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!
Terrified of missing reviews from The Stages of MN? Do you find yourself afraid and all alone in the dark 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.
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.
Terrified of missing reviews from The Stages of MN? Do you find yourself afraid and all alone in the dark 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 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
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/
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.
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/
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.
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.
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/
Tired of missing reviews from The Stages of MN? Do you find yourself left out when all your friends are talking about that great new play that you didn’t even know about? Never fear that never has to happen again. Now you too can subscribe and have every post from The Stages of MN sent directly to your email box. No more hoping the algorithm works in your favor and you actually see a post on facebook or Instagram. No relying on so-called friends to tip you to the best shows in town. To subscribe on your computer: from the home page on the right, enter your email address and click subscribe. On your mobile device scroll to the bottom of the page and do the same. You can also follow me on Facebook, @thestagesofmn click follow and on Instagram thestagesofmn. You can also read some of my reviews syndicated on the MN Playlist website https://minnesotaplaylist.com/ from time to time.
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.
You must be logged in to post a comment.