Irving Berlin’s White Christmas Brings Holiday Cheer Early to Chanhassen Dinner Theatres

The Cast of White Christmas Photo by Dan Norman, 2024

I know what you are thinking, and I was thinking the same thing, Christmas already? It’s still Monster Month! Well, when you mount a musical at the Chanhassen Dinner Theaters, even an abbreviated run like this, you have to start a little early and run a little late. And guess what? If you want to see this production before Christmas, you’ll need to purchase tickets for an October performance because a quick perusal through the CDT website shows every show from November 1st through until New Years Eve is sold out already. The kicker is, this production, it’s really really good. The dancing alone is worth the price of admission and it will be just as spectacular in October and January as it is in November and December. Choreographer Tamara Kangas Erickson has created some brilliant dances, many for large groups, but even the duet routines contain showstopping moves. Filled with perfectly synchronized tap, the cast really gives everything and it pays off. Under the musical direction of Andy Kust, the orchestra and vocalists are as is always the case at CDT of the highest level. Long time Artistic Director Michael Brindisi shows that after over 120 productions he knows just how to stage a show for this theater and its audiences. I promise you, even the Scroogiest will come away from Irving Berlin’s White Christmas with the holiday spirit.

Song and dance man Michael Gruber plays Bob Wallace one half of a song and dance team along with Tony Vierling’s Phil Davis. These two sound and act the part of 1950’s wholesome crooners perfectly. After an opening set in 1944 Europe in which Bob and Phil are entertaining their fellow soldiers including General Waverly, whom they all would follow to the ends of the earth, we jump ahead to 1954. Bob and Phil are huge stars and on their way to Florida over the holidays to work on and rehearse a new Broadway revue. When Phil falls for one half of a sister act, who are on their way to Vermont to perform at an Inn, he tricks Bob onto the wrong train so they can tag along. It turns out the Inn is owned by their former commanding officer General Waverly, it is also financially deep in the red. When they arrive the Inn has just lost all of it’s reservation due to a heat wave that makes skiing and other winter activities unavailable. Bob and Phil decide to move their rehearsal to Vermont and mount a show, getting all their old infantry division to come over the Christmas holiday and save the General’s Inn. Of course the two sisters they followed, Betty and Judy played by Ann Michels and Andrea Mislan, are on again off again romantic interests for Bob and Phil. Misunderstandings occur to keep the couples apart until the end of course, but they continue to make beautiful music together throughout the show. Helping the General to run the Inn is Martha Watson played by Michelle Barber, who used to be a performer herself. Barber has a great bickering chemistry with Joenathan Thomas who plays the general, as well as with his Granddaughter played in rotation by Jenalia Valerio and Malee Cenizal.

The main leads all mentioned above are exceptional at recreating the light and wholesome feel of the 1954 film on which the stage musical is based. They get great support, particularly in the dancing department from the ensemble. There are also a couple of character roles that add immensely to the humor of the show. Jon Andrew Hegge plays a few different roles but it’s as the Inn’s handyman Ezekiel, who apparently came with the place when the General bought it, that he gets some of the biggest laughs of the show, all by seemingly to do very little, but very slowly. In his first scene I swear he was cracking up Michelle Barber with the pace at which he was executing his performance. Another standout is Mark King as the harried stage manager Mike Nulty, he adds a bit of comic flair with his exasperated performance throughout the five days of trying to get the show up and running. But, it’s his interactions with Hegge’s Ezekiel that bring out the best in both performers who feed of each other with a perfect comic timing.

Irving Berlin’s White Christmas runs through January 25th at Chanhassen Dinner Theatres. I’d be remiss if I didn’t mention the wonderful food that comes included with your tickets. They also have delicious beverages and desserts you can enjoy, I highly recommend indulging in the Tiramisu. For more information about the show, the menu, and to purchase tickets go to https://chanhassendt.com/whitechristmas/

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The Miraculous Journey of Edward Tulane Charms at Stages Theater Company

Leah Rimstad and Asher Rilen Photo by Amy Rondeau Photography

Based upon the novel The Miraculous Journey of Edward Tulane by celebrated Newbery Award winning Minnesota author Kate Dicamillo this production at Stages Theatre Company is warm, emotional, and utterly Charming. I’ve not read the novel but I am familiar with the story from attending the Minnesota Opera’s Edward Tulane in 2022 during its world premiere. The highlight of that show was the extravagant production design while in this version Scenic Designer Sarah Brandner seems to benefit from going the opposite direction. Not that there is no design, it’s that rather than being lavious and detailed here Brandner is subtle, simple, and all the more entrancing for it. Rather than being wowed by spectacle we are drawn in by a design that pulls us into the characters. With moments as simple as the sky lighting up with stars, which the audience I attended the show with, made up of a few hundred grade schoolers were audibly wowed by. They loved it and old as I am, I confess I did as well.

The story follows the journey of Edward Tulane a rabbit made of China. Edward is given at first by a grandmother to her granddaughter Abilene. The Rabbit is represented on stage by a Rabbit doll but also by a young actor named Asher Rilen who gives voice to Edwards inner thoughts. When we first meet him Edward is very vain and only cares about how he looks and himself. The girl dearly loves him and makes everyone in her family include him, but whatever they say is just noise to him, he’s only interested in himself. One day when the family goes on a vacation on a large ship Edward is lost overboard, he spends months and months at the bottom of the ocean until a storm comes a long and churns up the sea. A fisherman catches Edward in his net and brings him home to his wife, who makes him a dress and names him Suzanna, he is happy there until fate steps in again and he is separated from them. The plot continues on in episodic fashion with Edward being taken in by various people with their own stories to share and their own names to give him. The constant is that everyone he goes to loves him and by the time he has been smashed and then repaired and placed in a doll shop, he has learned to love and is no longer concerned with just his appearance.

There are separations and there are deaths in the story, there is cruelty, but there is also kindness. Director Anna Crace handles the darker aspects with skill, presenting them as the tragedies or injustices that they are, so that the younger members register them. Then she moves on, because a play like life has to move forward. Asher Rilen is very good as Edward, it’s a difficult role for a young actor to be the main character but also not be aloud to act out their role physically, relying almost entirely on a vocal performance, while appearing on stage and not fidgeting. Asher finds the stillness that is needed and accomplishes way more through his performance than had he been able to act out the role of Edward physically. The young cast all do a great job, there is none of the awkwardness or self conscious hand movements that you sometimes encounter with younger performers. The two adult cast members, Grant Hooyer and Charlene Hong White, both of whom play multiple characters throughout Edwards journey are both excellent in every persona they take on. They are great examples to the young cast of how to create multiple distinct characters within a play.

The Miraculous Journey of Edward Tulane runs through October 27th at Stages Theatre Company in Hopkins. It’s the sort of children’s show that will also enchant the adults in the audience, making it a great show for the whole family. For more information and to purchase tickets go to https://www.stagestheatre.org/the-miraculous-journey-of-edward-tulane/

But that’s not all! Think I may have steered you wrong on a show? Well, I am also a member of the Twin Cities Theater Bloggers (TCTB), where you can read roundups of shows by m’colleagues and I when you follow us on facebook @TwinCitiesTheaterBloggers. 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/ . Now you too can be in the know about all the fabulous theater happening in and around the Twin Cities.

Rope, a Fantastic Suspense Thriller at Gremlin Theatre Featuring some Terrific Performances!

Jeffrey Nolan (RUPERT) and Jeremy Bode (GRANILLO) Photo by Alyssa Kristine Photography

Gremlin Theatre has a crackling thriller titled Rope running through August 4th. If this title rings a bell you may be thinking of the Alfred Hitchcock film which was based on this play by Patrick Hamilton. I am more than familiar with the film as Hitchcock is one of my top 10 film directors. Many of you may be saying to yourself, “I’m not sure I can name 10 directors”. In your circles that may be strange, but believe me for cineastes it’s difficult to narrow down to just 10. The film was one of Hitch’s experiments with form, he made the film with the appearance of one unbroken take. Of course in 1948, when the film was made, that was impossible as the camera could only hold 10 minutes worth of film in each cartridge. So he had to devise a way to make the cuts invisible, such as a close up on someone’s back for example. It was also Hitch’s first film to be shot in color and his first of four with James Stewart. It’s considered lesser Hitchcock by many, which means it’s better than most films, so if you enjoy the play I highly recommend it to you. There are enough changes to the script to keep even those who know the film by heart engaged. If you’ve never seen the film, the play will be a special treat. If you have there’s plenty here to recommend it, particularly two knockout performances, and very effective direction by Peter Christian Hansen.

But first an idea of what to expect. The play opens in darkness there is a faint light given off by a fireplace and we have the general lay of the land from seeing the set before the lights go down. Two characters just prior to the start of the play have murdered a man and stuffed the corpse in a trunk that sits center stage. They are Brandon and Granillo, in order to calm Granillo down, Brandon recounts what they have done and why, as well as what they have planned for the rest of the evening. The corpse’s father has been invited, along with his Aunt, for dinner and to look over some books that Brandon recently inherited. They have also invited a young woman whom they are friends with, as well as a young man, and lastly their old teacher Rupert. They have done all of this just to say they could, they kill their young friend to see what it felt like and because they feel superior to him. They invite his father and the others for the sick thrill it gives them. Rupert, they almost asked to join them in the killing based on conversations they had with him about murder and morals, but didn’t because they didn’t think he had the nerve to follow through with it. Their arrogance might be their undoing though that or the fact that Granillo isn’t quite the sociopath that Brandon is and starts to crack a little under the pressure. Only Rupert seems to be observant enough to start picking up clues, will he figure it out before it’s too late and if he does, will he join them or turn them in?

It’s a very strong cast, every role including the Servant Sabot, who is played by Matthew Saxe, has few lines and exits the play well before intermission is well cast. There are two that really stand out, the first is Coleson Eldredge as Brandon. He has the charm and charisma that are key to understanding how this character with such a lack of morality can be the popular host. When he goes toe to toe with Rupert in the final scene it’s believable that he may convince Rupert to join them. Secondly, but honestly firstly, is Jeffrey Nolan, who is the Gene Wilder or Peter Sellers of the Twin Cities stages, he plays Rupert in a turn so different from what James Stewart did with the role as to seemingly be from a different planet. It’s such a bold swing for the fences, that in the first minute or so I wondered if it was too out there, but it works, it really really works. This is the seventh performance I’ve seen Nolan give, plus I briefly chatted with him at Fringe last year, and I’ve never seen the same person twice. I know acting is becoming other people, but most actors find things within themselves to bring to a part. Nolan seems to create a distinct personality for every role and if he’s using any portion of himself between roles I’ve yet to see it. I don’t know if I was certain if he could “not” be funny, but there are moments when he is debating with Brandon at the end of the play that prove he can do anything. Maybe he can’t sing? I don’t know, but I’m curious to find out. Here’s the thing, It’s worth seeing this play just for Nolan’s performance. The great news is, even if he wasn’t in it, it’s still worth seeing.

Rope runs through August 4th at Gremlin Theatre for more information and to purchase tickets go to https://gremlintheatre.org/rope/

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The Spitfire Grill From Ten Thousand Things is Wonderfully Intimate and Beautifully Done

Michelle Barber, Katherine Fried, George Keller, and Dominic Schiro. Photo by Tom Wallace

* Disclaimer: On March 28th I suffered a rupture in my right bicep muscle, which has left me without the use of my right arm. I will endeavor to continue seeing and reviewing shows however the reality is that the reviews will need to be significantly shorter. For now I will attempt to provide you, faithful readers, with a few sentences that will make clear whether a show is worth your time and money. My apologies to all of the artists in front of the curtain as well as behind whose work I may not be able to comment on. Hopefully this will be a short-term accommodation, I will do everything in my power to get back to writing full reviews as soon as is humanly possible.

Ten Thousand Things Theater is rapidly becoming my favorite theater company. This production of The Spitfire Grill in their trademark stripped down, theater in the round, lights on, and minimal sets style is simply a revelation. This is going to be one of those boring reviews because everything’s great and I won’t be able to find words expressive enough to praise the show. Based on the 1996 film of the same title it tells the story of Percy Talbott, a young woman just released from prison who looks for a fresh start in a dying small town named Gilead. Percy’s bus is met by the local Sheriff Joe Sutter who will serve as her parole officer. Sheriff Sutter takes her to the Spitfire Grill a rundown old Diner and convinces the owner Hannah Ferguson to take Percy on as a waitress and give her a room. At breakfast on her first morning, the town begins to wonder about Percy led by the town gossip and Postmistress Effy Krayneck. We also meet Hannah’s nephew Caleb and his wife Shelby, Caleb has been trying to sell the Spitfire Grill for the last 10 years. Just when Percy is questioning her decision to live in Gilead, Hannah falls and breaks her leg. Percy is enlisted to run the Spitfire with help from Shelby. Running the diner together Percy and Shelby bond and hatch an idea to raffle off the Spitfire Grill. Hannah gradually warms to the idea and they post the contest in newspapers. To enter, contestants need to send $100 and an essay on why they want the diner. The musical isn’t really about contest and a diner it’s about making connections and laying down roots, it’s about the concept of second chances in the re-emergence of hope.

I’ve written before about my preference for the front row in any theater, my desire to remove as many barriers between myself and the performers as possible. Wonderful thing about a Ten Thousand Things performance is that even if you’re in the back row you’re about as close to the performers as you are in the front row at any other theater. When Katherine Fried who plays Percy begins to sing “A Ring Around the Moon” from her prison cell at the opening of the play, you know you’re in for something special. Fried’s voice is stunning as is every aspect of her performance. There is something about the intimacy and immediacy of being so close to such talent, and that includes the entire cast, that cannot be outdone by the most elaborate touring production at the Orpheum. Michelle Barber as Hannah perfectly balances the gruff and hardened widow with the gradual thawing of her character as hope returns to Gilead. Katie Bradley as Shelby also handles her character’s transition from a timid wife to someone who is ready to embrace her own destiny with confidence. George Keller’s Effy is wonderfully played, Keller knows how to play the part to nail every moment of comic relief. Tom Reed reminds us that there isn’t anything he can’t do, playing Caleb who tries to be in charge but sees the town’s failure to thrive as his own failure. Well known for his comedic chops, Reed’s performance on the song “Digging Stone” displays his powerful singing voice. Making his professional debut is Dominic Schiro, as Sheriff Sutter, Schiro positions himself as a performer with a bright future and one to watch. The cast is rounded out by Tyson Forbes in the role of the a mysterious visitor, as well as one of the musicians. It’s a small but critical role that Forbes handles just right making the characters skittishness and solitude palpable.

The production is co-directed by Michelle O’Neill and outgoing Artistic Director Marcela Lorca who are more than up to the challenge creating so much with so little. Stripping the show down to its bare essentials rather than creating a more artificial feel strengthens the connection between performer and audience. Credited with movement is Jim Lichtscheidl who creates some ingenious ways to help set the locales using wooden poles which held by the actors become everything from prison bars to a bus. This production of The Spitfire Grill it’s a very embodiment of why I love live theater, the talent on display, the creativity, and the emotional connection to the work being performed all contribute to giving this my highest recommendation. It’s the type of performance that reminds you why the Arts not only matter but are of vital importance to our souls as human beings.

The Spitfire Grill runs through June 9th, at various locations and at affordable prices for more information and to purchase tickets go to https://tenthousandthings.org/

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.

God of Carnage is Wickedly Funny at Theatre in the Round

Mia Josimovic, Kendra Mueller, Michael Postle, and D’aniel Stock Photo by Aaron Mark Photo Film

God of Carnage the Laurence Olivier and Tony award-winning play by Yasmina Reza has the simplest of setups, two couples the Raleigh’s and the Novak’s who have gotten together to discuss an incident between their sons that resulted in one losing a couple of teeth. What begins as a civilized discussion slowly spirals out of control over the 85 minute run time of the play. The content warning for the play which states strong language including derogatory insults with some racist and homophobic terms, simulated vomit will give you some idea of what is in store. This is a very black comedy that I’ve heard criticized as entitled people Behaving Badly. I think that is far too simplistic, the play exaggerates for comedic effect but underneath the reactions, the characters have whatever they’re entitlements may be ring true to those observant of human nature. Ultimately it’s about illustrating the differences between the persona we show other people and how we really feel. It’s about our hidden natures, our hidden resentments, and our hidden entitlements how all of these can emerge when the right buttons are pushed. It reminds us that no matter how old we are or how civilized we think ourselves to be, there is still within us all, a child. Someone once said grown ups are just children who owe money which is the simplified theme of this play. All of the action takes place in the living room of the Novak’s a set designed by Michael Haas that perfectly exploits the theater in the round forum.

If the play sounds familiar you may have seen the Roman Polanski film from 2011 entitled Carnage which sported the to-die-for cast of Jodie Foster, Kate Winslet, Christoph Waltz, and John C. Reilly. It’s a play whose brilliant script sinks or swims on the shoulders of the cast, Director Alissa Blaeser’s ensemble looks to have trained for the Olympics. They are Mia Josimovic, Kendra Mueller, Michael Postle, and D’aniel Stock. The play is a true ensemble piece where every part is equally important and the cast, while playing characters who seem to be in constant competition with each other, never seem to be trying to steal the spotlight from each other. The roles require each actor to modulate their characters loss of control showing provocation to momentary outbursts then regaining composure again. There’s a delicate and subtle give and take that in lesser hands would not feel authentic, the strength of this cast is that while the responses are certainly heightened they maintain a sense of realism.

God of Carnage is a dark comedy that invites us to take pleasure in watching not great people having one of the worst days of their lives. Blaeser finds the perfect tone to enable us to get to that mental place to enjoy their misfortune. It’s at times shocking how far the characters allow themselves to regress but there’s also a delicious sense of Schadenfreude in watching it happen. God of carnage runs through April 28th at Theatre in the Round Players in Minneapolis. For more information and purchase tickets go to https://www.theatreintheround.org/home/season-placeholder/72nd-season/carnage/

The Color Purple is Beautiful at Theater Latté Da

It’s been a 2024 of Alice Walker’s The Color Purple for this blogger. Early in the year we had a screening of the Steven Spielberg film adaptation, in Rob’s Movie Emporium, as it is one of my newest and most devoted plus one’s favorite movies. Then in our pre-Oscars viewing my wife and I watched the new film version of The Color Purple the Musical directed by Blitz Bazawule. What I hadn’t seen until now, was a staged version of the musical The Color Purple with a book by Marsha Norman and music and lyrics by Brenda Russell, Allee Willis, and Stephen Bray. It wouldn’t make a lot of sense to compare the stage musical to the 1985 film being in two different mediums and one being a dramatic film and the other a stage musical. It also wouldn’t be fair to compare the movie musical to a staged musical given the different mediums and considering that in film you can do things that a stage bound musical can’t. Except… when the stage version is better than the film, which is definitely the case here. The film wasn’t bad, but it felt like a bullet point approach to the story I knew, and while it had some great performances, it didn’t flow as well as it should have. I went into Theater Latté Da’s production expecting that same highlights approach to the story but was pleasantly surprised at how fluid this version of the musical is. A little googling revealed that the film version removed many songs, in some cases replacing them with new ones. It’s also true that there are differences between the original Broadway production from 2005 and the Broadway revival from 2015.

I don’t know what version of the Musical Theater Latté Da is staging, but I can’t really imagine a better version than the one I saw. For those unfamiliar with the story, it follows the character of Celie who as the play opens is giving birth to her father’s second child, both children are taken from her shortly after birth, and we are left to wonder whether her father killed them or gave them away. Celie’s one happiness in life is her bond with her sister Netty. When Mister comes to their father and asks for Netty’s hand in marriage he refuses but says he can have Celie. Mister, needing someone to cook, clean, and raise his children, reluctantly agrees. Before long Netty has come to see if she can live with them as their father has started trying to molest her, but she must fight off Mister’s advances as well. Rejected, Mister throws Netty out and tells Celie she will never see her again thus taking away her one peice of happiness in life. The years pass and we are introduced to Mister’s old flame Shug Avery, a singer, who will introduce Celie to the concept of romantic love. We also get to know Mister’s son Harpo and his wife Sofia. Mister is cruel and tries to rule everyone through his tyranny. Harpo’s wife Sofia is the only one who doesn’t bend for or put up with his violence. All of these characters have their moments, but it is Celie’s story and she is at the very heart of everything.

Celie is played by Nubia Monks in a powerhouse performance which after the song “I’m Here” earned a standing ovation well before the play had even ended. Her voice was incredible and the heart and feeling she puts into that number in particular is a showstopper. Through much of the show Celie is submissive and passive, but Monks performance invites us to feel at first her isolation and then her growing sense of self. David Murray Jr. as Mister shows us a twisted man but also allows us to if not forgive at least believe his characters final arc towards repentance. Carnetha Anthony is a great fit as Sofia, it’s a role that has led both actresses who played the role on film to receive Academy Award nominations for Best Supporting Actress. Anthony, like her predecessors, plays the wrong with attitude and empowerment that makes her an audience favorite. Ronnie Allen plays her husband Harpo who learns to change the pattern of behavior that has been passed down by the men in his family. Angela Wildflower brings a confidence and sultriness to the role of Shug Avery the woman who awakens love in Celie and helps her find the herself and the the fate of her sister. The show is filled with great vocal and acting performances from the supporting cast and ensemble players.

Director Daniel J. Bryant stages the action simply not relying on an elaborate set design to create the world of Alice Walker’s story but relying on the performances of his actors to draw us in. It can be a risky choice but Bryant knows that this story and his cast don’t need the flash of overproduction to draw us in. That’s not to say that the set design by Eli Sherlock is lacking, quite the opposite. Knowing how to support a show through more subtle ways requires as much creativity as designing huge sets that move in and out and transform. Sherlock provides everything that is essential to the story, and everything on stage has a purpose. The stage is set against a backdrop of wooden panels evoking the idea of old wooden fences and houses. When the panels slide aside at the opening of Act II adding an element of depth and space, we see a representation of an African Acacia Tree made out of the same wood. Against this larger view we see Africa and Netty’s story play out as Celie reads the letters Mister had kept hidden from her for years. It’s a moment that adds a sense of epicness to the story, showcasing the costumes designs of Jarrod Barnes that adds a burst of vibrant color and energy to this moment in which Celie’s heart is bursting with joy, finally know what has happened to her sister.

The Color Purple runs through May 5th at Theater Latté Da in Northeast Minneapolis for more information and to purchase tickets go to https://www.latteda.org/the-color-purple

The Most Spectacularly Lamentable Trial of Miz Martha Washington Announces a Spectacular Return to Form For Mixed Blood

I don’t even know where to begin. The last show I saw produced by Mixed Blood was Interstate: The Musical, which closed early due to the pandemic but, not before I saw it three times. It’s one of my favorite musicals of all time so I have been anxious to see what they did next. The answer for the last two years has been very little in the way of theater. This isn’t their first full production they did Mariology in the fall but that was really an outside theatre company they brought in. The Most Spectacularly Lamentable Trial of Miz Martha Washington is the first homegrown production and it’s a shining example of what Minnesota’s artistic community is capable of. This is a show I expect to see making my TCTB Awards Nomination list next January, it’s that good. What’s so good? That’s what I was talking about when I said I don’t know where to start. First off, the production design and every technical department that created the visual and aural landscape of this show are endlessly creative. I felt like I was at Open Eye Theatre who are known for their impeccable production designs. Matt Lefebvre scenic design work is impressive on first view as you walk into the theater, and that’s just the tip of the iceberg. The surprises that lay in store feel like magic when they happen, and far be it of me to give away the magicians secrets. And it isn’t just the set design it’s also Karin Olson’s Lighting, Theo Langason’s Sound design along with the props designed by Kris Schmidt. Don’t even get me started on the costumes, makeup, and wig work of Zamora Simmons. It’s a seven person cast and I’m guessing there are around 30 costumes. That might be an exaggeration, but it also wouldn’t shock me to learn that it’s pretty close to the actual number.

The show opens on Martha Washington the first First Lady of America. George is dead and she’s very sick in bed. She is being cared for by the slaves whom according to George’s will are to be set free upon her death. We see them, their names are Sucky Boy, Priscilla, Doll, Davy, and Ann they pray to God for Martha. From that moment on, hold onto your hat, the program describes what follows as a fever dream which tracks, except Martha dreams about the future, the past, finds herself on a gameshow and ultimately on trial, as promised in the title. The script by James Ijames is a satirical look at the past through the lense of the present day. It demolishes the defense of that’s just how it was in those days, particularly effective is the reveal of what happened between Ann and Martha’s son. If you can still maintain that argument after that scene, then I guess the argument is, that’s just how things were back then and white people had no moral compass. It’s tackling some very real and heavy issues but it never stops entertaining the audience, it’s only after it’s whirlwind 90 minute run time that you have time to stop and process. This is a wildly entertaining play and should be enjoyed and appreciated on those levels, but it’s also important to look at what we are laughing about and why this story is being told in this way.

Pirronne Yousefzadeh directs the play steering the fever dream from scene to scene changing styles and tone on a dime. I haven’t seen this as effectively done since the last time I watched Preston Sturges’ Sullivan’s Travels. The cast is a testament to the talent we have in the Twin Cities acting community, we have some of the best actors in the country and if you don’t believe me, go see The Most Spectacularly Lamentable Trial of Miz Martha Washington at Mixed Blood and you will. Aside from Karen Wiese-Thompson who only plays Martha, which she does brilliantly, the other actors play multiple roles throughout the show. Valencia Proctor who was fantastic in last years Passage at Pillsbury House shows a gift for comedy, I loved her take on the out of touch real housewife of 1802. Tolu Ekisola take on the court bailiff got a laugh every time she swore someone in, her line reading choice is just right. Now these are just moments in a show where they each portray multiple characters, some funny, others a little more on the realistic side, but all pitch perfect in a show where the tone is constantly shifting. The same is true of Darius Dotch and Mikell Sapp who short of act as a comic team in certain scenes. Dotch’s standout is as Lawyer Man, a Defense Attorney for Martha from and in the future. Sapp, is comic gold as George Washington who deflects all blame for slave owning off on Martha, whom he calls a pimp. Monica E. Scott plays Ann, who is Martha’s main caregiver, half-sister, and of course property. She has what is probably the role with the most serious tone throughout, she gets to play along in the fun occasionally but her most memorable moments are when in the fever dream of Martha’s she is still playing Ann but deviant. The cast is rounded out by Domino D’Lorion whose first appearance as William makes an impression. He plays multiple roles but as William, that’s where he really impresses pulling off that nearly impossible task of being a grown person playing a young kid. He really has the body language and uncertainty down, when embodying the character in a version of reality but then a completely impish quality when in full fever dream mode, it feels like Bat-mite has magically appeared in Martha’s bedroom. Neither version comes anywhere close to annoying, which is saying a lot because Bat-mite is always annoying. He plays both versions of William brilliantly.

The Most Spectacularly Lamentable Trial of Miz Martha Washington runs through March 31st at Mixed Blood in Minneapolis. For more information and to purchase tickets go to https://mixedblood.com/the-most-spectacularly-lamentable-trial-of-miz-martha-washington/ . I’ve talked a lot about the importance of creating new theater audiences. The first trick is to get people into theater seats that don’t ordinarily go to the theater. Mixed Blood has a solution for that they over a program called Radical Hospitality, Tickets are available by donation, if you cannot afford theater tickets you can get them at no cost. If you can afford to spend $30 or $60 on a ticket do so, donations are what make it possible for those without resources to attend theater. The second step in creating a new theater audience is staging something that gives them a feeling that they want to experience again, Mixed Blood has that covered with this show as well. The Most Spectacularly Lamentable Trial of Miz Martha Washington is the kind of show overflowing with creativity that will open a new theatergoer to the possibilities of what theater can be.