance feels like a cross between two Al Pacino roles from 1990, The Godfather Part III’s Michael Corleone and Dick Tracy’s Big Boy Caprice. Yet it’s entirely his own creation, filled with menace, manipulation, weariness, and a darkly comic edge. Briggle commands the stage with equal parts charm and danger.
Frank Theatre’s The Resistible Rise of Arturo Ui runs through November 23 at the Ivy Building for the Arts in South Minneapolis. For more information and tickets, visit franktheatre.org.
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MN Opera’s production of The Barber of Seville Photo credit: Cory Weaver
The Barber of Seville closes out the Minnesota Opera’s 2024-25 season and it turns out to be my favorite of their productions. As the lights dimmed in the theater and the audience cheered as the conductor took his place and began the Overture my mind conjured up visions of a talking grey rabbit and a hunter with a speech impediment. The music by Gioachino Rossini is one of probably two or three operas that someone who has never seen an opera will immediately recognize. There was a moment during the Overture when I swear I heard Bugs Bunny singing “Can’t you see that I’m much sweeter, I’m your little senoriter. For a moment, I worried that the night might be plagued by intrusive thoughts of wascally wabbits. But to my delight the action on stage pushed all such images from my mind and I was extremely engaged with the production. My opera experience has been growing since I began The Stages of MN, from having seen one in my pre-blog days to I would guesstimate about twenty now. It’s never going to be my favorite performance art, but my appreciation is steadily growing. This production in particular I found to be very accessible and charmingly funny.
The plot feels like something out of a Gilbert and Sullivan opera. Count Almaviva is in love with Rosina, who loves him as well though she knows him by the disguise he has assumed as that of a poor student named Lindoro. At two points in the story, as Lindoro, he will assume a third disguise, first as a drunken soldier and later as a substitute teacher named Don Alonso. He must do this to try and get into the house of Dr Bartolo who is Rosina’s guardian and intends to marry him herself. The Count is assisted in his schemes to gain access to Rosina by his friend Figaro, the Barber of the title. Dr Bartolo is aware of the Count’s intentions and is making his own schemes to thwart him with Rosina’s music teacher Don Basilio. It sounds rather confusing but it isn’t partly due to one of the downsides of Opera’s, which is the belief on the part of the writers of operas, if something is worth singing, it’s worth singing five times, in a row. I’m used to that at this point and accept it, but what this production did surprise me with is how funny, fresh, and modern it felt. I wouldn’t be surprised to learn that Stage Director Chuck Hudson was acknowledging the cultural impact of The Rabbit of Seville with a wink to the audience in a couple of places where the humor was delightfully cartoonish.
The cast was very good all around standouts included Takaoki Onishi as Figaro, Kathgerine Beck as Rosina, Lunga Eric Hallam as Count Almaviva and Stefan Egerstrom as the surprisingly deep voiced Don Basilio. Matthew Anchel gave a very good performance as Dr. Bartolo, but there were several instances when he was singing that I couldn’t hear a single sound from him. The really delightful thing about all the performances was not the vocals (which of course were tremendous) but the acting. The reality is that first and foremost at the Opera, the voice reins supreme, a great singer can stand on stage and sing and carry off the role brilliantly without even doing much in the way of acting. But in this case, all of the performances where as strong as the vocals, it’s a comic opera so there isn’t necessarily a lot of rich character building expected. But as any actor with tell you comedy is hard, and they all pull of the comedic performances superbly.
As is always the case with the Minnesota Opera Orchestra they sounded elegant under Principal Conductor Christopher Franklin. Usually the Overture is something I wish they would cut, but tonight I was thoroughly enjoying it. One of the things that keeps me coming back to at least a couple productions of the Minnesota Opera a year are the design elements and this was no different. The Scenic Design by Allen Moyer relied heavily on painted backdrops but they were accented so well by set pieces that I rather enjoyed the overall aesthetic. There were no corners cut in the costume department, the designs by Mathew J. Lefebvre were richly textured and striking to behold. I do also want to credit Lighting Designer Eric Watkins along with Moyer for a scene that acts as a little ballet during Act II of people with umbrellas navigating their way through a thunderstorm, it’s very effectively done and while disposable to the plot, I’m sure glad it was there.
The MN Opera’s production of The Barber of Seville runs through May 18th at the Ordway Center for Performing Arts in downtown St. Paul. For more information and to purchase tickets go to https://mnopera.org/season/2024-2025/the-barber-of-seville/
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.
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The Root Beer Lady returns to the History Theatre in St. Paul after it proved to be a hit with audiences in its initial 2023 run. That production which I also reviewed ended with a standing ovation, that continued for nearly a minute after it’s star and writer Kim Schultz left the stage. I’m not sure they needed to bring it back this soon but one thing’s for certain, Minnesotans love their Root Beer Lady and Kim Schultz once again brought her vividly to life for us on stage. Dorothy Molter, was a fascinating woman who made her own way in a mans world. She was a true trailblazer and the kind of person that becomes something of a folk hero around whom a mythology springs up. If you don’t know much or anything about Ms. Molter, do yourself a favor and don’t google her. Instead, get yourself some tickets and learn about her from Kim Schultz and her wonderful play. This was my second time and I think I may have enjoyed it even more this time. Schultz embodies Dorothy so completely that one comes away feeling you’ve just spent 90 minutes with the real Root Beer lady of the north.
Schultz heard about Molter during a stay in Tofte, MN. Fascinated by what she’d heard, she found a book written about her in the Tofte library. After reading that and doing some more research she began writing this one person show. I really don’t want to say much about her story as I knew little going in, and not knowing all the details was a wonderful gift. Molter moved permanently to Knife Lake in the Boundary Waters area of Northern MN after spending three summers working at the Isle of Pines Resort for her friend Bill. She never left, becoming the last resident of what became the Boundary Waters Canoe Area Wilderness. Her story is about the love she had for the area and her determination to live her life the way she wanted to, where she wanted to, in a time when that wasn’t really done. The story is full of humor and emotion, astonishing facts, and moments that will leave you in awe of what Molter was capable of. It’s an inspirational true life tale of real Minnesota original, and I found my eyes got a little watery by the end. She is an example of the ways in which people touch each others lives. When the going gets rough, the woman the Saturday Evening Post dubbed, the “Loneliest woman in America” always found that she had many, many, many friends.
It’s clear that Kim Schultz connected with Molter as her portrayal is so affectionate. She embraces the wonder of a young Molter experiencing the majesty of the wilderness, and gradually over the course of 80 minutes imperceptibly changes into the mature woman who spent 56 years living in the place she fell in love with. From a wonderstruck young woman to a full blown wilderness character, effortlessly and believably. While it’s definitely Schultz’s show, she gets some wonderful assistance with the production. Chelsea M. Warren’s set is a wonderful combination of Molter’s cabin and the outdoors with large tree trunks towering into the rafters and a canoe beached on the shoreline. Leslie Ritenour’s video design creates a background that changes the season, shows us the beautiful blue skies of a sunny day and the millions of stars in the night sky. Finally, Katharine Horowitz sound design creates an aurel soundscape that engulfs the audience. The constant sound of the lake, the animals sounds and the wind that accompanies a blizzard are just a few of the touches that stand out and help create the illusion of being up north with Dorothy.
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.
(l-r) Ruthie Baker, Jennifer Grimm, Liv Kemp, Stephanie Cousins, Anna Hashizume, Kiko Laureano, Lynnea Doublette, Erin Capello (Photo by Rick Spaulding)
I Am Betty the hit musical from History Theatre’s 2023 season returns for a second helping this holiday season. Steeped in Minnesota details it celebrates the countless women behind the myth of Betty Crocker. The story tracks the roles of women throughout the 20th century and we see what Betty Crocker, the marketing icon, has represented to different women at different times over the past 100 years. With book and lyrics by Cristina Luzarraga and music and lyrics by Denise Prosek, directed by Maija Garcia with Musical Direction by Sonja Thompson, and featuring a cast of nine of the Twin Cities most gifted female performers, it’s a show that practices what it preaches. The female voice, onstage and backstage, is vital to telling this story. It reminds us how far we as a society have come. I Am Betty celebrates the far too often undervalued accomplishments and contributions of woman throughout the past century. A testament to the career woman as well as the homemaker, showing us the power of diversity and choice.
Luzarraga and Proseks story focuses on two woman who made a deep impact on the world of Betty Crocker. Act I follows the creation and building of the Betty Crocker brand by Marjorie Child Husted beginning in 1921. We see how Betty Crocker went from answering letters to starring on a radio and TV programs. How innovations were created by the women who worked in the General Mills test kitchens. How they created low cost recipes during the depression and creating Bisquick to help save time in the kitchen. Husted was a driven and intelligent woman who sacrificed a personal life for many years because she saw value in the work she and the women she worked with were doing. Act II follows Barbara Jo Davis whom we are introduced to as a young black woman who dreams of growing up to be Betty Crocker and does to the extent that any one woman is Betty Crocker. As we get into the 1960’s and the women’s liberation movement builds, we get a scene where Betty Friedan and Barbara Jo debate the choice to be a homemaker, both having valid points it illustrates the importance of choice, that what seems like a sentence to unpaid labor to some, is something for which others find great pride in.
The cast is a recipe for musical gold and the songs by Prosek and Luzarraga give them all the right ingredients to whip up a musical soufflet. The songs mirror the times in which they are performed, so we get everything from the jazz age to 80’s power ballads. My favorite song was “Lo Bueno Con Lo Malo” which is performed in Spanish by the understudy Lisa Vogel as a Cuban mother singing to her college aged daughter played by Erin Capello. I loved the song, I loved that it was performed in Spanish and I loved the message of those two characters who are revisited throughout Act II. I also loved seeing Vogel nail the song, it was my favorite song last year as well where I saw it performed by Kiko Laureano. Capello also plays Marjorie Child Husted throughout Act I, it’s a great performance that lends a human face and noble aspirations to what one could argue is a marketing tool. Capello lets us see the dedication and desire to help that motivated Husted and lends legitimacy to the symbol that is, Betty Crocker. Lynnea Doublette plays Barbara Jo and really grabbed my attention with her 60’s style girl group song “I Want to Be Her” which is my kind of music. She really takes center stage in Act II and also excels at providing a solid portrait of a role model of an intelligent successful career woman who finds her life’s work in home economics helping to develop Hamburger Helper. The entire cast is great but I have to say my favorite was crowd pleaser Jennifer Grimm, who’s vocal talents are always stunning but who really surprised me with some very comical parts frequently as men. From a Bing Crosby impersonation to a Marketing Exec modeled on Chris Farley I suspect, she meets every challenge drawing both laughs and wowing us with her voice.
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.
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.
* Disclaimer: On March 28th I suffered a rupture in my right bicep muscle, which has left me without the use of my right arm. I will endeavor to continue seeing and reviewing shows however the reality is that the reviews will need to be significantly shorter. For now I will attempt to provide you, faithful readers, with a few sentences that will make clear whether a show is worth your time and money. My apologies to all of the artists in front of the curtain as well as behind whose work I may not be able to comment on. Hopefully this will be a short-term accommodation, I will do everything in my power to get back to writing full reviews as soon as is humanly possible.
The above disclaimer, which has began each review since my injury, has never felt more like a curse than a blessing then it does for this review. Of all the shows I have covered since beginning The Stages of MN in 2019 this historic three play event deserves an epic review. But, as Shakespeare himself wrote “brevity is the soul of wit”, pray that it be so. And so with rough and all unable-pen our blogger shall pursue a review.
I count myself very fortunate to have been among the few, the happy few attending the opening day marathon of the Guthrie Theater’s History plays comprised of Richard II, Henry IV, and Henry V. I know that most people are frightened off at the thought of 13 hours at a theater seeing three Shakespeare plays. But, the experience greatly outweighs and gives proof the falsehood of imagined discomfort. For “there is nothing either good or bad but thinking makes it so” and so, think not on it, as a non-runner thinks of a marathon, as something to be endured. But rather embrace it as the once in a lifetime privilege and rest assured that like the long distance runner the adrenaline and the excitement and the sense of accomplishment will carry the day. Never have 13 hours passed so quickly or the air in the theater filled with such electricity and excitement. There is one additional marathon day scheduled for Saturday May 18th I urge anyone with an interest in Shakespeare to take advantage of this rare opportunity. As daunting as it may seem, it is, in reality, a supremely satisfying and exhilarating experience. If the date does not work for you I urge you to see all three plays in order whether that be one a week or over the course of a weekend. But one of the unique thrills of seeing these three plays in rep, is watching the actors complete character arcs over multiple plays and seeing the full scope of this story, these histories, play out upon the stage.
The plots of the plays are filled with political intrigue, Civil Wars, loyalties and betrayals, they tell of villains, Kings, knaves and heroes. The Guthrie’s marketing very succinctly distills the plays to their essence Richard II a king becomes a man, Henry IV a man becomes a King, Henry V a king becomes a hero. While that touches on but one key theme of each play it also alludes to the arc that carries through all three, for together they tell of the consecutive reign of three English Monarchs. Each play runs over two and a half hours including the intermission they are histories so we expect drama and intrigue they tell of wars and battles and there is combat and even a few brief moments of romance. For those unfamiliar with the plays, what might surprise is the amount of humor that can be found in each play. Which goes a long way towards converting the plays fascinating historical dramas into well-rounded entertainments. Let us speak no more of plots but, before moving on to the individual plays, a few thoughts on the entire undertaking. One of the aspects of seeing all three plays in one day is the way in which you become aware of the complexity involved in the undertaking of such a feat. We see why we call this a once in a generation event. The intricacies of the details from lighting, costuming, wigs, props, makeup, sound cues, and set designs is mind boggling. The actors learning three plays worth of dialogue, blocking, stage combat, some playing as many as 8 characters across the trilogy. We marvel on the day of the stamina of the cast and crew to run all three in a single day. But, that is just the tip of the iceberg and almost downplays the dedication, talent, and hard work that was needed over years to plan, over months to stage, and over weeks to perform often twice in the day. Picture here a well-deserved standing ovation for Stage Managers Tree O’Halloran and Karl Alphonso, Assistant Stage Managers Jason Clusman and Olivia Louise Tree Plath, Lighting Designer Heather Gilbert, Sound Designer Mikaal Sulaiman, and Composer Jack Herrick.
Photo by Dan Norman
Truth be told I had never seen any of these plays produced on stage, my exposure to Richard II was Limited to episode 1 of the series The Hollow Crown. The role of King Richard II is played by local favorite Tyler Michaels King who is, as always, brilliant in the role. His King is a man who has come to believe all that his sycophant hangers on tell him, and has completely bought in to the concept of his divine appointment to the throne. Vain and spoilt at the beginning his transformation from divine King to a mortal man, is where Michaels King finds nuance and humanity. David Andrew MacDonald seen recently at the Guthrie in Dial M for Murder is a standout in this play as the Duke of York. Also, Jasmine Bracey as his wife, The Duchess of York makes quite an impression in her short scene towards the end of the play. Begging the newly crowned Henry IV to pardon her son, it’s played with feeling, but also great humor. This play gives us our first look of the day at the set designed by Jan Chambers which consists of a throne room that rotates on a turntable the backside of which can stand in for various locations throughout the three plays. Around the turntable is a rotating donut that set pieces can be placed and rotated from backstage. Both of these rotating floors mechanisms, along with the trap door and elevator platform allow for quick and fluid transitions between scenes. On either side of the stage are large tower like structures on which actors can stand and perform, again allowing us to focus on one area while transitions are happening elsewhere. It’s a marvelous design that allows for the many scene, location, and environmental changes that need to occur over the course of three full length plays.
Photo by Dan Norman
Henry IV is condensed from Henry IV part 1 and 2 into one play, this is the play that resulted in the most cuts for obvious reasons. My exposure to Henry IV has been multiple viewings of Orson Welles film The Chimes at Midnight which also draws from all four of these plays as well as The Merry Wives of Windsor as well as other texts, as well as episodes 2 and 3 of the series The Hollow Crown. William Sturdivant who had played Henry Bolingbroke who was crowned King at the end of Richard II continues as that character. The strange thing about Henry IV is that it’s almost more Prince Hal played by Daniel Jose Molina and Falstaff played by Jimmy Kieffer’s play. Studivant, still gets to shine over the course of Richard II and Henry IV, perhaps getting the best opportunity to show a characters change over a longer. Of time playing the Young Henry in Richard II and an older near the end of life King Henry IV. He does a nice job of aging Henry aided by well-designed wig, makeup and costuming by Trevor Bowen. It’s hard for me to shake off Welles’ portrayal of Falstaff but Kieffer does good work with the iconic role portraying him a little more outwardly calculating, less ludicrous and less sympathetic. Making Prince Hal turning away from him feel more deserved and less cruel which I think adds to the realism. Molina for his part while the King and Henry V gets to establish his character here as Prince Hal in his wilder youthful days. With this play surprisingly more than Henry V we must note the wonderful stage combat by Fight Director and Captain U. Jonathan Toppo.
Photo by Dan Norman
Henry V is a work I’ve had the most exposure to not only The Hollow Crown episode 4 but the Kenneth Branagh film is one of my favorite films, I’ve seen all or part of it at least 20 times. Display belongs to Daniel Jose Molina his portrayal of King Harry genuinely conveys the characters maturity and understanding of the awesome responsibility of being the King. Molina still finds places to inject humor into the line readings sometimes in surprising places but they always work. All three plays are fantastic and the direction by Joseph Haj is consistently intelligent and unifying. There was one aspect of this particular play that struck me as an odd choice by Haj and costume designer Trevor Bowen. The costumes of the French Court have a distinctly modern high fashion look that does not mesh with the look of the costumes of every other character in all three plays. It does allow for a lot of added humor around the French Royal Court particularly the role of the Dauphin, played by Dustin Bronson. On its own Bronson and his fellow actors take on the characters of the French Court in army is hilarious. But within the body of the three plays it’s the one piece that feels out of place. I also expected there to be a fair amount of stage combat in Henry V, and was surprised to find very little. That says it works without the stage combat but after seeing how well it was handled in the previous play one couldn’t help but want for more.
There are 26 actors who appear on stage, four of which have non-speaking roles as attendance officers londoners and soldiers. Of the 22 with speaking roles there isn’t a bad performance and too many to single out individually but here are the names of just a few of those not already mentioned who created very memorable moments and characters across multiple plays; John Catron, Charity Jones, Melissa Maxwell, Lanise Antoine Shelley, and Eric Sharp most of whom local audiences will recognize. I do also want to give a shout out to one of my favorite up and coming performers Em Rosenberg who is making their speaking role debut at the Guthrie playing eight roles. All of them small, to be sure, but it’s so thrilling to see someone whose talent has caught your eye getting to take this step and have this experience. They get to play a lot of different characters with not a lot to do but keep your eye on Rosenberg, I think at some point in the future they are someone we will see as the lead in Guthrie Productions.
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 never has to 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. 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/ . Now you too can be in the know about all the fabulous theater happening in and around the Twin Cities.
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