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

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Georgiana & Kitty: Christmas at Pemberley at Lyric Arts is Like They Caught Joy in a Bottle and Sprayed the Audience With it.

Morgan Kempton and the cast of Georgiana & Kitty: Christmas at Pemberley Photo by Molly Weibel

Georgiana & Kitty: Christmas at Pemberley by Lauren Gunderson & Margot Melcon is the third and final entry in the Christmas at Pemberley cycle of plays that revisits the Bennet family from Jane Austen’s Pride and Prejudice. The other two plays Miss Bennet: Christmas at Pemberley and The Wickhams: Christmas at Pemberley were performed in 2022 and 2023 at Lyric Arts. Now if you didn’t see the previous plays I can assure you that you will not be lost. They are designed to be seen as individual plays, seeing the others allows you to see how they all fit together, but is entirely unnecessary. That said if you can see the others anywhere now or in the future do so! I love all three of these plays and will see them again and again. When you see as many plays as I do in a year the ones you saw last Christmas become fairly hazy. I saw Georgiana & Kitty: Christmas at Pemberley at the Jungle Theater in 2022 and loved it loved the cast, this production just obliterated any memory I had of it. The cast of this production is astonishingly great. There isn’t a look or a line reading, whether it be comedic or heartfelt, that isn’t done to perfection! Whatever magic Jane Austen had, she has passed on to Lauren Gunderson & Margot Melcon because I get the same tears of boundless joy whether I’m experiencing Austen’s works or theirs. They capture the exact same emotional response, which is a swell of overwhelming happiness.

This story focuses on Georgiana Darcy, Mr. Darcy’s younger sister, and Kitty Bennet, Lizzy Darcy’s youngest sister. It’s their turn to find and possibly lose love. The two girls have become the best of friends and spend much of their time together. For Georgiana, love comes in the person of Henry Grey whom she has only met once after a piano recital but has been corresponding with via letters for almost a year and has invited him to visit on Christmas. They both have fallen in love with each other through their letters and a shared passion for music. When they finally meet again at Pemberley, they are both so shy it will require their friends and family to get them to come out and tell each other how they feel. Accompanying Henry is his friend Thomas O’Brien who is instantly smitten with Kitty. So now we have the two pairs of lovers and in true Austen form, there will be letters that reveal secrets, arranged engagements, and meddlesome siblings. The hazards are many, not the least of which is Mr. Darcy who by the end of Act I will have seemingly torpedoed the match between Henry and Georgiana. Act II takes place about six years later on another Christmas and I’ll be damned if I didn’t want to stand up and shout “It’s a Christmas Miracle!” at the end. There was always a message in the script about gender equality and the reality of the lives of women at that time in history, but it feels even more timely and urgent than it did just two years ago.

I know what a third of you are saying, “it’s a chick play”. First of all, I don’t think you should say that, I know what you mean, but it sounds kinda derogatory. Secondly, no it isn’t. Steel Magnolias is a chick play, a very good one by the way. But Georgiana & Kitty: Christmas at Pemberley is a universal play, it is concerned with love, that is an emotion that all genders have experience of. So mothers, girlfriends, and wives don’t be afraid to take the men in your lives to this, and men don’t be put off by Jane Austen or showing an emotion now and then. I promise you will laugh, you may cry, and in the end you will not regret the two hours you spent in the theater. In fact this is the kind of show that will have you asking next year “So is anyone doing one of those Christmas at Pemberley again this year? I’d go with you if you wanted to go.” While we are on the topic of next year, though maybe this is a two year away thing. Some theater company, the Jungle Theater or Park Square perhaps needs to make the bold decision to produce the entire trilogy in Rep. That would be amazing, let’s get to work on that shall we? While we are planning that I’d like to suggest that you sign up Marci Lucht to direct it as she did and absolutely phenomenal job with this production at Lyric Arts. There is an interlude at the opening of Act II that acts as a dialogue free exploration into the minds of the characters, showing through movement a combination of what is in the characters hearts and the passage of those six years. It’s inspired bit that I don’t think is scripted, but that was beautiful in execution, like the set had come alive and we are watching a ballet of pillars.

I’ve already praised the entire cast so I’ll try not to go on too long and mention everyone, but I have to make a few remarks. Morgan Kempton and Waverly Ann McCollum play Georgiana and Kitty respectively and you couldn’t ask for better leads. Kempton, uses her characters quiet demeanor in the first act to express her uncertainty and then modifies the same quality in Act II to show an inner strength determination. McCollum shows Kitty to be insightful and energetic, her leaps over the bench in Act I showcase her energy and youthfulness and get a nice laugh. Grace Klapak who is returning to the role of Lydia perfectly plays the least endearing character Austen ever created. Klapak is spot on in her portrayal, she carries herself perfectly, slouching when bored pumping herself up when she wants to be noticed. She knows exactly how far to take it so we understand everyone’s annoyance with her, without actually becoming annoying to us, but rather coaxing laughs from us with her characters unpleasant characteristics. Noah Hynick, frankly I don’t think I’ve ever seen Hynick be anything but perfect in a role. I’m not sure how Lyric Arts seems to have him under exclusive contract, after a performance like this I ask myself again, why isn’t this guy cast in everything at the Guthrie. He is as gifted in his gestures and reactions as he is in his line reading choices. The first time I can remember coming across Mr. Hynick was in 2022 when he appeared in Miss Bennet: Christmas at Pemberley at Lyric Arts and since it feels like he’s been in most of Lyric Arts productions, his timing is unerring, and it’s time to officially add him to the must see list, though he was already there to be honest. William Edson plays Mr. Grey which was the one role I can clearly remember from the Jungle Theater production. It was the first time I really took note of Dustin Bronson because he was amazing, I can’t say that Edson was better, but I can say he was as good! Lastly, I loved seeing Faith Winship as Elizabeth Darcy, she made a strong impression last year in a couple of shows, The Marvelous Wonderettes and She Loves Me, I hope to see more of her soon.

Georgiana & Kitty: Christmas at Pemberley runs through December 22nd at Lyric Arts in Anoka. For more information and to purchase tickets go to https://www.lyricarts.org/georgiana-and-kitty

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The complete Works of William Shakespeare (abridged) at the Phoenix Theater in Uptown

The Complete Works of William Shakespeare!!!! Who’s got time for that? You say. Well honestly, everyone does. you see with some judicious cuts, the authors of this production Adam Long, Daniel Singer, and Jess Winfield have managed to cut the running time of producing all 37 of Shakespeare’s plays from roughly five days to a little under two hours, including an intermission. The amazing thing is that for such a large amount of cutting to the text, I struggle to identify what they cut. Of course I’m pulling your hypothetical leg, as I’m not so foolish as to assume that every reader does in fact have legs. I think even those with a small exposure to Shakespeare will be able to spot a few of the most blatant cuts, and those of us familiar with many of the plays will notice even more, I counted 12 cuts that I’m pretty sure were made? Possibly 13 but I couldn’t remember for sure if Big Bird was in Titus Andronicus or not. But fear not, whether a Shakespeare scholar, casual fan or not a fan at all, indeed whether limbed or not, you should have no trouble whatsoever enjoying this production. Unless of course you have lost, misplaced, or had the misfortune to be born without a funny bone. Funny bones, they’re not just for romantic comedies anymore.

This production of The Complete Works of William Shakespeare (abridged) is produced by Jackdonkey Productions and performed by Amanda Espinoza, Noah Hynick, and Adam Iverson and directed by Zach Christensen. Having just returned from the Great River Shakespeare Festival and seeing Hamlet and Much Ado About Nothing, it seemed like a great idea to see the rest of the plays. Now I can say I’ve seen all of the plays performed in the first seven months of 2024! Well… not really as it turns out. But I have seen one of the funniest Plays about Shakespeare’s works as I imagine I ever will. A detailed plot synopsis would involve the plots for all 37 plays, and I don’t want to spoil any of them in case you plan to see this show or any of the 37 plays on their own. So I’ll just say that it’s a show about three actors performing all 37 of Shakespeare’s plays. It’s an unimaginable task, which is where the humor lies. In all seriousness, it’s very silly, but the cast takes the silliness very seriously.

The cast is a dream, either for tragedy, comedy, history, pastoral, pastoral-comical, historical-pastoral, tragical-historical, tragical-comical-historical-pastoral, they do it all. The physicality of the performances adds as much to the humor as the script. I understand that improvisation is encouraged when producing this play, but having never seen it performed before I cannot comment on what’s added or changed. But I will say that the entire cast, particularly Espinoza, adds so much humor just by her body language and line readings, that it’s hard to imagine anyone performing the role of Amanda Espinoza better. To clarify the actors all use their real names, but I mean anyone playing the first actor or whatever they’re called in the script. Christensen’s direction and collaboration with the actors produces something manic with an energy that buzzes through the theater. And then, at one point Iverson stops and recites a soliloquy from Hamlet and it isn’t silly, and the energy changes. It’s a brief moment but I think it’s there to remind us, that as much fun as we are having with Shakespeare and at his expense, there is a reason we still produce his plays centuries after his death. It’s a wonderful little pause in the hilarity, and then we are right back to it.

Whether you love Shakespeare or don’t get him, this show is sure to make you laugh. For fans of Shakespeare it’s an especially fun night out. The Complete Works of William shakespeare (abridged) runs through July 21st at the Phoenix Theater in Uptown Minneapolis for more information and to purchase tickets go to https://www.ticketleap.events/tickets/jackdonkeyproductions/the-complete-works-of-william-shakespeare-abridged#

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.

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On Beckett, Bill Irwin’s One Man Exploration at Guthrie Theater, Fascinating & Funny in Equal Parts

Bill Irwin in the Irish Repertory Theatre production of “On Beckett.” Photo by Craig Schwartz.

On Beckett conceived and performed by Tony Award-winning actor Bill Irwin is a one man touring production playing at the Guthrie of An Irish Repertory Theatre Production by Octopus Theatricals. I love how these little connections happen in life, just yesterday in the mail I received an imported blu-ray of The Saphead which was silent comedian Buster Keaton’s first starring role in a feature film as an actor. Now it isn’t one of Buster’s own films he was simply cast in an adaptation of a hit Broadway play. How is this a connection? Well, what doesn’t get a mention in the show was that Beckett has 13 film and TV directing credits. His first was a short film titled Film which starred Buster Keaton and was released in the US on January 8th 1966, Keaton died on February 1st 1966. It’s also hard not to see an influence in Bill Irwin’s clowning of the great silent comedians like Keaton and Chaplin. While slapstick in nature, Keaton’s humor always had a more philosophical edge as opposed to Chaplins sentimental and political shadings. Which is all just by way of reminding you, faithful readers, that I love silent comedians. Also, that if you share my love, you should be aware that this show had a delightful amount of physical clowning that scratches that itch nicely. But also to show that there is a link between Keatons work and Becketts and that Bill Irwin, is the perfect man to illustrate that connection.

Irwin’s show is a series of readings from Beckett’s work followed by his thoughts and observations on them. What’s interesting is that he reveals as much about the art and craft of acting in his observations as he does about Beckett and his work. Based on tonight’s performance the conclusion is that Beckett is not entirely knowable, the meaning is in the eye of the interpreter. Which is exactly what Irwin explores in his discussion of the pieces he performs and recollections of stagings he’s been a part of. The performances are funny and challenging in the best possible way. The writing is very very dense, strangely I have had little exposure to Beckett’s work. To my knowledge since I began blogging no one has produced one of his plays in town, or if they did it flew under my radar. I’ve read more about Beckett than I’ve read Beckett. It seems from the sample I got tonight, that he is a writer worth having a lifetime relationship with as one does with Shakespeare. A writer that you can find new meaning is with each performance and at different ages. I’m very glad to have had this primer on Beckett from Irwin, he has piqued my curiosity. In addition watching Irwin’s clowning routines was its own some kind of wonderful. What a wonderful evening though much to short at only 80 to 85 minutes, but as the old saying goes leave them wanting more. Well, I for one want more and intend to look for it in the work of Beckett and if I ever get a chance to see Bill Irwin clowning around again, I’ll be front row center, he is a truly gifted physical artist.

The show seems to be very simply presented a black stage and not a lot in the way of set pieces or costumes aside from a podium and a few pairs of baggy pants and some bowler hats. It’s a testament to the skill of everyone involved that it appears so simple because truth be told everything, especially the Lighting design by Michael Gottlieb, is very specific and much more complex than it appears.On Beckett runs through March 24th at the Guthrie Theater in downtown Minneapolis for more information and to purchase tickets go https://www.guthrietheater.org/shows-and-tickets/2023-2024-season/on-beckett/

Don’t want to miss a single review from The Stages of MN? You can subscribe and have every post sent directly to your email. 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/

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

Feast From Walking Shadow Theatre Company at the Black Forest Inn With Bonus Show Beowulf!

There’s something happening at The Black Forest Inn on Nicollet ave in Minneapolis that you have to experience, and experience is the right word. There are options for seeing Feast, but I highly recommend trying to replicate my experience, which is to attend one of the performances when John Heimbuch is presenting his performance of Beowulf before hand. Then splurge for the full dinner and show version of Feast, though a limited number of show only seats are available at performances. This coproduction of the Walking Shadow Theatre Company and Black Forest Inn is really an inspired partnership, and the venue suits both shows perfectly, in fact I feel like they should be performed together on every date.

We began our evening by grabbing some NA drinks from the bar of the Black Forest Inn, but you can get alcohol enriched beverages as well, that part really isn’t important. Then we settled in as John Heimbuch told us the story of Beowulf as adapted from the Epic poem told to him by the late Charlie Bethel. I chose the word told rather than performed because that feels right, this felt like it owed more to the oral storytelling tradition that would have been common in the time when Beowulf was first written down than it does to modern theater. Heimbuch holds the audience captivated for what feels like it could not have been 60 minutes but was. Time flies by as you are mesmerized by his retelling of the tale of Beowulf, the monster Grendel, and Grendel’s mother. Filled with action, horror, and a very modern dash of humor, it’s the only way to experience Beowulf if you want it to come alive for you. Don’t read it in the original Olde English as I had to in college, if doesn’t come alive, it just lies there, it’s dead ege’s (translation from the Old English is Eyes) staring up at you. It’s a thrilling tale and Heimbuch has a gift for oral storytelling that conveys that excitement to the audience.

Next we used the restroom, that also isn’t really important, but after making a trip into the bar to use the facilities we later learned that there are two in the performance space, so…it kinda is useful information. Then while we ate our meals, there are three choices including one for the veggiesauruses. We were treated to some wonderful guitar playing by Scott Keever (some performances will feature Sycamore Gap), while we dined, this really is a nice way to enjoy a meal, being played music by a gifted musician, I highly recommend it for the digestion. Then It is time for Feast, which is a one woman show written by Megan Gogerty featuring Isabel Nelson as Grendel’s Mother from Beowulf, telling her side of the story. There is so much I want to say about this show, but I also want you to have the same experience I did, which was from the moment Nelson began her performance, not at all what I was expecting. And so I’m not going to tell you anymore about the show itself, just that you should experience it. Nelson’s performance is something you experience because she involves you in it. Don’t worry it’s not audience participation, the most you’ll be asked to do is eat something strange that she pulls out of one of the coolest props I’ve seen, which to give credit where it’s due was designed by Whittney Streeter. The other thing I can say without spoiling anything is that for a production put on in the party room of a restaurant the technical aspects of this show were really tight. Loved the sound design by Richard Graham and there is no lighting designer credited but they did something with the lights at one point that I didn’t expect and that was very effective. Feast is directed by Allison Vincent, who seems to excel at everything she’s involved in from writing, directing, and performing, and this is another home run.

This is a remount of their sold out 2023 run, so don’t wait to get tickets there are several dates already sold out in this run that just opened. Feast runs through March 30th at the Black Forest Inn in Minneapolis, Beowulf is available as a second ticket on 3/16 and 3/23, get both if you can! For more information and to purchase tickets go to https://www.walkingshadow.org/feast-2024/