Triassic Parq! Minneapolis Musical Theatre’s Regional Premiere at Lush in Minneapolis

Triassic Parq! is a great idea for an outrageous musical. Jurassic Park told from the point of view of the dinosaurs. If you remember the film, the line “life finds a way” refers to how the dinosaurs manage to procreate even though they are all genetically engineered to be female. The gene sequencing of the dino DNA was incomplete and the scientists filled in the gaps with frog DNA. Some frogs can change their gender if needed and thus one of the dinosaurs becomes male. There is an interesting theme there that could be a wonderful allegory for the Transgender community. But like most nuggets of potential in this show, with book and lyrics by Marshall Pailet, Bryce Norbitz, and Steve Wargo with music by Pailet, it never amounts to much of anything. It’s a show full of potential written by people without the wit or vision to capitalize on an idea brimming with possibilities.

The show doesn’t know what it wants to be and thus doesn’t commit to anything. Does it want to be a parody of Jurassic Park following the films plot but with a perspective change and comedy? Then it needs to be funnier. Does it want to be an LGBTQ+ anthem? Then it needs to embrace those aspects much more. Does it want to be a raunchy adults only show full of risque humor? Then it needs to go a lot further. Before seeing the show I enjoyed a lovely brunch in Lush’s bar area with some fellow Twin Cities Theater Bloggers and one said he’d be surprised if there wasn’t a joke about a Triceratops and Tricerabottoms, which is far better than anything in this script. As for the songs, in general they were much too loud and bombastic for my taste. There were a couple of songs that were alright, but again nothing that proclaimed itself as particularly clever or moving. This is not a reflection on the cast or the theater company, Minneapolis Musical Theatre, the issue is completely with the material, not the execution.

As for the execution let me first say that Minneapolis Musical Theatre whose motto is “Rare Musicals, Well Done” holds a special place in my heart. They produced one of the shows, Be More Chill, that led directly to me starting The Stages of MN. They produce the kinds of musicals that don’t get produced by other theaters and that’s a valuable thing, and I’ve seen a lot of really fun and interesting shows produced by them. When that is your mission, occasionally you are gonna hit on something that just doesn’t work. For the most part, I enjoyed the cast; they were doing everything they could with the material as was director Kjer Whiting. A couple of the performers were pushing outside their vocal range but others were really strong. The band led by Musical Director and Pianosaurus Amanda Weis were excellent, again unfortunate that they didn’t have something more memorable to perform. Unfortunately it’s hard to make a lump of coal sparkle no matter how much you try.

Perhaps my expectations were too high going into this as I saw all the possibilities and felt the end result squandered the majority of them. It isn’t without its charms mainly a cast and crew that give it their all. While I can’t recommend the show very highly, I know that some I was with found it more enjoyable than I did. But whether you decide to take in Triassic Parq! or not, I encourage you to make a donation to Minneapolis Musical Theatre, the work they do in bringing us rare musicals is important and needs to be supported. Triassic Parq! runs through April 13th at LUSH Lounge & Theater, 990 Central Avenue NE in Minneapolis. For more information and to purchase tickets go to https://www.aboutmmt.org/tickets/

Now more than ever in the wake of the most recent election and the hailstorm of stupidity and hate it has unleashed, Theater companies need you and we need them. Buy tickets to shows go out and support work that reflects diversity and inclusiveness. Donate to your favorite theater companies, don’t wait until they are on the brink of shutting down. We all need to stand up and fight for our Theaters whose funding is under attack for promoting inclusion, equality and diversity.

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Hundred Days is a Beautiful Rousing Joyous Show at the Elision Playhouse.

The entire wonderful cast of *Hundred Days* Photo by Jolie Morehouse Olson

Theatre Elision’s latest production Hundred Days feels like a cross between a concert and the musical sections of Once if you’ve seen the stage musical version performed. There are two performers playing the characters of the shows songwriting duo Abigail and Shaun Bengson plus six musicians. The story, which is implied to be autobiographical tells the love story of Abigail and Shaun through folk-punk music. The 100 days of the title refers to a dream Abigail has had since the age of 15 where she’s seated in a booth at a diner with her husband and told by a Dr. that he will die in 100 days. When Shaun discovers this, and it’s the reason she’s pulling away, they decide to try and live an entire lifetime in those 100 days. It’s an interesting premise and as good as any to use as a structure for the duo’s songs, whether or not it is true. To be clear, I don’t know nor does it matter. What is true are the emotions the characters are feeling, the rush of feeling that initial spark of connection, of talking all night telling each other your life story, the things you share, and the things you keep hidden. If you think back on those romances that have been significant in your life, doesn’t it feel like those first hundred days are like a lifetime of excitement and discovery?

Christine Wade and Ryan Lee play Abigail and Shaun, with Lee also strumming away on guitar throughout. They are perfect together, with their voices complimenting each other beautifully. They also both have the acting chops to pull us into the darker moments. Those moments are few, but do require someone with the skills to convey them in basically a concert staging rather than the way a traditional play or musical would be staged. Taking this even further out of the realm of traditional theater, the actors interact a bit with the members of the band who also provide vocals. While Lee and Wade are definitely the leads, the band is so integral to the joyous mood of the piece that I have to list them as well. So much talent on view here with Emily Hensley on accordion, Benjamin Emory Larson on keyboards, Joni Griffith on Violin, Rae Wasson on Cello (surely the most poignant of instruments), Miles Whealy on drums, and Harrison Wade on guitar and also the Musical Director of the production. Together they create an atmosphere that I’d almost describe as rowdy but not in a bad way. There is at times almost an Irish Pub band feel to it that I just loved. I wouldn’t mind getting to this again before the run ends, it really does feel like an hour and change spent listening to some great music, but with the added element of a love story.

I found Hundred Days to be an uplifting and beautiful musical jam session. The show runs through March 22nd at the Elision Playhouse in Crystal. For more information and to purchase tickets go to https://www.elisionproductions.com/hundreddays

more than ever in the wake of the most recent election and the hailstorm of stupidity and hate it has unleashed, Theater companies need you and we need them. Buy tickets to shows go out and support work that reflects diversity and inclusiveness. Donate to your favorite theater companies, don’t wait until they are on the brink of shutting down. We all need to stand up and fight for our Theaters whose funding is under attack for promoting inclusion, equality and diversity.

Groucho Marx Meets T.S. Eliot Has its World Premiere at Illusion Theater

Jim Cunningham and John Middleton Photo by Lauren B Photography

Groucho Marx Meets T.S. Eliot is a play by local playwright Jeffrey Hatcher that dramatizes a dinner between pen pals Groucho Marx and T.S. Eliot. Although that sounds way more straight forward than this play actually is. What we get is multiple versions of the evening in which they try it as Groucho’s game show You Bet Your Life, or as a scene from one of the Marx Brothers movies. Like a Marx Brothers film you are never sure where this play will go next. The topics range from old Groucho routines to a debate about whether T.S. Eliot was antisemitic. There is discussion about breaking the fourth wall and then there is breaking the fourth wall. There are a couple of short songs performed and we even get appearances from the You Bet Your Life ducks. It’s laugh out loud funny at times and actually raises some interesting thoughts about issues such as copyright law and happiness. Hatcher crams an awful lot into a brisk 75 minute runtime which flies by but also seems like the perfect length.

The cast consists of Jim Cunningham as Groucho Marx and John Middleton as T.S. Eliot. Let me start with Eliot because I know next to nothing about him and certainly had no idea what he looked or sounded like. I have seen Cats and was aware it was based on his poetry and I seem to have some recollection of his poem The Waste Land coming up in connection with The Great Gatsby. I’ve no idea if that connection is real or imagined to be honest, it’s a memory from about 40 years ago. So Middleton had a lot of leeway to do what he wanted and if the narrative is accurate in terms of his character, he played it superbly. Middleton does a fantastic Chico Marx impression when he and Groucho reimagine the evening as the trial from Duck Soup.

Cunningham has an uphill battle against decades of familiarity with Groucho. I’ve seen all of the films, I’ve watched many YouTube videos of Groucho on talk shows, I used to watch rebroadcasts of his You Bet Your Life with my Dad as a teenager. I was in my twenties but my Dad like to pretend he was a teenager when we watched. It’s hard not to wish that Cunningham had gone a little further towards capturing the Groucho we all know. In every other respect he does a fine job, there are flashes of Groucho, which is a reasonable choice. He presents Groucho as a man who has come to meet someone and have dinner at their house, he gives a flash of performance to please Eliot and the audience but doesn’t want to play the “Groucho character” in his personal life. It’s a valid choice, but it’s not the one the audience is hoping for. Though perhaps the play doesn’t work if he goes the full Groucho?

Fans of either of these two 20th century legends will get a kick out of this what might have happened play. Groucho Marx Meets T.S. Eliot runs through March 15th at the Center for Performing Arts in South Minneapolis. For more information and to purchase tickets go to https://www.illusiontheater.org/groucho-meets-ts-eliot

School Pictures Schools the Audience at Theater Latté Da in Northeast Minneapolis

Writer-performer Milo Cramer in School Pictures at Theater Latté Da. Photo credit: Dan Norman.

Milo Cramer’s solo show School Pictures Which just won a 2025 Obie Award makes its local premiere at Theater Latté Da. A low tech, low key, delightfully quirky and quick 75 minute show that makes you laugh and think. Cramer wrote the show about a five year period in his life when he tutored students in New York City. Cramer sings with a voice that won’t win him any singing contests. And yet, it’s his slightly high pitched kinda in and out of key quality that gets the audience on his side right from the start. It’s charming and relatable, as are his instrumentations which are simplistic. He’s telling us up front that he’s not a musical theater major who composes songs for full orchestras, he’s just like us, with an ability to carry a tune and learn a few cords on a ukulele. He’s just here to sing us a few silly little comedic songs about some teenage kids he tutored and their sometimes eye rolling attitudes and problems. He lulls you into a sense of comfort and humor and then, there is the big reveal!

As you can see in the photo accompanying this review there are sheets of colored paper with names on them on a bulletin board. Cramer goes through them sequentially, each is a seperate song/story about a student he taught. They are each unique and humorous as little episodes, but the cumulative effect is building to that big reveal. Which is where Cramer takes the audience to school asking us to do a few math problems and giving us facts about the inequity of the New York City school system. The conclusions are eye opening to the uninformed and audiences may find themselves grateful they don’t have kids in that school system. Well, ask an educator at an North Minneapolis Middle School I know of and you will hear stories that will make you furious at the Minneapolis School Board. After the stories I’ve heard from several educators I’m left with the conclusion that like the President they want the public education system to fail. When the students first went back after Covid, the school would repeatedly falsely report there were no covid cases when there were dozens of cases per grade. Guns in the school not being reported by the administration, teachers being told to lie about. Teachers being blamed for getting assaulted. Teachers without text books for students. I have a niece and nephew in South Minneapolis schools which are much better, and have more resources, but that could all easily go away very soon.

The education system in this country has been at a crisis point for a long time now. We need more resources directed at schools, so that we don’t lose dedicated teachers who go unsupported with no resources and no support. But the worst thing is that there is a large segment of a generation of kids that are not being given the opportunity to succeed. Why would anyone want that? Well, you might want that if you wanted a generation of people who didn’t have skills or knowledge to question things. People who haven’t been taught problem solving skills. People like that would be easy to control through fear and misinformation. And if you eliminate independent sources of information, you can control the message and the people. You can continue to keep the wealthy educated and rich, and you can keep the nonwhite and/or poor, in survival mode. These are the thoughts that Cramer’s show stirred up in my mind as I drove home from the show. So cute and funny? Yes, but also with a message of real value and substance.

School Pictures runs through March 2nd at Theater Latté Da. For more information and to purchase tickets go to https://www.latteda.org/school-pictures

A Midsummer Night’s Dream is Wildly Entertaining at the Guthrie Theater in Minneapolis

Justin Withers (Demetrius), John Catron (Oberon), Royer Bockus (Helena), Jimmy Kieffer
(Puck), Jonathan Luke Stevens (Lysander). Photo by Dan Norman

Faithful readers will know that I’m very much a Shakespeare enthusiast. How then to explain that I’ve never seen a production of A Midsummer Night’s Dream? I can make no sense of it and am grateful to have finally corrected that shameful omittance. I saw the 1999 film version starring Michelle Pfeiffer and Kevin Kline, but to be honest, it made little impression as nearly everything that happened on stage opening night was a revelation to me. Of course everything about this production is a revelation thanks to an incredible cast and Joseph Haj’s brilliant direction. The contributions of Composer/Musician Jack Herrick, who performs onstage during the production, cannot be overstated. Herrick and Haj have transformed the play into something approaching a musical, the music is so integral to the show. It’s a production that is spectacularly creative and endlessly surprising. I feel like I can count on the fingers of my two hands the number of shows that I have found myself laughing out loud to for extended periods, this one goes on the list. It’s a perfect first Shakespeare play for the uninitiated or those who may have never found a production of the Bard’s work that connected with them. It’s universal in its appeal as laughter, love, and music speak to all of us. While nothing is likely to surpass the extraordinary experience that was The History plays last season, this is the best single Shakespeare production I’ve seen at the Guthrie, and perhaps ever.

Haj opens the play with Royer Bockus, who plays Helena, singing a little and then interacting directly with the audience. At first this seemed a little cute but unnecessary given the two and a half hour runtime, but as with everything in the show it proved to have been worth it in the end (there’s a double meaning in that). In some ways A Midsummer Night’s Dream is like many of Shakespeare’s comedies with lovers loving those who don’t love them, and a trick by which lovers are deceived. But no twins or shipwrecks this time. Theseus, a Duke of Athens, and Hippolyta, the Queen of the Amazons, are to be married in four days but the action of the play revolves mostly around other characters. As if the play itself is like the dream by which Hippolyta says the time will pass. Hermia is in love with Lysander, but Hermia’s Father demands she marry Demetrius whom she doesn’t love, but loves her. Helena, Hermia’s friend, loves Demetrius, but he doesn’t love her. It’s decreed by Athens law that if Hermia refuses to marry, per her father’s wishes, she must be either put to death or live a celibate life as a nun. Lysander and Hermia plan to meet in the forest and elope together, a plan they share with Helena. Helena tells Demetrius, hoping to gain his love. But as they search the forest for the lovers, he states over and over again that he does not and will not ever love her. This is overheard by Oberon, the King of the fairies, who looking to punish his queen Titania has concocted a juice which when applied to the eyelids of someone will make them fall in love with the first person they see. Oberon applies it to Titania and when she awakens she falls in love with Bottom, one of the Mechanicals, a group craftspeople who are rehearsing to perform a play for Theseus and Hippolyta’s wedding reception. Bottom has been transformed by Oberon’s sprite Puck into a donkeyman which frightens away his fellow performers and perfectly achieves the punishment Oberon intended for Titania. Oberon instructs Puck to apply the juice to the eyelids of Demetrius so that he will return Helena’s love. Puck mistakes Lysander for Demetrius and applies the juice to him causing him to fall in love with Helena. Oberon discovering the mistake doses Demetrius causing him to fall in love with Helena as well. Helena never having been loved by anyone, mistakes the sudden change of adoration as mockery. Will all be set right and lovers paired off by stories end? Of course they will, it’s not the destination but the journey that matters.

The Mechanicals cast of A Midsummer Night’s Dream. Photo by Dan Norman

The test of a great Shakespeare production is the Actors. The scripts are going to be good (it’s Shakespeare) but even with the best direction and production design in the world, if your Actors cannot convey the language to the audience in a way they can understand it, all is lost. This cast is amazing, every single member of the cast gets a moment to shine. At Intermission I was loving the show but was thinking to myself, not knowing the play, that it seemed like a phenomenally talented cast who were portraying the Mechanicals were being wasted on roles with very little to do. Well, the play closes out with a play within the play that illustrates the need to have cast Actors of their caliber. Aimee K. Bryant cracks everyone up with her portrayal of a wall and then wows us with a song. Dustin Bronson solution to reassuring his audience that he isn’t really a lion, just a man in costume and Kimberly Richardson’s performance as the moon, a branch, and a dog are played with as much physical humor as vocal, and it’s hard to imagine anyone else in either of those roles. Will Sturdivant’s Peter Quince, the Director of the Mechanicals decision to try and gesture the meaning behind every line of his prologue to the play should not be experienced while drinking liquids as it will result in you spraying the person in front of you with a mouthful of your beverage. Max Wojtanowicz’s character Flute, playing the female love interest in the play is at first brilliantly subtle in his self consciousness, then on a dime takes the play from a hilarious takedown of amatuer theatrics to a moment of esquisite beauty. Unleashing his none too secret weapon of an angelic voice and a moment of genuine grieve, that left most of the audience truly moved and a few unsure how to react and nervously tittering. Remy Auberjonois gets the meatiest role, that of Bottom, his comedic hamminess is perfectly played and sure to be an audience favorite.

The interplay between the four young lovers is joyously hilarious. Jonathan Luke Stevens as Lysander carries a guitar with him and once enchanted, tries to woo Helena musically. Just when Justin Withers as Demetrius enters also with Helena infatuated, things become more and more energetic. When Hermia, played by Ari Derambakhsh joins the fray, she’s angry with Helena for stealing Lysander’s love and Helena assumes she’s in on it with the men, and is mocking her. The scene plays out and when we return from intermission, they recap the last scene as if it were a silent film including a nice sound effect of a film projector from Sound Designer Darron L West. It’s an inspired choice by Director Haj and the cast are spot on in their parody of silent film acting raising the franticness of the scene even higher. John Catron and Regina Marie Williams have dual roles playing the two couples of Theseus and Hippolyta as well as Oberon and Titania. These are the grounded roles, despite one of the couples being fairies. They are the calm center around which the chaos swirls. Catron and Williams bring with them a presence that grounds the play in a tenuous but necessary reality. They don’t get to play up the humor or go big with their performances but I assure you the play would not work as it does if you didn’t have two performers of their abilities in those roles holding the center so the play doesn’t lose it’s form. Everyone else can shoot around like ludicrous satellites because they act as a gravitational force that ensures no one flies out of orbit. Finally, we come to Jimmy Kieffer who as Puck brings a sarcastic edge to the role that plays very well to a modern audience. From what I think I know of the part, it feels like he plays it less playfully and more relatable than the usual interpretation, and I think it works beautifully.

The Fairies Cast of A Midsummer Night’s Dream. Photo by Dan Norman

In the last year I’ve striven to write shorter more readable reviews mentioning a few key performers and the technical aspects that really stand out. And then you bump up against a play like this that you cannot help but mention every single one of the performers because they are all staggeringly good. Likewise, every member of the creative team does excellent work that needs to be at least touched on. Pulling double duty as Scenic and Costume Designer is Lex Liang whose set is magical and whose costumes clearly separate and distinguish between the fairies and the humans. Isabella Byrd’s lighting design adds to the magic of the forest and she creates an added flicker to silent film moment at the opening of the second half of the show that help sell the concept. Emily Michaels King’s movement direction and Annie Enneking’s Fight and Intimacy Direction enhance the performances with nice little touches throughout.

A show that succeeds on every level to the highest level imaginable. For Shakespeare fans and novices alike, I don’t know how anyone could not be completely enchanted by this production. One of the down sides of seeing so much theater and living in a city with so much theater is that one rarely has the time to take in a production more than once. This will be one of the exceptions to that rule, I’ll definitely be back for a second dream. A Midsummer Night’s Dream runs through March 23rd at the Guthrie Theater in Minneapolis. For More information and to purchase tickets go to https://www.guthrietheater.org/shows-and-tickets/2024-2025-season/a-midsummer-nights-dream/

Sweet Charity is Full of Dance, Song, and Laughs at Artistry in Bloomington

Shinah Hey and the cast of Sweet charity Photo by Dan Norman Photography

I was a Sweet Charity virgin in the purest most poetical sense of the word. I was in for several surprises not the least of which was that the 1966 musical was based on the screenplay for Fellini’s Nights of Cabiria. I likewise, wasn’t aware that the book for the musical was by Neil Simon. Any time I’m experiencing a musical for the first time I try and go in cold, to let it work on me the way it would have for audiences when it first came out. So it’s always a surprise when you recognize a song or two that you didn’t realize came from the show. That happened with two songs in this show “Big Spender” and “If My Friends Could See Me Now“, but it’s filled with other catchy tunes as well. As fun as the songs are, the real attraction of this production is the dancing. Choreographed by Abby Magalee the cast’s moves will entertain even those for whom dancing isn’t a draw. There’s nothing like seeing a dozen or so performers all moving in perfect synchronization, and who isn’t impressed by a perfectly executed kickline. There were a couple of ensemble members who’s dancing really stood out as flawless, Jaclyn McDonald and Aliya Grace. I’m not hugely knowledgeable about dance and tend to enjoy it most as part of a musical, but I think I could happily while away a couple of hours watching those two dance so exquisitely.

No slouch in the hoofing department either is the star of the show Shinah Hey who plays Charity Hope Valentine. Charity is a dance hall girl who is constantly taken advantage of by the men she falls for. After being pushed in the lake in Central Park by her boyfriend who also steals her purse, Charity is saved from drowning reluctantly by a member of the crowd of people who gathered to watch her drown. This is the first taste of the humor that pervades the show. Charity takes it all in stride and this is the cue for the audience to do so as well. If you don’t take that “shrug it off and keep on going” attitude to heart, you may find yourself severely out of sorts by the end of the show. Shinah Hey is perfectly cast with a relentlessly positive energy and optimism crucial to making the character believable. Other outstanding members of the cast include the always hilarious Brendan Nelson Finn who first came to our attention on the Artistry stage in The 25th Annual Putnam County Spelling Bee. He plays Oscar who Charity meets when they get stuck in an elevator together and will become her love interest. Finn is a master at milking every ounce of humor out of any scene, whether verbally, his exclamations of panic in the elevator, or non verbally, his reactions and dancing during the song “The Rhythm of Life“. You don’t want to take your eyes off him for fear you’ll miss something. Adan Varela plays a famous movie star named Vittorio Vidal, he and Charity have less of a love connection but she coaches him in her ever selfless way to a reconciliation with his girlfriend. Varela has a jaw dropping moment when he begins to sing “Too Many Tomorrows” and you get your first exposure to his voice on his own. I thought I’d died and gone to classic movie musical heaven his voice is so full, rich, and what the girls used to call dreamy. Another ensemble member that didn’t get a large stand alone role but played multiple small parts was Quinn Lorez, who after a nice turn as Joanne in Rent at Artistry, brings to this an ability to punch each of her small roles with something to make them memorable, which is a great way to differentiate the characters and become an audience favorite, just the perfect amount of attitude.

This production was Directed by Laura Leffler who masterfully stages the show on what has become Artistry’s go to production design lately. Which is to have the band up stage and have the minimal set pieces, mostly just a few chairs, a door frame, and a table or couch that can be brought on and off quickly. I suspect this has been done in several of their productions over the last year or so as a financial savings, which I understand completely. I’m happy to have them spend less on costumes and sets if it means they can continue to maintain such a full orchestra. Music Director Isabella Dawis and the Conductor Anita Ruth continue Artistry’s legacy of exemplary musical performances. Leffler doesn’t let the lack of set make the show less dynamic, she uses various sections behind the band to add locales and create striking visual moments. Lighting Designer Shannon Elliott also assists with some clever lighting cues including creating the square of the elevator with a box of light shone on the stage floor. I had a great time with this show, enjoyed the singing and dancing and experienced another comedic performance I’m not likely to ever forget.

Sweet Charity runs through February 16th at Artistry in Bloomington. For more information and to purchase tickets go to https://artistrymn.org/sweetcharity

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On Laugh Support With Lorna Landvik at Bryant Lake Bowl Theater

Lorna Landvik is the best selling local author of over a dozen books including Patty Jane’s House of Curl and its sequel Once in a Blue Moon Lodge. I’d seen Landvik previously at a book signing for another author, but this was my first experience of her as a performer outside that of an author speaking. Taking in her show On Laugh Support With Lorna Landvik, I knew it was a comedic show but I didn’t realize that it was primarily improv. But it’s improv like I’ve never seen before because she’s the only performer. I’m used to seeing improvisational comedy with several different performers all working with each other to create something funny. This was a neat variation on that style and Landvik doesn’t need anyone else to actively play off of. And in the odd moments when she does she invites someone from the audience up to bounce things off of. Now if that’s the kind of sentence that gives you panic attacks, be assured no one is bullied onto stage, volunteers are asked for, so you can simply not put yourself forward. Of course, the more the audience participates, whether it’s volunteering or shouting out suggestions when they are requested the more fun you’ll have.

What can I tell you about the show? It’s improv and so it’s going to be different at every performance. I can tell you that Landvik is very good at creating multiple characters on the fly and that she has a gift for storytelling. I can also tell you that she is very funny. But I don’t know if that tells you very much. I guess the thing I would tell you is whether you want to get up on stage or not, at least when it’s time to shout out suggestions, don’t be shy. This really is the kind of show where the better the audience the better the show. So don’t invite along Uncle Bob who’s lost his hearing and his hearing aids. Do bring six of your most fun friends, and their dates, come early to get the best seats and enjoy dinner in the theater before and during the show. They have full menu and drink service inside the theater, doors open at 6:00 for the 7:00 PM showtimes. The food is very good and along with the usual bar drink fare, they have a lot of great N/A, from mocktails and THC drinks to the a nice variety of N/A Beers.

On Laugh Support With Lorna Landvik runs through January 31st at Bryant Lake Bowl & Theater. For more information and to purchase tickets go to https://www.bryantlakebowl.com/theater