The Great Gatsby Dazzles at the Orpheum Theatre

The Great Gatsby NA Tour Company Photo by Evan Zimmerman for MurphyMade

The Great Gatsby, the classic American novel written by Minnesota native F. Scott Fitzgerald, gets a splashy Broadway musical adaptation. The style of the era and the excesses of the lives of its characters work in this medium, even if the subject matter seems a little dark. Those familiar with the book, which I’m surprised to discover is not as many people as I thought, will understand it doesn’t have a happily-ever-after ending. When I was a young whipper-snapper, we read books in school; apparently that isn’t the thing anymore. Or perhaps they are being assigned other books instead of what many consider to be one of the greatest novels ever written. You know, maybe they are being assigned Twilight instead. If you missed out on the novel, know that this is a fairly faithful adaptation, even incorporating some of the major imagery from the book.

Set in 1922 on Long Island, the story is told by Nick Carraway, a young war veteran who rents a small cottage next to the estate of Jay Gatsby, who throws loud, lavish parties which he himself doesn’t attend. After receiving an invite to a party, Nick meets Gatsby, who asks for his help in reuniting with the girl he fell in love with before going off to the war, Daisy. Daisy is Nick’s cousin, who is now married with a child, though not happily. Her husband Tom is an asshole who carries on affairs, which everyone, especially Daisy, is aware of. Daisy’s childhood friend Jordan Baker is also on hand as a possible love interest for Nick. The other major characters are George and Myrtle Wilson; George runs a gas station while his wife is having an affair with Tom. Trying not to spoil the plot for the vast number of you who apparently are unfamiliar with it, I’ll just say that, like the novel, the play deals with the themes of the American Dream, class, and how the two collide. Much as it is becoming more and more the case today, the dreams of the lower class are decimated by the excesses and disregard of the wealthy.

There was a lot to like about this production, and probably the top selling point is the production design. Everything from costumes by Linda Cho to the set and projection design by Paul Tate DePoo III, and lighting by Brian Ronan, works seamlessly together. The projections had a three-dimensional quality to them and were coordinated with practical set pieces, sometimes to the point where you weren’t sure which layers were real and which were projections. A favorite lighting cue that really stood out was where the eyes of a billboard at the gas station, as everything fades to black in the scene, even the billboard, except for the eyes, which continue to shine for a couple of additional seconds.

The songs varied nicely in style. Some, like “Roaring On,” had a very Jazz Age feel to them; others, like “For Her” and “My Green Light,” are beautifully touching and romantic. One song, “The Met,” really showcased Joshua Grosso, who plays Nick, and his almost physics defying movement. Grosso, along with playing the best character, was my favorite in the cast. Jake David Smith, who plays Jay Gatsby, achieves things vocally that one might expect would require surgery at a young age to achieve, the upper registers he reaches are impressive. The role requires someone with a very high upper range, which must limit the casting possibilities. Senzel Ahmady and Leanne Robinson, as Daisy and Jordan, are both strong vocally as well as great dancers. The choreography by Dominique Kelley really kicks in during the second act, which includes a very fun and energetic tap number.

The Great Gatsby won the Tony Award in 2024 for Best Costume Design, with most of its other various award nominations also recognizing its design elements. That really is the main selling point on this one. Though everything else is of solid quality, it is the design work that sticks with you.

The Great Gatsby runs through June 7th at Hennepin Arts’ Orpheum Theatre in downtown Minneapolis. For more information and to purchase tickets, go to https://hennepinarts.org/events/the-great-gatsby

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Kiss Me, Kate at Artistry, Shakespeare Meets Cole Porter and the Result is Almost “Too Darn Hot”

Aliya Grace, Nate Turcotte, John-Michael Zuerlein, and Erin Capello Photo by Alyssa Kristine

I first saw a production of Kiss Me, Kate at Chanhassen Dinner Theatres somewhere between 35 and 40 years ago. I own, and have watched the 1953 film version in its original 3D format, though it had been at least a decade since I last revisited it. My only real exposure to Shakespeare’s The Taming of the Shrew comes from the Moonlighting episode titled “Atomic Shakespeare.” So even with that history, I felt like I was going in a little blind.

Kiss Me, Kate is a classic backstage musical that gleefully blurs the line between art and life. The story follows a company of actors mounting a musical version of Shakespeare’s The Taming of the Shrew, led by former spouses Fred Graham and Lilli Vanessi, whose onstage sparring mirrors their very real offstage animosity. As egos clash and a pair of unexpectedly polite gangsters get involved, the production threatens to unravel both onstage and off. With music and lyrics by Cole Porter, packed with wit, romance, and sharp wordplay, and a book by Sam and Bella Spewack that feels surprisingly modern, the show proves that sometimes the drama behind the curtain is just as entertaining as the show itself.

Directed by Kelli Foster Warder, with music direction by Elijah Leer, the production sounds and flows beautifully. Joey Miller’s choreography is fantastic and is sure to be among the 2026 TCTB Award nominees. Standout numbers that linger in the memory include the extremely athletic “Tom, Dick, or Harry” and the Act II opener, “Too Darn Hot.”

2025 TCTB Award winner for Favorite Musical Performance by an Individual, Erin Capello once again wows with an extraordinary vocal performance while also showcasing her formidable comedic chops as Lilli/Katherine. She’s matched by the seemingly indefatigable John-Michael Zuerlein as Fred/Petruchio, a man who appears not to need to breathe. Zuerlein is a real treat here; I wasn’t as familiar with his work going in, but he anchors the show effortlessly and has definitely earned a spot on my “must-watch” list.

There are plenty of strong supporting turns as well, from Marley Ritchie and Jon Michael Stiff as the gangster heavies sent to collect an IOU, to Chris Owusu, who turns the heat up to scorching levels in “Too Darn Hot,” and The Stages of MN’s own music man, Ryan Lee. But the standout among the supporting cast is Aliya Grace, who headlines both “Tom, Dick, or Harry” and “Always True to You in My Fashion.” Surrounded by other performers, she nonetheless commands every eye and ear. Her sultry voice and confident dancing making her unmistakably one to watch.

Artistry in Bloomington has truly pulled out the stops, vigorously mixing Shakespeare and Cole Porter into a deliciously satisfying cocktail of song and dance. Kiss Me, Kate runs through February 15th. For more information and tickets, visit https://artistrymn.org/kissmekate.

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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.

The Resistible Rise of Arturo Ui Plays Like a Comicstrip Allegory for Authoritarianism Told Through the Lens of the Godfather

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.

The Book of Will is Both Funny and Moving From Theatre Pro Rata at the Crane Theater

Sean Dillon, Jeremy Motz, Nissa Nordland, Kjer Whiting, Alex Hagen, Andrew Toth, Sandesh Sukhram Photo by Alex Wohlhueter

The Book of Will is a play by Lauren Gunderson, co-author of the much-beloved Christmas at Pemberley Trilogy of which I have gushed on more than one occasion. The play tells the true story, though through a fictional lens, of the men and women, chiefly, Henry Condell and John Heminges, who worked alongside Shakespeare, who ensured that William Shakespeare’s work survived after his death. The play opens With Condell and Heminges in The Globe Tap House with the actor Richard Burbage. The three friends of Shakespeare’s, actors in his theater company, discuss the poor quality of the pirated versions of Shakespeare’s plays that were being performed by younger actors after his death. Burbage dies the next day. Condell and Heminges realize that with Burbage, who had the plays memorized, gone, they no longer have copies of most of his plays. They make it their mission to track down the plays and through their efforts we learn a lot about the theater practices of the period. The play is both funny and emotionally poignant as it explores the importance of story and theater in the lives of its characters and society at large. It is a theme I am completely in sync with.

The cast is incredibly talented, including favorites like Nissa Nordland, who plays Heminges’ daughter, providing brief moments of the sort of romantic spark with Carter Graham’s Isaac Jaggard, that we have come to expect from Gunderson. Though unconsummated, Graham and Nordland generate the kind of instant chemistry that made me wish the play was ten minutes longer to devote to developing that spark. Kjer Whiting, whose Ben Jonson was Shakespeare’s rival, but here clearly a friend as well, plays it so that we can clearly see that duality. The always interesting Jeremy Motz gives a rapid-fire mashup of Shakespearian dialogue in a scene where he confronts one of the younger actors he sees as ruining Shakespeare’s works. It’s a moment that sets the bar high for the night. Sean Dillon as Condell is passionate, refusing to give up on the project. His best moments come in his portrayal of the friendship between Condell and Heminges, with the ability to convey heartfelt compassion, and with decency always being chief among Dillon’s strengths an actor and a person.

This brings us to Andrew Troth, who plays Heminges. Troth is absolutely heartbreaking as a bereaved Heminges trying to make sense of the world after his wife passes away. I’ve always enjoyed Troth’s performances, but here he surpassed mere enjoyment and left me impressed with his emotionally raw performance.

Gunderson’s script plays well to general audiences, but for those of us with a familiarity with much of Shakespeare’s canon, it’s filled with Easter eggs that reflect the author’s love of the plays. It’s easy to be amazed at the lack of foresight the people of Shakespeare’s time had in the importance of preserving the plays. He was one of the most popular playwrights of his time, and yet three years after his death, his acting company had but a handful of his scripts. It’s easy to scoff at the short-sightedness of those in the arts of the time and think we would never be such poor custodians of our cultural and artistic heritage. Then we remember that three hundred years later, the motion picture industry was making the same mistake, leaving us a world where 75% of all silent films are lost. Is the lost Lon Chaney film London After Midnight as important an artistic achievement as Shakespeare’s lost Love’s Labour’s Won? Who is to say? Rubble&Ash provides the wonderful period costumes, which are always one of the joys of a play set in this time. But my favorite visual element of the show was the set design by MJ Leffler. I ran into Leffler before the show, when we discussed the design. Leffler informed me that the design was made up 100% of recycled and repurposed pieces. There is a giant feather standing like a pillar along the back wall that rang a distant bell for me. It turns out the feather was part of the Guthrie’s Cyrano de Bergerac from 2019. It makes the perfect accent to this play about the greatest English language writer of all time.The Book of Will is a treat for any fans of Shakespeare, to be sure. But understanding Shakespeare or even appreciating him isn’t necessary going into the show. It’s a fascinating look at the idea of legacy and the importance of preservation. The play runs through October 11th at the Crane Theater in Minneapolis. For more information and to purchase tickets go to https://www.theatreprorata.org/production-history/book-of-will.

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.

A Doll’s House at the Guthrie is Funnier and More Relevant Than One Expects From This Classic Play

Andrew May, David Andrew Macdonald, and Amelia Pedlow Photo by Dan Norman

A fresh adaptation of Henrik Ibsen’s A Doll’s House by Amy Herzog which premiered on Broadway in 2023 opened the 2025-2026 season at The Guthrie Theater. Written in 1879 Ibsen’s A Doll’s House was a controversial play that challenged societal and theatrical institutions. The story centers around Nora, a devoted wife and mother, who struggles with a secret she has long held. With it’s reveal and her husbands reaction, she learns that her value to him lies in her subservience, in her being exactly what he wants her to be. The final scene of the play we are witness to a woman coming into herself, or at least ready to take the steps necessary to discover who she is as a human being, not just as a wife and mother. In the later half of the 19th century it was a daring exploration of gender roles and the rights of women. You can see why Ibsen is seen as one of the most influential playwrights of his time and often referred to as the father of realism.

I had never seen the play performed live but in preparation for seeing Noura, a modern play inspired by it, the Guthrie in 2020 had a production of Lucas Hnath’s sequel A Doll’s House, Part 2 at the Jungle Theater that same winter. I watched a television version starring Julie Harris and Christopher Plummer from 1959. It’s a bit fuzzy now, but I didn’t remember that version being as funny as this one is. One thing that does hold true is how astonishingly progressive this play seems for a play written in 1879. I think that one might mistakenly attribute that to Herzog’s adaptation, but that isn’t the case if memory serves me. There’s been a lot of chatter about the updating of the language with some feeling that Ibsen’s language should be left alone and doesn’t need to be changed for modern ears. Well Ibsen’s language was Norwegian, Danish so unless you are seeing it in that language, you are not getting Ibsen’s language anyway. The act of translation is also the act of adaptation. The translator is rewriting the text so that a different audience can understand the work. This latest adaptation is simply doing that again but for an audience who understands 21st century English. I had no problem with the script and found it to be humorous but still grounded in the realism that Ibsen was so famous for. The ending still packs a dramatic punch, though I suspect our audience was less shocked and more sympathetic as a whole to Nora’s choices than those in 1879.

The set design by Luciana Stecconi in combination with the lighting design by Robert Wierzel creates a dramatic feel to the proceedings that Director Tracy Brigden undercuts effectively with a generous stream of comedic moments. The tone of the set helps to underscore the darker under currents that run beneath the characters cheerful facade. Amelia Pedlow as Nora has a light touch when the character is simply being, simple. But when things gets serious, Pedlow expertly shows us the shattering of Nora’s illusions about her husband and her coming to terms with Torvald’s outburst and what they represent to her. David Andrew Macdonald, as her husband Torvald, is masterful at playing sweetly condescending while also bringing gasps and jeerings from the audience with his line readings.

A Doll’s House is a strong opening to the Guthrie’s Theater season delivering an adventurous (get used to hearing people say that word this season) take on this classic play. One may ask, why stage this play now? The answer is that more than ever in today’s political climate when the rights of women are coming under attack. We need to remind some of our neighbors that women are not wives and mothers first, but human beings. It’s shocking that nearly 150 years after it was written, we are having to make these statements. A Doll’s House Runs through October 12th at the Guthrie Theater in Minneapolis. For more information and to purchase tickets go to https://www.guthrietheater.org/shows-and-tickets/2025-2026-season/a-dolls-house/

Don’t depend on a Facebook or Instagram algorithms to ensure 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.

The Stages of MN YouTube Channel is home of the weekly The Stages of MN Show which you can view by clicking on this link https://www.youtube.com/@TheStagesofMN. Check out the latest episodes and Subscribe to the channel so you’ll always know when a new episode has dropped. 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.

Pride & Prejudice Rocks Out At Theatre in the Round

Erika Sasseville, Eva Gemlo, Maya Vagle, Stephanie Kahle, Davin Grandstaff Photo by Tom Taintor

Wouldn’t you know it, as soon as I make the commitment to see less shows, I see one that I want to go back and see again. When I talk about pointing people towards shows that will make them want to see more theater, this is what I’m talking about. Playwright Kate Hamill’s adaptation of Pride & Prejudice condenses and changes some details but, in the most faithful was possible. What remains untouched is the spirit of Jane Austen’s novel which was written over 200 years ago but feels as if it was written only yesterday. Those unfamiliar with Austen’s works might feel as though it has been completely modernized and Miss Elizabeth Bennett may feel like a character out of time but that is simply because Austen’s writing, especially in terms of female characters, was ahead of it’s time. Director and co-Sound Designer Penelope Parsons-Lord injects the play with a healthy dose of bold and unabashed energy, utilizing pop songs with confidence. It’s the sort of staging that feels like a risk that paid off, resulting in a show that made you want to get up and join the dancing. Now don’t get me wrong, this isn’t a musical version of the story. The music takes place between scenes and during various Balls for the most part.

All the pop songs in the world won’t elevate a show without strong performances. Pride & Prejudice has a great cast including several new to me Actors. First and foremost without a strong Lizzy Bennett you’re lost. This production, my first stage show of Pride & Prejudice, though I’ve seen several screen adaptation, features what might possibly be my favorite Lizzy. Eva Gemlo’s performance as Lizzy is sublime, the perfection of which cannot be overstated. It’s a performance perfectly attuned to Theater in the Round’s intimate space. Relying as much on subtle facial expressions and body language as it does on line readings. Gemlo projects Lizzy’s intelligence, wit, and independent spirit while also inviting the audience into her inner feelings, key to building that moment of vicarious joy one feels when Austen’s characters finally realize and find their love. The entire cast is strong including Luke Langfeldt who gets the duality of Mr Darcy. It’s key that we find him as arrogant as Lizzy does in the beginning, and equally as key that we buy the characters growth and are excited by the change in their feelings towards each other. With a knowing nod to the famous Colin Firth performance, he gets his own dripping wet shirt scene. There are some great comic performances, that bring out the playwright and Directors comedic flourishes. Mary Lofreddo plays Miss de Bourgh whose face we never see but whose expressive black rubber gloved hands look like something out of a horror film. Michael Hundevad plays Mr. Bingley as if he were a puppy dog, an aspect played up with a ball as his favorite prop. But the standout of the supporting Actors is Stephanie Kahle as Mary Bennett. Kahle’s expressive eyes are fixed in a hard stare, creating a sense of uneasiness in the her fellow characters whom she is constantly startling. Much humor is derived from Kahle’s unpredictable and often clueless behavior as Mary.

Theatre in the Round’s production of Pride & Prejudice is a high-spirited and fast paced comedy with heart. Fans of Austen’s work will be thrilled by the production which ramps up the humor without losing a bit of the heart that is so crucial to Austen’s work. It’s also a great gateway show to people who don’t normally attend theater or think they wouldn’t enjoy a Jane Austen adaptation. This will shatter an audiences own prejudices about what a romantic play set in the early 1800’s will look like. I strongly encourage the bringing of teenagers and young adults who maybe haven’t been exposed to theater. This is the kind of show that often leads to regular theater attendance. Pride & Prejudice runs through October 5th at Theatre in the Round Players in Minneapolis. For more information and to purchase tickets go to https://www.theatreintheround.org/prideandprejudice/

Henry V Gets Some Radical Changes From Jackdonkey Productions

Henry V is one of the Shakespeare history plays that I am fairly familiar with have seen it produced on stage twice now and seen three screen adaptations. I have certainly never seen it done like this. The story of King Henry V of England and his war to conquer France has been used as propaganda for war and against it. Here it is seen through the lens of how the decisions of flawed men have profound effects on the people over which they rule. This is a valid viewpoint and is a way to make the play speak to our times. Shakespeare’s works are so rich and out of copyright that they become easy to adapt in a way that highlights the message a Director wishes to convey without departing the text simply by how you cut it and play it. Here Director Zach Christensen makes some bold choices which are mostly successful, but occasionally perplexing.

First off, the show adds close to a half a dozen songs but not sung throughout, only at the opening of the first Act and after intermission. The songs are well performed by the cast and I get the vibe what they are going for. While not being detrimental to the production, the songs don’t really integrate into the play, but more like live pre-show of music meant to set the tone. There may also be too many of them but they are enjoyable. The biggest and most bizarre change is the inclusion of Falstaff who does not appear in the original play though he does die offstage. Now adding some flashbacks or prologue with Falstaff is not unheard of, in his film version Kenneth Branagh includes several flashback scenes with Falstaff. But here Falstaff is seen in scenes from the Henry IV plays, much as his characters is in those plays, which is a comical character for the most part. But then he actually replaces the role of the Duke of Exeter jettisoning for the most part the traits we associate with Falstaff and playing it as you would Exeter. There is one scene in which the reason for the change became clear and made a certain amount of sense if you wanted to play the scene that way. But it still results in Falstaff for the most part acting completely out of character for most of the play. It’s a questionable choice that kept taking me out of the performance.

The play is well cast even Dominic Schiro as Falstaff is very good, despite the puzzling choice of who he was playing. David Michaeli is very good as King Henry, tackling some very famous speeches and successfully making them his own. It’s a very strong cast with some wonderful and surprisingly humorous performances. Standouts were Amanda Espinoza as among other roles Fluellen, who is the Welsh captain of a contingent of Henry’s army. Noah Hynick, who must be on loan from Lyric Arts, as the Dauphin of France is hilarious as he tries to outbrag his fellow French noblemen on the eve of the battle of Agincourt. Bradley Johnson and Eden Fahy, are particularly good in the the song sections of the show. Overall it’s an exciting and unusual production and while every gamble doesn’t pay off there’s no denying it’s a very interesting and engaging production. The fun thing about Shakespeare is that you can be bold and try new things and I applaud Director Christensen for making some bold choices. Fans of Shakespeare will have seen faithful productions in the past and will enjoy seeing Jackdonkey play around with things. I think it will also appeal to those who aren’t that into a Shakespeare History play as it does what it can to be kinda radical and accessible to all.

Henry V runs through 8/18/25 at Theatre in the Round. For more information and to purchase tickets go to https://www.ticketleap.events/tickets/jackdonkeyproductions/henry-v-jackdonkey-productions

Don’t depend on a Facebook or Instagram algorithm to ensure 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.

I’ve officially launched The Stages of MN YouTube Channel which you can view by clicking on this link. https://www.youtube.com/@TheStagesofMN. Check out the weekly episodes. Subscribe to the channel so you’ll always know when a new episode has dropped. 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.