The Little Mermaid is a musical based on the 1989 Disney animated film of the same name. When the animated film came out it ushered in a second golden age of animation for Walt Disney Studios which had been floundering for over a decade. It also introduced the the musical form to a new generation, suddenly there was an animated film that had great songs. It was like a Broadway musical, but in animated form. It’s no surprise that it would be adapted into a Broadway musical years later. The strange thing is that Universal turned Wicked into a two part movie the first part running as long as the stage musical, and it works great. Disney has taken the reverse route and turned an 83 minute film into a two and a half hour stage musical, and it’s too much. The show would be really good at 90 minutes, and would be perfect for it’s target audience. At well over two hours even without the intermission time, it’s padded with songs that just are nowhere near as good as the originals by Alan Menken and Howard Ashman. Am I saying skip it? No I’m not, I just want you to go in with the correct expectations. What works, works great. Those original songs are still great. And the production design, specifically all of the stage magic employed to create a world under the sea is fantastic. You will believe a Mermaid can fly.
The cast is game, they are doing their best to sell those new songs. Leianna Weaver as Ariel has a wonderful voice, which is a good thing given that the Prince has fallen in love with the voice. My other favorite in the cast was Dana Orange as the crab Sebastian, partly because my two favorite songs from the show are “Under the Sea” and “Kiss the Girl”, which are very Sebastian centric. Orange captures that calypso voice I loved from the film perfectly. By the way, if you don’t know the plot of The Little Mermaid by now, and need a synopsis to help you decide whether or not to go. This isn’t the show for you. If you loved the movie and those songs, you’ll have a really nice time with this. I attended with a ten year old girl and a twelve year old boy, neither of whom had seen the movie, and they both enjoyed it, the young lady more than the young man, but it still elicited a thumbs up from both. So take your kids they will be amazed at all of the visual tricks and special effects. But this doesn’t transcend and become a crossover show. This is not The Lion King. But hats off to the design team and cast for making it worth the extended run time.
The Little Mermaid runs through December 29th at The Ordway Center for Performing Arts in St. Paul. For More information and to purchase tickets go to https://ordway.org/events/disneys-little-mermaid/
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The Best Christmas Pageant Ever! may not be all that, but it’s pretty good, and for about three minutes towards the end it achieves greatness. Those three minutes alone are worth the time and price of admission. You’ll know when the moment is if you go because a character will tell another that someone is crying. Which is when I realized I was as well. The moment belongs to River Clementson and is so unexpected that it felt like a Christmas miracle. In what is a fairly entertaining if slightly underwritten comedy from playwright Barbara Robinson, there is a moment of clarity and beauty. I’m not sure where Miss Clementson came from but I’m excited to see where she goes from here. The story is about the staging of the annual church Christmas Pageant, only this year the woman who usually runs it is in the hospital. It’s up to Gabe Bradley, one of the fathers of the narrator of the story, young Beth Bradley, to take over the Christmas Pageant. It’s the same every year so it should be impossible to mess up and it would be, except for the Herdman kids. Six kids who have never been to church and have a reputation around town that would make Scut Farkus and Grover Dill run for cover. They get the idea that they want to be in the pageant, chaos and humor insue.
One thing that is special about this production is that of the 21 cast members there are only 3 adults. Don’t let that scare you, this isn’t like going to the Christmas Pageant at church. While yes, the acting ability is uneven, the vast majority are quite good, and no one is bad. I don’t know if you’ve ever been in a Christmas Pageant, I have, I’d almost forgotten that until I saw this show. I think I was a Shepard, but I may have just been a donkey, still I’d rather be a donkey than an elephant any day and twice on Sunday. If you’ve ever been in one or had to sit through one, you’ll know they are, more or less, the same. You’ll probably also mirror the sentiment of one of the fathers in the show who is always asking if they have to go to it. Thankfully that is a joke in the show but not the reality of this show. Typically, I try not review the performances of children, so aside from singling out River Clementson’s show stealing performance, I’ll restrict myself to the adults. Berto Borroto plays Gabe and Nathan Tylutki plays his husband Ned. While the roles are not written incredibly deep they bring to it a casual, give and take that feels genuine. Beth Gilleland plays basically all of the other adult roles, most of them Church ladies talking on the phone. She does a nice job changing voices and carrying on conversations with herself. I’m glad they went the route of just having one actor play all those roles, it added a nice sprinkling of humor.
The Best Christmas Pageant Ever! runs through December 22nd at Park Square Theatre. A great family show it runs a little under 80 minutes with no intermission. For more information and to purchase tickets go to https://bit.ly/49ITRAZ
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With this final show I have attended all of the TCHF XIII productions and yet somehow I still didn’t get a Bingo. Oh well, sometimes it just isn’t in the cards. Besides I think the prize was a toothbrush and who the hell wants that, am I right? We want candy!!! I have to say that for the first time in my TCHF attendance which began in 2019, there wasn’t a single show that I had to write a bad review about. Hey they weren’t all great, but there wasn’t a bad one in the bunch. The more amazing thing, and what shows that this years producers were real risk takers, is that Allison Vincent wasn’t in any of them. Last year that was the one ingredient that guaranteed a hit show, so for no one to have cast her in a show was a very ballsy move. You can read my reviews of everyone of the productions in this years festival which continues through 11/4/24 at The Stages of MN. For more information and to purchase tickets to the remaining shows go to https://www.tchorrorfestival.com/
Schaulust written and performed by Keith Hovis is part musical, part horror show, and all character study of an unstable mind. Hovis plays Wyatt a man who likes to watch, not in a creepy sexual way, but in a creepy everyday kind of way. He describes how it led to his break up with his boyfriend, though it wasn’t the watching part, the boyfriend was fine with that, it was something else, his need to not be needed. After the break up he finds a couple of people online who need money and agree to install a camera in their homes so he can watch them in exchange for money. Again not in a creepy sexcam way, just watch them playing video games, cutting their nails, sleeping on the couch. I’m not sure who to credit with the scenic design but it’s extremely well done. Wyatt’s home is a window into his fraying and disintegrating mental health. You can see the benefit of Schaulust playing in the Studio space, it has allowed for a fairly elaborate design, which really does inform our understanding of the narrator. It’s also one of the handful of shows that has some real horror elements, which I always think is a nice touch at the horror fest. It’s well written and acted, Hovis’ performance is all in and his songs were perfectly suited to the material. It’s one of the most polished and effective shows of the entire festival and I can say that because I saw them all!
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The best way I can think of to describe Mauritius is to say if the Coen Brothers wrote a pla, this is likely what it would be. A great script by Theresa Rebeck that ratchets up the suspense scene after scene. Filled with characters of questionable morals, the audience is kept off balance as you are never sure who can be trusted or what they are capable of. Not a comedy by any means despite an opening that feels like it could go that way, it does contain a dark vein of black comedy running through it. In fact, this script is so good and it’s relatively simple to stage that I’m amazed I hadn’t heard of it before and that it isn’t performed more frequently. Peter Moore, who directs as well as performs in Mauritius, has staged the show in the round with minimal set. For those familiar with Ten Thousand Things productions, it very much has that feel. Moore uses the space very effectively and the minimal set and proximity of the audience to the performance space allows us to really focus in on the performances which are outstanding. I attended a matinee performance on opening weekend which was at best 1/4 full. It reminded me of one of the reasons I write this blog, to try and shine a light on shows that the average theatergoer hasn’t even heard of. This is one of those shows that should be playing to sold out houses, you couldn’t ask for a more rewarding and entertaining thriller to attend.
The play opens when Jackie, a young woman whose mother has just died, enters a stamp collecting store to ask the owner Phil to look over a stamp collection given to her by her mother who thought it might be worth something. This innocent inquiry puts her into contact with Dennis who hangs out in the store as a lookout for a wealthy but dangerous collector named Sterling. It turns out she has a couple of stamps that are quite valuable and she needs the money. But the ownership of the stamps is disputed by her half-sister Mary, who despite not having been around for decades wants to claim ownership as they came from her Grandfather on her father’s side which is of no relation to Jackie. The tension arises and builds as we watch to see if the stamps are genuine, how much they are worth, whether Jackie will be able to sell them, if she’ll get fair value, or if she will even survive to the end of the play.
Sarah Dickson leads the superb cast as Jackie bringing an intelligence to the role that believably cracks into damaged desperation at times. It’s raw and genuine and generates an empathy for the character that leads to real concern for her characters well being. Peter Moore, is chilling as Sterling, who in one scene takes off his suit jacket revealing a shoulder holster. He never pulls the gun out or even mentions it in the scene but, the audiences awareness of its existence ratchets up the feeling that things could go horribly wrong at any moment. Corey DiNardo as Dennis is charming as any conman and one is never sure where he stands and how far he is willing to go. Bill Schoppert is Phil the stamp expert, whose dry and sarcastic responses to Jackie’s initial inquiries makes the first five minutes of the play worth the price of the ticket. Mary, who could easily have been named “Karen” is played with the perfect air of entitlement by Bonni Allen. This whole cast is just perfect and brings this brilliant play into sharp focus, and is one not to be missed!
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Okay, so those paying close attention will notice that I labeled yesterday day one and today’s reviews day three. Well I wasn’t counting the Wednesday Cabaret, but I see from the TCHF posts they count that as day one, so I’m adjusting to their lead. If you want to see Let’s Summon a Demon at Debbie’s, good luck! As I prep this post the final performance lists, the tickets as almost gone. I suspect by the time I post this it will be sold out, making it a completely sold out run. Remember you can see the entire schedule and purchase tickets at this link https://www.tchorrorfestival.com/tchf-xiii.html . All Shows take place at the Crane theater in NE Minneapolis. I’ll be seeing all of the shows, so check back here for further reviews. I recommend seeing them all but if you are new to it at least plan a day or night to come and see three or four shows at once, there is such a variety of shows. When you do come they have some great mocktail additions to their concessions this year, I’ve tried the Cosmo and the Margarita so far and loved them both. Also don’t forget to purchase your merch, t-shirts, hoodies, even earrings, and dresses. That’s the pitch, now on with the reviews!
The Night Parade of a Hundred Demons for those of you familiar with Rev. Matt’s Monster Science you should know this years TCHF entry comes with a twist. Matt Kessen is joined by The Winding Sheet Outfit who act out elements of his humor filled lectures. If you’ve never seen Rev. Matt perform before you should, he’s a staple of the TCHF, the Minnesota Fringe Festival, and he performs monthly at Bryant Lake Bowl Theater. For most of us horror fans he’s like that favorite sweatshirt, it’s not your fanciest, it’s not your warmest, but it’s comforting and makes you feel warm inside. To describe the content would be pointless as each of his performances is a different topic. I will say that the addition of The Winding Sheet Outfit adds to the fun in all the right ways. For our performance the highlights was a parody song to the tune of “The Leader of the Pack” and they will be performing a different song for each program. I may try and catch another performance if I can, I enjoy these so much.
Fractured Remembrances is written and directed by Executive Director/Ticketing Director of the TCHF Duck Washington. Don’t worry his show is not the result of string pulling, it’s more than deserving of its place in the festival. Of the seven shows I’ve seen so far, this was the one with some real moments of unease and creepiness. The story of a young woman named Aster, played beautifully by Angela Fox, who undergoes a traumatic experience when she and her boyfriend disappear for five days. She is found but her boyfriend is not, but he’s not the only things missing, her memory of the five days is also gone. The show deals with her trying to recover her memories with the help of a hypnotherapist. This has a complex script, brought to life with minimal sets but with truly creepy lighting and sound design. The Make-up and special effects by Kyle Decker add an ooze factor that doesn’t go over the top like Dangerous Productions shows do, but just adds to the overall tone of dread. There are fun supporting performances from Tim Uren, Ariel Pinkerton, and Jean Wolf. This is one for horror fans!
Ghostrunners certainly has some effective and horrific moments, but at its heart, it doesn’t want to scare you, it wants to amuse. At that it succeeds admirably, the main focus is on word play. For example those words that have more than one meaning like bat, as is baseball bat or the flying rodent. Another example is words that sound alike, “I see”, being mistaken for “Icey”. If you enjoy this type of clever writing and it is clever, though like the magicians trick or Sherlock Holmes deductions, it seems simple once explained. But coming up with all of these variations and then fitting them into a story, they only make it look easy. The story centers around an accountant who, appears to have OCD and be on the spectrum, spends his spare time playing a baseball game that he invented with dice, which relies heavily on statistics and tables. This rang very true to me, I’ve a son on the spectrum and I remember the elaborate games he would create on his own when he was younger. The game he is playing is then acted out by performers who are representing what is happening in his head. Everything begins to go south when he rolls three ones, a triple snake eyes if that’s clearer. This roll takes him to a table that is hardly ever referenced and the results are murderous. It’s a great cast including, in for one of the actors who has been benched due to an injury, the Director Kevin Duong at some performances and Playwright Kyle Munshower at others.
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The First National Touring Company of SOME LIKE IT HOT Photo by Matthew Murphy
Some Like it Hot is probably the most successful non musical movie to stage musical adaptation I’ve ever seen. I’ve written before about how few of these types of musicals justify themselves. For every successful one there are four that had better never been staged. They are either a retread of the movie with forgettable songs like Pretty Woman or in the rare instance they are a completely thrilling productions that wows with stage magic with forgettable songs like Back to the Future. Sometimes they can be fun like Mrs Doubtfire was but mostly they suck like Tootsie. But, they all have one thing in common they are trying to recapture the magic of the films on which they are based. What Some Like it Hot does is transform a classic movie in such a way that it recreates the magic of the film but adds meaning and layers that were not possible when the film was made in 1959 by Billy Wilder. It doesn’t change the plot, and it remains a comedy, but it’s also about something, something much bigger than its source material. I love the film, I’ve seen it at least half a dozen times, I expected to enjoy the musical, and hoped it retained the humor of the original and for a change added some memorable songs. I didn’t expect to see a show that told the story I knew while containing at it’s heart a story of transition and of acceptance.
For those unfamiliar with Wilder’s classic film, which is probably more of you than I imagine, the story is set during prohibition. It begins in Chicago where a couple of musicians Joe and Jerry witness a gangland killing and disguise themselves as women so they can leave town with a all girl band. While the gangsters are searching for them they both become entangled romantically. In California, where they plan to put on their big show after trying it out on the cross country trip, Joe, disguised as Josephine falls for the lead singer of the band, Sugar Cane. He assumes the disguise of a screenwriter named Kip to try and Woo Sugar. Jerry under the name of Daphne is pursued by a millionaire and Root beer heir named Osgood Fielding III. While Joe creates disguises in order to deceive and get what he wants. Jerry finds that his disguise as Daphne is where he finds his truth. This show looks and feels like a movie from the time period in which it is set ,1933. There is no out of place rap songs or rock anthems, the songs sounds as if they come from that period, with the exception of a few lyrics here and there. But one major change that does take place is in the races of the characters. This isn’t a case of color blind casting, Jerry and Joe, who call themselves brothers because they grew up together, are obviously not as one character points out. Jerry is black, Joe is white. Sweet Sue, the bandleader is black as is Sugar and many of the other band members and characters. Race isn’t ignored, The film went to Florida, when Sweet Sue is asked if she is taking the band south on tour, she points out that looking like she does and the way the world is, hell no she isn’t going south. Race isn’t a major theme in the show, but it isn’t ignored either. The show is diverse and it’s theme of acceptance carries over to race as well as gender. Neither the themes of race or gender that are present dominate the show but they add to the emotional core of the show. They will resonate beyond the spotlight especially to those in the audience who see themselves reflected on stage in a way they rarely have.
The film used men in drag as a plot device but also for the outdated comedic trope that a man in a dress is funny in and of itself. Here the creators have jettisoned that trope, I don’t recall any instances where the men being in drag alone was supposed to signify something humorous. Instead it is undeniable that Tavis Kordell, who plays Jerry, is far from being a punchline in his disguise as Daphne, he/she is in fact beautiful. That isn’t coincidental anymore than the fact that the role of Sugar, played in the film by the definitive iconic blonde bombshell Marilyn Monroe is here played by Leandra Ellis-Gaston an attractive and talented black actor. These are intentional decisions and they are meant to subvert our expectations and expand our capacity to embrace others and erode our prejudices. Matt Loehr who plays Joe/Josephine along with Kordell and Ellis-Gaston are remarkable tap dancers. Everyone in the cast to be honest is amazing as are the routines that have been designed for them by Choreographer and Director Casey Nicholaw. Dance is a major draw of this show and if you are a fan of Dance, particularly tap, that is just another reason not to miss Some Like it Hot. One amazing sequence has the Gangsters chasing Joe and Daphne, the cops chasing the gangsters, and everyone else jopining in. The use a line of floating doors to playout the chase done in dance as if it were an episode of Scooby-Doo. There are a couple of other standouts in the cast that I wanted to mention. Tarra Conner Jones is commanding as Sweet Sue with impeccable comic timing. Edward Juvier who plays Osgood is a comic delight as well, but he’s also the sweetest person in the play, and perhaps the world. When he sings to Daphne “Fly, Mariposa, Fly” a song about a caterpillar turning into a butterfly he wins over Daphne and the audience. The two of them are the emotional center of the film and the subversion of the films iconic final line is brilliant and meaningful.
Tired of missing reviews from The Stages of MN? Do you find yourself left out when all your friends are talking about that great new play that you didn’t even know about? Never fear, that need never happen again. Now you too can subscribe and have every post from The Stages of MN sent directly to your email box. No more hoping the algorithm works in your favor and you actually see a post on facebook or Instagram. No relying on so-called friends to tip you to the best shows in town. To subscribe on your computer: from the home page on the right, enter your email address and click subscribe. On your mobile device scroll to the bottom of the page and do the same. You can also follow me on Facebook, @thestagesofmn click follow and on Instagram thestagesofmn. You can also read some of my reviews syndicated on the MN Playlist website https://minnesotaplaylist.com/ from time to time.
The Twin Cities Horror Festival XIII opens in just over a week and already there are a couple of performances sold out. So if you’re like me and want to see every production make sure to plan ahead so you don’t get left out in the dark. Because let’s face it, it’s kinda scary in the dark. The Country’s longest running horror theatre festival takes place over 11 days from 10/24 through 11/3 at the Crane Theater in Northeast Minneapolis. This year the festivities start a day early with a one night only performance of Leslie Vincent Presents: A Monster & Mayhem Cabaret which has already sold out! I look forward to the TCHF every year since I first covered it in 2019. If you like bumpities and spookables this is like a mini Fringe festival with shows that last an hour or less with a new one beginning every 90 minutes. One huge advantage TCHF has over the Minnesota Fringe is that it’s possible to see every one of the shows! Watch for my reviews throughout the festival and, if you see me there, be sure to stop by and say boo.
Murderinos and monsterheads unite for an evening of cabaret, camp, and costumes. Your host, local jazz chanteuse and former TCHF producer (A Morbid History of Sons and Daughters, Writer’s Room) Leslie Vincent, and her merry band will get you in the Halloween spirit with spooky originals and jazz standards as they were never intended to be sung. One night only!
On its 30th anniversary, a group of New York’s most celebrated Shakespearean actors gather to memorialize the bloodiest theatre riot in American history: the Astor Place Riot. After the matinee performance of Macbeth, a horrible accident backstage leaves Lady M on her death bed. As the actors await news of her fate, they gather in the dressing room, amusing and consoling one another with theatre stories, each in turn confronting the bloody secrets of their past and horrors of the date 30 years ago which binds them all together: May 10th, 1849, The Astor Place Riot.
It’s been 25 years since Debbie, Cara and Lucy have seen each other, and 25 years since Debbie has left her house. But don’t worry, Debbie’s hasn’t been alone, Debbie has her dolls. A high school reunion like no other, three friends try to make sense of strange occurrences throughout their lives, and figure out if an all consuming need to return to Debbie’s house has to do with that demon they tried to summon senior year.
Ratings:
Strong Language-5
Blood-3
Suggested Age 16+
Genres of Performance: Theater
Genres of Horror: Camp Comedy
Warnings: Thunder and Lightning (Loud noise, strobe like effect)
A dark fable, performed entirely through blacklight puppetry, about a Hero’s journey to bring their Beloved back to life with the aid of a dubious Alchemist. The Hero must traverse treacherous lands and face dangerous foes to collect the ingredients needed to concoct the Alchemist’s elixir. How far are they willing to go to defy Death in the name of Love?
Taking a uniquely Dangerous Productions approach, this cast of characters tackles the horrors of the American medical system. its a deeply bloody show with equal parts absurd comedy, slapstick and several gallons of blood spilt
Two great tastes that taste great together! Horror Festival favorites team up to tell 100 tales of horror mythology, over five distinct, themed shows, – “Shapeshifters,” “Demons,” “Undead,” “Outsiders,” and “Beasts” – each bringing their own inimitable style! And nothing goes wrong! NOTHING.
Aster and her boyfriend have disappeared. After five days she is found, her boyfriend is not. She has no memory of what happened and begins suffering psychogenic blackouts when pressed about it. Aster’s world turns to chaos as her fractured memory betrays her. To learn the truth she must come face to face with horrors beyond her imagination.
Written, Directed, and Audio Designed by Duck Washington (All Your White Darlings, My Only Hope For A Hero, Charcoal Moon)
Starring: Angela Fox, Kyle Dekker, Jean Wolff, Tim Uren, Philip D Henry, Rob Ward, Elizabeth Douglas, Eric Thompson, and Ariel Pinkerton
Featuring: Maureen Bourgeois, Elizabeth Douglas and Eric Thompson
Stage Managed by Megan Slawson
Make-Up Effects by Kyle Dekker
Violence by Philip D Henry
Original Music by Dissociate
Costumes by CJ Mantel
Ratings:
Strong Language-4
Blood-4
Suggested Age 16+
Genres of Performance: Theater
Genres of Horror: Psychological, Gore, Supernatural, Monster
Henry loves baseball but hates playing it. And watching it. Yet, his obsession over its rules, balance, and history lead him to create his own tabletop baseball simulation where rolling dice and complicated charts determine myriad, bizarre outcomes. When a player is murdered in the game, the search for the culprit turns a pastime into a nightmare.
Do curses exist? Is the paranormal real? In 1904, two rivals try to uncover a series of mysterious deaths. In 2004, three strangers meet up to investigate a curse. Tonight they’re drawn together to answer the most important question: Is someone in here with us? From the team that brought you Girls in Bins.
Written by Rachel Teagle; Directed by Jenny Moeller
Featuring: Rita Boersma, Megan Kim, Heather Meyer, Mickaylee Shaughnessy, and Ben Tallen
Stage Manager and Gore Goblin: Shea Roberts Gyllen; Additional Special Effects: Victoria Pyan; Props Builder: Caden Wessner
Sometimes you wanna’ go where everybody knows your name, but are they *always* glad you came? Here comes “The Regular,” a story of a guy who walks into a bar…but might not walk out.
Featuring: Sam Landman, Claire Chenoweth, Jay Melchior & Lukas Ramsey.
Written and directed by Josh Carson (A Very Die Hard Christmas, Mad as Nell or How to Lose a Bly in Ten Days, A Justice League of Their Own)
Ratings:
Strong Language-5
Blood-4
Suggested Age 16+
Genres of Performance: Theater
Genres of Horror: Comedy and Psychological Thriller
Gather around the theatrical campfire to hear Twin Cities artists and Horror Fest favorites tell their personal stories with the supernatural. It’s like “Are You Afraid of the Dark”… accept these stories are TRUE.
Special When Lit (THE FAE, INCARNATE, STABBY STAB STAB, KIN) is known for spectacle, and Campfire Stories is no different, with live music and effects to make it a full spooky experience. Trick or Treat: There are two versions of the show in rotation, so you can maximize your Halloween season with more spinetingling content.
Wyatt likes to watch. No, he needs to watch. He’s addicted to the thrill of seeing people eat, clean, read, watch TV, and live their lives. But when his passion starts taking on a life of its
Ratings:
Strong Language-4
Blood-3
Suggested Age 16+
Genres of Performance: Music, Theater, One-Person Show
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