Twin Cities Horror Festival Day 10 Reviews: The Final Two Shows, Cursed Objects and Terms

Show numbers 13 and 14 of the 14th Annual Twin Cities Horror Festival gave me a full TCHF Bingo! I’ve seen them all, and lived to tell the tale. Day 10 was a night of highs and lows, but as my mama always said, TCHF is like a street of houses on Halloween: you never know what you’re going to get. Sometimes it’s a Snickers bar; other times, it’s those orange-and-black wax paper wrapped chewy mystery candies. But that’s part of the fun, the unexpected.

The festival runs through October 30, and there’s still time to catch most of the shows. Visit tchorrorfestival.com to explore the schedule and purchase tickets. A few shows are worth planning ahead for, especially Terms, which is hands down the best production in this year’s festival.

Cursed Objects, from Dolly Who? Productions, was a bit of a disappointment. Destiny Davison, the creative force behind Dolly Who?, stars as the Webb sisters, Millicent and Melody, two consciousnesses sharing one body. The pair runs The Cabinet of Cursed Objects, a curiosity shop celebrating its 13th anniversary with a gathering of loyal “Cabineteers.”

When a mysterious door arrives in a shipment, strange things begin to happen, though what exactly is never quite clear. That’s the problem. The setup has potential, and the concept of the Webb sisters is clever. The set design is well done, thanks to the show having the Studio space, which allows the show to remain set up throughout it’s run, but the script lacks focus.

The performances feel under rehearsed, and much of the exposition is delivered inaudibly. Once again, it feels like strong production design is being used to mask a script that wasn’t ready. Davison’s performance as the Webb sisters starts promisingly, but the idea never quite reaches its potential. The shop itself and its clientele are intriguing ideas, but too vague and underdeveloped. And while it isn’t fair to judge a show by what it isn’t, I couldn’t help wishing Davison had woven in some of her delightful cartoon creations.

With Terms, my Twin Cities Horror Festival journey comes to an end, and what a high note to finish on. It’s easily the best show of the festival.

Four Humors, the company that started TCHF 14 years ago, proves you can go home again. The cast featuring company members Ryan Lear, Brant Miller, Matt Spring, and Allison Vincent, and joined by newcomer Corie Casper, is fantastic, as anyone familiar with Four Humors would expect.

The story combines the otherworldly horror of H. P. Lovecraft with the even more terrifying evil of insurance companies. As the show began, I was reminded of a line from The Rainmaker: “Deny all claims.” The plot centers on the firm of BGW, which seems to confirm what we’ve always suspected, That they exist to serve their evil overlords in this case the board of directors.

Terms showcases everything that makes Four Humors special. The performances, script, and production design, from costumes and props to projections, are all at a level few TCHF shows reach. That’s not a knock on the others; it’s the bar to aspire to.

I brought my son Alex and his fiancée Jayla with me. Jayla had seen Rasputin, Four Humors’ 2023 TCHF hit, with me, and we loved it so much we went back for the encore at Open Eye in 2024. On the way home, Alex remarked that Terms, expanded into a longer version, could easily play at the Guthrie. That’s a comment on quality, not content. And honestly, I’d choose a Four Humors show over just about anything at the Guthrie, any day of the week and twice on Sunday.

I’m not sure why Four Humors doesn’t produce more often, but the talent of this quartet is evident in every aspect of Terms. It’s laugh-out-loud funny, razor-smart, and executed with split-second precision.

Don’t rely on Facebook or Instagram algorithms to keep you in the loop about great shows. Subscribe and have every post from The Stages of MN delivered straight to your inbox. It’s the best way to make sure you never miss out on the theater action. To subscribe on a computer, enter your email address on the home page (right-hand side) and click subscribe. On mobile, scroll to the bottom of the page to find the same option. You can also follow me on Facebook @thestagesofmn and on Instagram thestagesofmn.

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.

Episode 17 is up and it’s TCHF Heavy.

Getting this post out in time for the weekend hopefully. It’s a great weekend to head out to the Twin Cities Horror Festival and so this show features that heavily. Go to their website to make your schedule and purchase tickets here https://www.tchorrorfestival.com/

Watch the episode here https://bit.ly/TSOMNEp17YouTube

Or listen to the podcast here https://bit.ly/TSOMNEp17Podcast

Episode 17 has reviews of four Horror Fest shows. A tour of TCHF central, the Crane Theater. We also hear about the Scrimshaw Curse directly from the Duck’s mouth.

Get the details on how to win tickets to an upcoming show at History Theatre thanks to Erica Skarohlid of Lettered in Theatre. You can read her blog here https://letteredintheatre.wordpress.com/ and check out the season lineup at History Theatre here https://www.historytheatre.com/

Twin Cities Horror Festival Days 3 & 4 Reviews: The Walls, Bay Creek, Familiar, The Neverland: a Horror Fantasia, Murder. Murder. Murder. Murder.

I’m struggeling to keep up so here’s a link to the Horror Fest which runs through 10/30 at The Crane Theater https://www.tchorrorfestival.com/

Now on with the reviews!!

I only caught this one show on day 3 and it was The Walls by Strike Theater and The Improv Movement Project. It features a fantastic cast of local favorites Mike Fotis, Rita Boersma, Sam Landman, Peytie McCandless, Jay Kistler Many of them are masters of longform Improv. Now this isn’t improv, it is written and directed by Fotis, but what makes this group great character actors is their ability to Make the interplay between the characters feel real in genuine, a skill they have honed doing their improv. The set up has a young woman at the urging of her meth dealing father‘s partner trying to get money from the bank to ransom her father from a rival group of dealers. They go into the bank where the newly promoted manager and her husband, the recently retired Sheriff are opening up for the day. To be honest everything in the bank is completely fascinating even before things go south. Just listening to the Boersma and Landman, as the Manager and her husband, bicker is brilliant. Once this go off the rails the play changes into something different which includes some really interesting movement, which I don’t wanna spoil or explain the reason for. The sign of good character building is that even if things hadn’t gone south I think I would’ve really enjoyed the show. Just listening to these actors play these characters and interact with each other was time while spent.

Day 3 was a very interesting day at the TCHF particularly in terms of the balance between script and production design. First up was Bay Creek written and performed by Derek Lee Miller which is essentially a one person monologue. Miller’s character is in an interrogation room being questioned by members of the entire alphabet of law enforcement from the FBI to the DEA. We occasionally get recorded voice overs from those agents asking questions but for the most part it’s Miller on his own. The script is in places inspired by stories Miller was told by his family growing up. The story Miller’s character unfolds about his family is one of demonic protection. Miller is never less than completely hypnotizing the script like Miller himself doesn’t have an ounce of fat on it. It’s super tight, while the production design is extremely simple, a man sitting in a chair next to a table with a microphone and folders on it. The lighting and sound cues are not elaborate but are among the most effective I’ve ever seen. The final moment of the show is truly awesome. To be sure this is one of the best of this years TCHF thanks to Miller’s powerful storytelling through script and performance.

The Artistic Director of TCHF Nissa Nordland’s show Familiar felt similar to her Minnesota Fringe show this year in that we are in the world of a teenage girl and her adolescent obsessions. She is or at least fancies herself a witch and her familiar is her cat Zelda. In my mind I break the show up into three parts. The first is getting to know the young teenage Rosemary. This is filled with humor including the content creators she follows on TikTok played by special guests Sam Landman as Virgil Vermillion and Jonathan Feld as Orion. The second part is more emotional when her familiar, Zelda, who is 17 years of age, one year older than Rosemary passes away. I know from listening to other audience members that those who had recently lost pets found this segment particularly devastating, so trigger warning for dead pets. The third section is completely unexpected given it the lightheartedness of the first portion and the emotional reality of the second. The third goes dark and supernatural in an effective and very creepy way. The show featured several musical performances by Nordland on ukulele and Clarinet, which for me, ever since I first saw her sing on stage, is always a treat I look forward to.

The Neverland: A Horror Fantasia takes elements of the Peter Pan story and flies in the much darker direction with them. It has a ton of production design elements, much of it in the arts and crafts vein, but overall it’s very effective and appropriate for the story it’s telling. It’s impressive how they get this set up and taken down in the time allotted between shows. But there’s a rather large cast and I assume they all help out. Excellent costumes and even some shadow puppetry helps this show scores big points in the production design category. The production design however seems to be compensating for a lack of a solid script. While the performances are all solid what they have to do is wander around the stage repeating the same things over and over again. one fellow audience member commented that it’s a show of vibes which I would agree with completely. As such I think my son Alex, who really gets in the mood and vibes of films and plays, might really enjoy the show more than I did. I’m generally looking for a story that holds my interest this one, while the idea or concept, of Peter Pan guiding lost children from life through limbo to death certainly is filled with possibilities, the execution just felt meandering and repetitive.

murder. murder. murder. murder. is by this years one traveling artist company of the TCHF. murder. murder. murder. murder. has a double meaning in its title. First, there are four stories, which is why there are four murders in the title. Secondly, all of the stories contain crows and as we know a group of crows is called a murder of crows. And if you didn’t know that, you’re welcome. This is another story that had a pretty tight script while set design was fairly minimal, but always enough to set the scene. It does have have some very good costume work as well. The first three stories use a framing device of a radio DJ we hear before and after each story and then the fourth story features the DJ and her producer. Some of the stories are comic, some dark, and some darkly comic. It was nice mix and I think each story was the perfect length, nothing felt rushed but likewise nothing felt like it was padded out.

Misery at Yellow Tree Proves the Old Adage Third Times the Charm

Laura Esping and Dustin Bronson Photo by Alex Clark

I like to begin all of my reviews of Misery—and this is the third—by saying I’m Stephen King’s number one fan. Although after watching Annie Wilkes demonstrate the extremes of fandom toward writer Paul Sheldon, I’m not sure I should be so quick to claim it. I say it because it’s true, but I realize faithful readers may find the line repetitive. That was also my first reaction when I saw Yellow Tree Theatre was producing Misery again, making this the third production in as many years. There’s so much good theater I miss because I simply can’t see it all. Having already seen Misery twice since 2023—including Yellow Tree’s last staging—I thought I might skip this one. Then I saw the cast list: Laura Esping as Annie Wilkes and Dustin Bronson as Paul Sheldon. F*#%!. And so there I was once more, seated in the audience for Misery, William Goldman’s stage adaptation of King’s novel (Goldman also wrote the screenplay for the 1990 film).

The play opens with writer Paul Sheldon regaining consciousness in the home of Annie Wilkes, his self-declared “number one fan.” Disoriented, he learns he’s been rescued from a car wreck caused by a snowstorm. With both legs broken and a dislocated shoulder, he’s at the mercy of Annie, a former nurse who has splinted his injuries and dosed him with her stockpile of painkillers. But the phone lines are down, the roads impassable—or so she claims. What begins as a story of apparent salvation quickly shifts into one of entrapment. Annie’s quirks spiral into unsettling behaviors, until it becomes clear she loves Paul too much to ever let him go.

I want to tread carefully here, because I enjoyed both previous stage productions I’ve seen—Yellow Tree in 2023 and Lakeshore Players in January 2025. The actors then gave fine performances, and I praised them in my reviews. But Esping and Bronson deliver the strongest portrayals I’ve yet seen of these roles. Esping doesn’t command the physically intimidating presence of earlier performers or Kathy Bates’s iconic film version, so she wisely takes a different approach. Her Annie is less explosively menacing and more quietly dissonant, at times even comic. A scene where she clambers onto the bed to pull Paul back feels borrowed from silent film comedy, yet lands perfectly in character. She channels something closer to Julie Harris with violent mood swings—an unsettling mix that makes Annie’s darkness even more disturbing.

Bronson’s Paul Sheldon brings a sharper intelligence and freshness to a role I thought I knew inside out. I’ve read the book, seen the film in theaters when it premiered, owned it on VHS, Laserdisc, DVD, and Blu-ray, and now watched three stage productions. Yet Bronson made it feel new again. Previous actors played the part well; Bronson inhabits it. In moments, I forgot I knew the script by heart, hearing familiar lines as though for the first time. That’s an extraordinary achievement—and it’s exactly why we return to plays over and over: great actors breathe fresh life into familiar works.

As with all productions of this script, the weak link is Buster, the sheriff. That’s no fault of Chance Carroll, who plays him here. In the film, Richard Farnsworth made the role memorable, especially alongside Frances Sternhagen. The stage version drastically trims Buster’s part, leaving it underdeveloped and his fate underwhelming. Goldman might have been better off cutting the character entirely. Still, the limitation lies in the script, not the performer.

If you’ve never seen Misery, now is the time. If you have, this production is well worth revisiting for its fresh, incisive performances. Esping and Bronson prove how much a cast can transform a play.

Misery is directed by John Catron, who also helmed Yellow Tree’s 2023 production. The show runs through October 19 at Yellow Tree Theatre in Osseo. For tickets and information, visit yellowtreetheatre.com/misery2025.

Don’t rely on Facebook or Instagram algorithms to keep you in the loop about great shows. Subscribe and have every post from The Stages of MN delivered straight to your inbox—it’s the best way to make sure you never miss out on the theater action. To subscribe on a computer, enter your email address on the home page (right-hand side) and click subscribe. On mobile, scroll to the bottom of the page to find the same option. You can also follow me on Facebook @thestagesofmn and on Instagram thestagesofmn.

Episode 12 of The Stages of MN Show Features the full schedule for the upcoming Twin Cities Horror Festival!

Late again with this post—sorry, faithful readers who rely on these updates to know when a new episode is out! Remember, you can also subscribe to the YouTube channel to be notified as soon as new episodes drop.

This week’s episode is sponsored by Theatre in the Round. They offer excellent flex pass packages and a fantastic season lineup, including Pride & Prejudice, which we review this week along with Theater Mu’s Maybe You Could Love Me. You can learn more about Theater Mu at theatermu.org.

On this week’s episode, we have our first-ever exclusive! I’m joined by Nissa Nordland and Duck Washington, the Artistic and Executive Directors of Twin Cities Horror Festival XIV (TCHF), to reveal the full schedule for this year’s lineup. Learn more at tchorrorfestival.com. You can watch the episode here or listen to the podcast version here.

A quick reminder: sign up for The Stages of MN +1 Club, where you can see shows for free as my plus one. Just email your name and cell number to robdunkelberger@thestagesofmn.com, and I’ll add you to the list. I’ll confirm with a text so you’ll have my number saved in your contacts. Then, watch for texts when I have a plus one available. If you’re interested and available, reply directly to me (not “reply all”), and I’ll let you know ASAP if you’re the first to respond.

Significant Other Speaks Truth through humor at Lyric Arts in Anoka

Emily Hensley, Eva Gemlo, Lyreshia Ghostlon-Green, and Noah Hynick Photo by Molly Weibel

Significant Other by Joshua Harmon is a play I saw performed in my first year as a Theater Blogger. That is to say I remember seeing it, remember thinking it was funny, but that’s about it. As I watched it play out at Lyric Arts the structure of the show came back to me but not the details. So the jokes felt fresh and no ones performance was competing against a previous interpretation. Lyric Arts leading man and 2024 Twin Cities Theater Blogger Award Winner for Favorite Emerging Artist, Noah Hynick, absolutely owns the role of Jordan. A late 20’s gay man living in New York City who is feeling more and more alone as his circle of friends begin to get married and have families. This is not an unusual situation in any circle of friends, and while the play really only explores it from Jordan’s perspective, there is frequently a reverse feeling for those who have paired off, they can also miss hanging out with friends who are unattached. When you have kids it can be even more of an adjustment, the difference being that instead of living in that state 24/7, it really only draws your attention occasionally, when you hear about some exciting night out. My point is that Harmon’s script will ring true whether your the last one standing single or were the first to pair off, we can all relate to some degree. It would be interesting to see Harmon write a follow up in say 20 years as the characters become empty nesters, which is accompanied by some similar feelings I can assure you.

Hynick gives a hilariously neurotic performance as Jordan, but he grounds it in an emotional rawness that connects with the audience. We laugh at him, with him, and out of our own recognition of that awkward uncertainty that most humans struggle with at some points. Whether he’s sweetly bending the ear of his Grandmother Helene or his best friend Laura, every moment feels grounded in character. Helene is played wonderfully by Miriam Monasch. The role is so well written to begin with, where we witness Jordan having a variation on the same conversation each week with his Grandma. The humor of which is matched with a feelings of genuine love that comes from those moments with our childhood heroes, which is what Grandparents are in many ways. The loom large in our childhood memories, making us the center of their worlds for these brief moments. Their weekly walk down memory lane of the picture of Jordan that is still her favorite and the stories that go along with it. There is so much truth in those scenes, the humor of repeating the same thing over and over but at the center, the sense that it’s really about the love between them. The entire cast is great but I do want to quickly acknowledge the other stand out in the cast which is Eva Gemlo as Laura. Jordan and Laura have an arguement towards the end of the show and Gemlo brings it all to that scene. Yes this is Jordan’s story, but she makes him and the audience acknowledge that everything isn’t about him. It’s one of the scenes that really raises this script to the next level, we understand what Jordan is feeling, but just because it’s his story doesn’t mean the world in which it takes place revolves around him. Gemlo’s Laura, doesn’t choose to just humor the protagonist, she stands up for her right to have her wedding be about her. I think it will be telling how each audience member responds to that scene, I think the narcissists in the audience will side with Jordan. But I’d also be curious to see if there are divides along generational lines as well. Everything Jordan is feeling is valid, but there is a time and place for sharing those feelings, and sometimes we just need to keep them to ourselves in the moment, recognize that a painful day for us, is one of the most important and special days of another persons life, and allow them to enjoy that time.

This production is directed by Max Wojtanowicz with care. He allows his actors to find their characters and trusts that the humor will work all the better for it. Michaela Lochen’s set design is very interesting, we have window frames along the back wall giving us a feel of NYC neighborhood streets. When the characters look at a painting or a picture on the wall they look out at the audience but along the back wall of the stage we get a visualization of what they are looking at. Lucas Granholm has some very effective lighting cues. I especially liked when Jordan keeps opening his computer to see the photo of a man he has a crush on, as he lifts the screen of his laptop open Granholm has a light come up on another area of the stage and we see the character there posed like the photo he’s looking at.

Significant Other is an insightful and very funny play that will delight mature audiences. This is not a play for anyone under say 16 years of age, and frankly I don’t think many under the age of 20 will have much of a chance of understanding it’s subtler truths. It’s also a really brave choice for Lyric Arts to produce and I hope audiences will reward the risk by embracing it and telling their friends to go see it. Significant Other runs through June 22nd at Lyric Arts in Anoka. For more information and to purchase tickets go to https://www.lyricarts.org/significant-other

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!

Fifty Boxes of Earth From Theater Mu is Good In Spite of its Missteps at Park Square Theatre

Alex Galick, Mina Moua, & Che’Li Photo by Rich Ryan

Fifty Boxes of Earth by Ankita Raturi is having its world premier from Theater Mu at Park Square Theatre in St. Paul. It is a two hour play with a lot of interpretive dance that would be greatly improved with four words Ninety Minutes, Less Movement. At its heart it is a play about xenophobia and transphobia, but it loses its clarity by trying to force some sort of variation of the Dracula legend upon its narrative. The story revolves around a community garden in which three characters interact. Q has just moved to this country and brings with them 50 boxes of earth. This is a take on Dracula’s 50 boxes of his native soil that he needs to fill his coffins with. Q meets John, who manages the community garden in which Q has reserved a plot. The third character is John’s daughter Mina, who prefers to be called Harker. Q is the other, John is the bigot, and Harker is the way the world should be. John takes an instant distrust to Q, while Harker and Q bond over the planting of their garden and talk of Q’s son who will be coming to live with them after the garden is ready. The garden grows strange things and in foreign dirt, so John does everything he can to sabotage Q’s garden, even trying to destroy it.

Raturi’s script builds effective relationships between the three characters and that is its strength. The weakness as I’ve mentioned is the attempt to somehow tie this to the Dracula mythology. I know they are trying to view that through a modern lense, but nothing really matches up in any way that justifies the connection. Make it a alternate world and it still works as a modern day fairytale or myth. Director KT Shorb accompanies the narrative with five ensemble players, choreographed by Ananya Chatterjea, who dance about and seem to represent the plants of the garden, or the gardens mental health. I’m not the best with interpretive dance. Though I didn’t dislike what the ensemble did necessarily, I do think there was too much of it. The story doesn’t need any of it, but it would have been better if it merely occurred during the action of the play, but it felt at multiple times, including the opening, that it was merely adding to the runtime. Those more into dance might feel differently. Technically the show is excellent with nice set design work by Mina Kinukawa, Puppet Designs and builds by Oanh Vu & Andrew Young, very immersive sound design and musical compositions by Katharine Horowitz, and effective Lighting design by Karin Olson.

The five Ensemble players are Eliana Durnbaugh, Kiko Laureano, Mars Niemi, Alyssa Taiber, and Taylor West and while they do what they are asked very well, I think they are over utilized. Q’s plants grow very rapidly and without having either very elaborate props or frequent long blackouts, the ensemble is necessary to produce those changes on stage and that alone would have been effective. The problem is that it feels like the Director and Choreographer felt the need to justify the dancers presence and so expanded the movement into something that detracts from the story. The three leads are all very compelling as is the central plot and the themes it explores, it doesn’t benefit from a supposed Dracula connection. Che’Li plays Q who is the stand in for Dracula, if Dracula wasn’t a villain, didn’t need to avoid sunlight, didn’t drink the blood of their victims, or really do anything mean, cruel, or… wait how is Q Dracula again? Alex Galick plays John who we assume must be a stand in for Jonathan Harker in Bram Stoker’s novel, except here he’s a terrible xenophobic fact denier whose actions are unconscionable. Mina Moua plays Mina aka Harker and the relationship she and Che’Li develop in the roles is the heart of the play and it’s greatest accomplishment. Galick’s performance as John is superb, I know because I got so angry at him during the performance that I caught myself giving him the finger. When an actor makes you react that viscerally it’s usually a combination of the actors talent and the writer’s skill at character creation.

Ultimately there are more positives than negatives and I do recommend the show. I write so much about the misteps because they are what holds it from going from a good play to a very good play. The truth is, you don’t have to change anything but the characters names and no one in a million years would draw any comparison to Dracula. The fifty boxes of earth can work as it’s own device in this modern day myth, the number which comes from Stoker’s story can be changed to four, considering that is the number of boxes they actually use in the play. Do that, so you are not distracting the audience by having them try and create in their mind a correlation to the famous novel that just wont come into focus. Honestly, the story doesn’t need it. Trim 15 to 20 minutes, most of it movement unrelated to anything needed in terms of set and plot, and you have a very good, maybe even great play. As it is the greatness is there and hopefully those who read this review and attend the show will have their expectations set appropriately and will ignore any thoughts of vampires and just enjoy the story at hand and know that the dancing, while too long, doesn’t ever go on ridiculously too long.

Fifty Boxes of Earth runs through March 16th at Park Square Theatre in St. Paul. For more information and to purchase tickets go to https://www.theatermu.org/fifty-boxes

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.

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.

But that’s not all! You can also read some of my reviews syndicated on the MN Playlist website https://minnesotaplaylist.com/ from time to time. 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.