The 39 Steps Hilarious and Faithful Adaptation of the Hitchcock Classic

The 39 Steps is a stage play adapted by Patrick Barlow from the novel by John Buchan and the film by Alfred Hitchcock, one of Hitch’s early successes during his formative British years. It was also one of the earliest VHS tapes my family owned in the late 1970s. The novel later served as the basis for a 1978 film starring Robert Powell, which I also devoured endlessly as a kid. So this story of a man wrongly accused, on the run to clear his name while trying to foil a plot by foreign agents, holds a special place in my heart. I’ve seen this stage adaptation before at Lyric Arts and have always found it to be a clever and affectionate tribute to Hitchcock’s take on the story.

The 39 Steps answers the question: What if a Hitchcock movie were performed by four people who drank too much coffee and refused to slow down? Richard Hannay is framed for murder, chased across the countryside, and swept into an increasingly absurd web of spies, secrets, and romance. With dozens of characters, breakneck pacing, and comedy that borders on athletic, the show is a non-stop joyride where the thrills are fake, the laughs are real, and the ingenuity is jaw dropping.

Director Sarah Nargang, who has a background in clowning, puts that experience to excellent use in staging the controlled chaos that unfolds over the course of the play. One of the great joys of this production is its use of meta-humor. There’s no attempt to disguise the fact that four performers, assisted by two stagehands or “background clowns”,are staging a cross-country chase involving dozens of characters and at least as many accents. In fact, much of the humor comes from acknowledging exactly that. A lightning fast costume change might earn a round of applause from the audience and a gracious bow of acceptance from the performer.

Michael Kelley as Clown 1 and Lois Estell as Clown 2 handle most of the rapid fire character changes, and their timing is impeccable. I love that roles are assigned regardless of gender, giving the performers freedom to fully commit to the absurdity. Kelley and Estell are brilliant at creating a wide variety of characters, each one as distinct as it is hilarious. The background clowns, who also serve as understudies for the other roles, deserve recognition as well. Though they primarily assist with scene changes and passing tree branches outside train windows, Dominic DeLong-Rodgers and Sophie Finnerty contribute enormously to the show’s momentum and humor.

Hannah Steblay also plays multiple roles, but unlike the clowns, she generally inhabits characters with longer arcs. She portrays both Annabella Schmidt, the spy who passes her mission to Hannay with her dying breath, and Pamela, the woman Hannay finds himself handcuffed to, resulting in an inspired and delightfully physical routine as the pair attempt to navigate a gate together. Hannay himself is played with matinee idol poise and dashing charm by Grant Henderson, who nicely captures the easy charisma of Robert Donat in the original Hitchcock film. It’s excellent casting all around.

The 39 Steps is a great show to take the family to: a classic thriller story performed with comic brilliance that allows the magic and ingenuity of stagecraft to shine. The show runs through February 7th at Lakeshore Players in White Bear Lake. For more information and tickets, visit https://www.lakeshoreplayers.org/39steps-season-73

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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.

Somewhere is a Play For Us at the Guthrie Theater

The Cast of Somewhere Photo by Dan Norman

It was the best of times; it was an age of analog dreams, when imagination was golden. It was before the dawn of cable television and 200 channels, before smart screens and the instant gratification of DVD’s and DVR. It was long, long ago in a world that feels far, far removed from today, a world where there were movies you could only see when they aired on television. Some of them were so special that you could count on them airing once a year, and it was an event.

My love of musicals was born in those early years, with annual screenings of The Wizard of Oz, The Sound of Music, and West Side Story. By the early ’80s, I wouldn’t say we had cable television, but we certainly stole it. With that proliferation of channels, and the addition of the VCR more musicals found their way into my orbit. I’ve spoken before of knowing The Music Man by heart before the age of ten, and Man of La Mancha made such an impression that even today I cannot see the flaws in the film version, though others assure me they exist. As a kid who loved musicals, romance, and Batman in equal measure, West Side Story was the one I acted out most often. It had a rumble, for God’s sake. Somewhere is the story of an even earlier generation, a family as much in the thrall of musicals and popular entertainment as I was.

Somewhere takes its name from a song in West Side Story. It is a beautiful family drama about both the power and the burden of dreams. The Candelaria family moved to Manhattan from Puerto Rico so the absent father, Pepe, could pursue his dream of becoming a singer and dancer. While he travels with a band, the rest of the family struggles to survive and follow their own dreams. Inez, the mother, is the dream pusher, always encouraging her children to reach for the stars. Alejandro, the oldest child, has stepped into the role of responsible adult, making sure the bills are paid and dinner is on the table. Once a dancer with small roles on Broadway, he hasn’t danced in two years. As often happens, when everyone else lives for their dreams, one person steps up to manage reality for the rest. His younger sister Rebecca is also a dancer, and his brother Cisco dreams of being an actor. A chance reconnection with Alejandro’s best friend Jamie, who was essentially raised as a Candelaria, sparks new possibilities. Jamie works as an assistant to Jerome Robbins, the Broadway director behind West Side Story, which seems to always be in the ether of this play. The play explores the give and take between dreams and reality and the importance of living with both.

Somewhere is billed as a play with dance. There isn’t a lot of it, but what there is is terrific, and I don’t think anyone in the theater would have objected to more. Maija Garcia does an excellent job with the choreography, including an ingenious onstage costume change. It’s a moment where the very real drama of the characters takes a soaring grand jeté away from reality, if only for a moment. Director Joseph Haj has such a firm grip on the production that the moment lands perfectly, despite completely fracturing the play’s realism. It’s a bold choice, and it pays off beautifully.

Maggie Bofill, as Inez, is so buoyantly enthusiastic as the ever optimistic mother that when she softens into a remembrance monologue about how she first met Pepe, the shift in energy acts like a vacuum, pulling us fully into the moment. Preston Perez grounds the piece as the ever sacrificing Alejandro, trying to rein in everyone’s dreams just enough to protect them from heartbreak but without extinguishing those dreams altogether. He is also an impressive dancer, and along with local rising star Sam Stoll, who plays Jamie, they deliver some truly elegant footwork. It’s wonderful to see Stoll making his Guthrie debut; he’s terrific in the role.

Somewhere runs through February 1 at the Guthrie Theater in Minneapolis.
For more information and tickets, visit:
https://www.guthrietheater.org/shows-and-tickets/2025-2026-season/somewhere/

The Wiz Is So Fantastic You Should Get on Down to It at the Orpheum Theatre

Cal Mitchell as The Lion, Dana Cimone as Dorothy, D. Jerome as The Tinman, and Elijah Ahmad Lewis as The Scarecrow in the North American Tour of THE WIZ. Photo by Jeremy Daniel

I’ve never seen The Wiz performed live. I remember seeing the movie as a kid and being a little disappointed, and based on some light research, I might still feel that way about the film version. This stage production of The Wiz, though? Man, it was groovy.

The show is designed as a Motown infused take on The Wizard of Oz, so if you’ve seen the classic film or read the books, you already know the basic plot. It doesn’t stray far from that framework. What it does do is filter the story through a different cultural lens, a more modern, hip sensibility, with Charlie Smalls’ R&B influenced songs driving the energy. It puts a fresh spin on everything, including a surprising amount of humor that feels very contemporary. That may be thanks to Amber Ruffin, who is credited with additional material for this production, likely updating William F. Brown’s original book. A quick glance at the Wikipedia summary of the original musical shows that quite a few changes have been made, including cutting Toto entirely.

The cast is strong across the board. Of the four companions Dorothy, the Scarecrow, the Tin Man, and the Cowardly Lion, the weakest link might be Dana Cimone as Dorothy. Her voice didn’t feel quite as full, rich, or confident as the others, but that may also be a deliberate character choice. Dorothy is a young girl who struggles with confidence and connection, and part of her journey is discovering that she already has what she needs. Her three companions are all fantastic, with another standout being Alan Mingo Jr. as the Wiz.

I’m not usually a fan of heavy reliance on projection in production design, it often feels like a shortcut. But here, I absolutely loved Daniel Brodie’s projection design and how seamlessly it integrated with Hannah Beachler’s scenic design. The projections add a fantastical quality and are executed at such a high level that they create a striking illusion of depth. At times, I found myself trying to figure out whether there were multiple physical layers onstage or if it was all visual trickery. I don’t want projections to replace physical sets, but in this case, I’m completely on board.

This isn’t Wicked, Frozen, or The Phantom of the Opera, a revival of The Wiz simply isn’t going to have that level of budget. But the creative choices here frequently approach that level of spectacle. In some ways, the design also nods to the classic film. The show opens with a black & white aesthetic reminiscent of the Kansas scenes in The Wizard of Oz. The original film also used lush but obviously painted backdrops, and the projections here echo that two-dimensional theatricality in a clever way. At the same time, the production makes great use of low-tech magic, including an especially effective tornado created with dancers and lighting. (See the Photo Below)

Gregory Hamilton, Moriah Perry, and Kameren Whigham as The Tornado in the North American Tour of THE WIZ. Photo by Jeremy Daniel

The costumes by Sharen Davis, lighting design by Ryan J. O’Gara, and choreography by JaQuel Knight all deserve special mention. Together, these elements create a visually dynamic and consistently engaging production. My hazy memory of the film, one I probably haven’t seen in over four decades, is of something cluttered and uneven, though that may be more about the taste of a preteen raised on the Technicolor splendor of the original Wizard of Oz. This stage production is clean, lean, and well-paced. The narrative moves briskly, the design is enchanting, and the cast delivers strong vocals alongside bringing a sharp attitude and colorful humor to the characterizations.

The Wiz runs through December 21st at the Orpheum Theatre in downtown Minneapolis.
For more information and tickets, visit:
https://hennepinarts.org/events/the-wiz

YARRRH! It’s a Double Dose of Piracy, Hilarity, Song, & Bawdy Adventures at Fortune’s Fool Theatre’s 20th Anniversary Festival of Free Musicals at the Hive Collaborative

Wini Froelich, Ariel Pinkerton, and Caitlin Sparks Photo by Kari Elizabeth Godfrey

What started as a Minnesota Fringe Festival show in 2011, followed by a remount at Open Eye Theatre that same fall YARRRH! The Lusty, Busty, Pirate Musical has become Fortune’s Fool Theatre’s biggest hit. For the company’s 20th Anniversary, co–artistic directors (and father and daughter) Daniel and Ariel Pinkerton have revived the smash and paired it in repertory with a brand new world premiere holiday sequel, Have YARRRHself a Lusty Busty Xmas. This double bill of pirate booty and busts is the perfect way to celebrate: sharing their most beloved hit while also giving audiences something new. And thanks to a grant from the Metropolitan Regional Arts Council, both shows are completely free. Yes, free pirate musicals. Worth every doubloon and then some.

Both shows feature the same core characters, and while Have YARRRHself a Lusty Busty Xmas is a sequel, the cast recaps the events of the original musical in the opening number. So if you catch the Xmas version first, you’ll be just fine. The cast includes three women, Ariel Pinkerton, Caitlin Sparks, and Wini Froelich playing a dozen or more characters each (if you count every pirate in the massive sword fights). Also in the cast is Oliver Hands as Toby Bustle, the young boy whose mission to rescue his kidnapped mother drives the first show.

YARRRH! The Lusty, Busty, Pirate Musical introduces the whole crew in a treasure hunting adventure. Toby’s mum, Rosie Bustle, owner of the Inn and Out Tavern (who makes extra money on the side on her back), has been kidnapped by pirate Billy Silverhook. He believes she knows the location of a treasure map and brings her to the Pirate Queen, Captain Desirée La Femme. Toby teams up with pirate Captain Jack O’Reilly to pursue La Femme’s ship, rescue Rosie, and outrun the Governor and his soldiers in Jamaica, where one of their party even finds love with the Governor’s niece, Cecily.

Have YARRRHself a Lusty Busty Xmas features the same crew, at least the ones who survived the first outing. This time, the heroes must save Christmas itself. Father Christmas is kidnapped by Don Fernando del Llania, who wants to Christmas more efficient by firing all the elves and eliminating free gifts. The Krampus, La Femme, and O’Reilly set sail to rescue Father Christmas while Toby, Rosie, and Cecily attempt to deliver the toys themselves.

The first musical is a full throttle parody of pirate movies, packed with big laughs and decidedly adult humor. Consider this one ARRRH-rated, and leave the wee ones at home. It proudly carries its Fringe roots, and if you’ve never attended a Minnesota Fringe show, this will give you a taste of the joyful chaos.

The sequel leans more into political satire and prioritizes swashbuckling over swash-unbuckling, but it still lands solidly in hard PG-13 territory. The songs are fun in both shows, but the sequel contains the two that stuck with me:
• “Whatever Happened to Rough Trade?” hilariously performed by Caitlin Sparks, the strongest vocalist in the cast (though Oliver Hands gives her some competition).
• “On Our Tropical Island” a sweet love duet between Father Christmas and Krampus, played by Wini Froelich and Ariel Pinkerton.
All music is delightfully accompanied by Dee Langley on accordion.

Both shows are written by Daniel Pinkerton and Chris Gennaula, directed by Erika Sasseville, and music-directed by Brenda Varda. Like many Fringe-born productions, the set isn’t elaborate, but what’s there is used extremely creatively. The costumes by Ryan McCanna and props by Jenny Moeller are much more detailed with hooks, hats, swords, treasure maps, corsets, puppets… everything your pirate loving heart desires.

The cast is terrific. They know exactly what kind of show this is and lean into it perfectly. Froelich and Pinkerton aren’t primarily known as singers, but they rise to the musical demands and shine in their comedic timing. Their tossed off asides and improvised moments had the audience roaring. Sparks is not only a fantastic singer but matches the others in tone and energy, with some especially inspired physical comedy in “Whatever Happened to Rough Trade?” Oliver Hands, whom I had not seen before, is someone whose career I’ll be sure to follow going forward. This young performer was in good hands with this cast and I’m sure they played a huge role in helping him deliver such a moving and heartfelt performance.

Their naughty, but also nice pirates, and you are sure to have a blast with both shows! YARRRH! The Lusty, Busty, Pirate Musical and Have YARRRHself a Lusty Busty Xmas run in repertory through December 21 at the Hive Collaborative in St. Paul. For more information and to reserve your FREE tickets, go to:
https://fortunesfooltheatre.org/what-were-doing

Most Saturday and Sunday matinees allow you to see both shows with a 30-minute break between them. Reservations aren’t required, but I highly recommend making one to guarantee a seat. And while the shows are free, please consider giving Fortune’s Fool Theatre’s a gift for their 20th Anniversary with a donation:
https://fortunesfooltheatre.org/support-us

Purple Rain Leaves an Ugly Muddy Mess Behind

If there was ever a show you wanted to love, it’s Purple Rain. The new musical adaptation of Prince’s iconic film and soundtrack held its official opening night after three weeks of previews. It’s scheduled to run for about three weeks before theoretically transferring to Broadway—though the production’s website currently lists tickets only for the Minneapolis engagement.

Prince is a Minneapolis legend, and premiering the show here was absolutely the right choice. Unfortunately, that’s where the good decisions seem to end—because if there was ever a show that’s hard to love, it’s Purple Rain.

The musical follows the film’s plot up to a point, then veers off course in ways it can’t recover from. The Kid (Prince’s character) is remarkably unlikable in Act I. Unlike the movie, his brilliance as a performer isn’t really established that strongly up top, so his entitlement and self-centeredness feel neither earned nor forgivable. He comes across as someone everyone around him would be better off leaving behind. Perhaps the Kid’s charisma is meant to carry the audience, but this production was surprisingly low energy. I saw a more electrified crowd at The SpongeBob Musical at Lyric Arts two years ago, that audience treated it like a Beatles concert. Here, applause rarely rose above a golf clap.

The Kid is unlikeable for most of the first act and downright misogynistic in the second. The show aims for redemption but doesn’t come anywhere close to earning it. He’s a jerk who becomes a monster, and feeling bad at the end doesn’t excuse what he does to Apollonia. She’s portrayed as a troubled young woman scarred by childhood trauma, yet in Act II she’s humiliated and reduced to a reality TV punchline. she’s mistreated by the Kid and get’s no happy ending. The show’s book is mean spirited and I had very little tolerance for it by the end.

Purple Rain the movie certainly hasn’t aged super well in terms of the way it portrays women. Those of us who lived through the 80s kind of run into that a lot when we revisit the blockbusters of our past. It’s a sign of how far we really have come despite how it may feel sometimes. I expected this musical to address some of those issues, to correct them. Which, for the record is what I think would’ve been the right thing to do. Instead it doubles down on everything it should have corrected. It shows us women being strong and supportive of each other, but then decides to punish Apollonia in the end. While The Kid is rewarded, because after he’s horrible, he feels kind of bad about it. Ending with the kid being forgiven and him allowing Wendy and Lisa to collaborate with him, which is really a sucky message.

The cast is a mixed bag. Kris Kollins as the Kid moves like Prince and, while not a vocal match (who could be?), that’s forgivable. What’s missing is charisma. Perhaps a result of the exhausting lead up to opening night? I know they’re making changes up to the last minute, but I have to review what I saw. Jared Howelton delivers a spot-on Morris Day, clearly the audience favorite. Grace Yoo shines as Wendy, her commanding presence only highlighting Kollins’ lack of energy. Rachel Webb is excellent as Apollonia. Strong vocally, physically, and emotionally.

Choreographer Ebony Williams offers some intriguing movement, especially shadow partner sequences that suggest the eroticism that they’re not going to show us on stage. There’s nice dance moves from the bands as they are performing at The First (First Avenue). Still, I was surprised there wasn’t more dancing overall.

Production design by David Zinn is strong. The Purple Rain logo against a floral backdrop is striking, and the First Avenue recreation works beautifully. I also liked how the design allowed seamless shifts to other locations, such as the Kid’s apartment, and his motorcycle entrance was handled effectively.

Prince fans will want to go, and knowing what to expect may help you enjoy it for the music alone. But if you plan to share it with your kids, especially your daughters, I’d advise against it. The show leans toxic, its redemption arc forced and unconvincing. The book for this show left me with such a bad taste in my mouth, that no rain, purple or otherwise could wash out.

Purple Rain runs through November 23 at the State Theatre before its anticipated Broadway transfer. It’s a rare opportunity for Minnesotans that should’ve been a celebration of Prince and his music; instead, it felt like they were dragging him through the mud. The lack of energy from some of the cast, made it feel like they thought that as well. For more information and to purchase tickets go to https://hennepinarts.org/events/purple-rain-2025

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/

Primary Trust a Reminder of the Importance of Having Someone to Connect to at the Guthrie

William Sturdivant (Bert) and Bryce Michael Wood (Kenneth) Photo by Dan Norman

Here’s how my Tuesday played itself out. I went to work, as I had every day for the last seven weeks, at Maple Grove Senior High, working as an education support professional in the special education department. Unlike the previous days, this one was my last. I had to say goodbye to a couple dozen kids I’d grown extremely fond of.

In a Facebook post about my last day, I wrote that I knew these kids would move on and forget me, but I would never forget them. It was a great day because I spent it with those extraordinary, unique students. It was also a sad day because I had to say goodbye to them. Then that evening, I went to see Primary Trust at the Guthrie Theater, and in small and large ways, I saw the emotions I’d felt throughout the day brought to life on stage.

We’re never told exactly what the main character Kenneth’s diagnosis might be. It may simply be the result of childhood trauma, or he may be on the autism spectrum, he is clearly neurodivergent. What he shares with the kids I worked with is that he isn’t always able to communicate his truth to those around him. Yet he can communicate, in his own way, in his own mind. And that’s one of the key elements that struck me about this play.

Kenneth’s best friend, Bert, is imaginary. That’s revealed early enough that I’m not spoiling anything. We learn that Bert was once Kenneth’s social worker, the man who helped place him in an orphanage after his mother died when Kenneth was ten. They had lunch together every day, and when Bert’s work with him ended, Kenneth created an imaginary version of him to fill that void. When I wrote that the students I worked with will move on and forget me, I think that’s true. But they’ll forget because others will step in to take my place, and the people already supporting them will still be there. Kenneth has no one to step in and fill the void, and so he created or more accurately extended Bert’s presence with his mind. Don’t get me wrong, he isn’t crazy, he knows Bert isn’t real, and he knows he should only talk to him inside his head.

I used voice dictation to draft this review as I drove home, because, honestly, there are no spare minutes in my day. Each time I said “the kids will forget me,” the dictation wrote “forgive me.” Did I subconsciously say that, or was it coincidence? It reminded me how much that job meant to me. If I won the lottery tomorrow, I might go back to it. But I haven’t, and I need to make a living. Everyone at MGSH, my family and friends understands and supports that, but I still feel like I let them down. I don’t like leaving things unfinished. Even knowing I made the responsible, real-world choice, I’ll always carry a bit of that guilt. I’ll always be hoping they have forgiven me.

Will Sturdivant plays Bert with warmth, humor, and humanity. I related to him deeply. At one point, Bert, though he’s a figment of Kenneth’s imagination, realizes he must do what any mentor does: encourage Kenneth to expand his world, to connect with real people. It’s a powerful, moving moment.

Kenneth does find connection with Corrina, a waitress at Wally’s Tiki Bar, where he spends most evenings drinking Mai Tais with Bert. Nubia Monks plays Corrina, as well as about ten other characters, each distinct and fully realized. There’s a moment when Kenneth offers his arm for Corrina to take, and it is exactly the way one of my students would take my arm when she needed a break, to take a walk. That small gesture nearly undid me.

Pearce Bunting plays Kenneth’s two bosses, both gruff, intimidating men which he manages to show the tenderness behind their rough exteriors. A reminder that what is on the outside doesn’t always reflect what is on the inside. That aspect is echoed throughout the performance of Bryce Michael Wood as Kenneth who is astonishingly good. By the end of the 90-minute, no-intermission play, it’s clear he’s both physically and emotionally spent. Wood gives two distinct performances: the Kenneth who moves awkwardly through the real world, and the articulate and comfortable Kenneth who exists in conversation with Bert. That difference is illuminating, and deeply human. Don’t we all have a version of ourselves that exists in our minds, more articulate and self-assured than the one we present to the world?

I wondered if my love for this play was amplified by the day I’d had, but my plus one, who didn’t share my emotional baggage felt exactly the same. Primary Trust is a play that connects on many levels. For me, it was personal, emotional, joyful, and full of hope, much like the last seven weeks of my life. It’s about communication, understanding, and the quiet ways people reach each other.

Primary Trust is a beautiful, uplifting play that reminds us, if you need reminding, that people are resilient. I absolutely loved it, and I hope you’ll see it before it closes on November 16 at the Guthrie Theater in Minneapolis. For more information, tickets, and details on rush ticket options, visit guthrietheater.org.