Be a Part of The Stages of MN, Write the Theme Music For The Stages of MN YouTube Channel!

The launch of The Stages of MN YouTube channel is still over a month away. But I’m hard at work in developing what I hope will be an engaging new way to celebrate live theater. I want this to be a collaborative platform where I can engage with theatergoers and makers. With that in mind I’m sending out this request to you, faithful readers, if you or someone you know has experience writing music or songs I’m looking for something original to use as the Theme music for the show. Watch my latest video on YouTube for an idea of what I’m looking for.

I love the idea of having the show open with the something created by you whether you are a professional music and theater maker or just a novice fan of theater. I’m looking for something between 20 to 60 seconds, that I can use for the opening and closing of each episode. Like I say in the video anything goes, silly or serious, instrumental or with lyrics. I’m open to anything and everything. Send your creations to robdunkelberger@thestagesofmn.com, ideally by May 11th. I’d love to get as many options as possible, if there are multiple great choices I may use some for individual segments. I’m excited for you to be a part of The Stages of MN as it expands into new territory.

Feel free to reach out via email or any of the social media channels if you have any questions. I look forward to listening to your creations.

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. In short, theaters are being threatened for sharing stories that reflect our countries cultural and racial diversity.

Don’t depend on a Facebook or Instagram algorithm to insure you hear about a great show. You can subscribe and have every post from The Stages of MN sent directly to your email box. It’s the best way to ensure you don’t miss out on any of the theater action. 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.

Think I may have steered you wrong on a show? Well, I’m also a member of the Twin Cities Theater Bloggers (TCTB), where you can read review roundups of shows by m’colleagues and I when you follow us on facebook @TwinCitiesTheaterBloggers. New things are in the work! Click here to go to The Stages of MN YouTube Channel. https://www.youtube.com/@TheStagesofMN. Right now there is just a short introductory video, but there will be much more coming this summer. For now, check out the intro video and subscribe to the channel so that when we fully launch you’ll be the first to know!

Spellbound Launches World Premiere From Threshold Theater at the Phoenix Theater

Zakary Thomas Morton and Leor Benjamin Photo by Nick Mrozek

Threshold Theater, a company dedicated to telling stories by and about the LGBTQ+ community launched the world premiere of Matthew A. Everett’s new play Spellbound at the Phoenix Theater in Uptown tonight. It’s an incisive work that begins with a high concept comedic idea and then uses it to explore the issue of consent in a whole new way. Grounded by strong performances and skillfully directed by Denzel Belin, this is a new work that has a lot to say and does it in a fresh and exciting way. It addresses outmoded perspectives by coming at them via a non traditional route. Allowing us to process something we know in a new way, reinforcing our collective values and allowing us to clear our minds of any lingering traces about consent and gender. We don’t need reminding of what is right and what is wrong, but we need to fully understand that those distinctions apply in every circumstance. This play imagines something that we assume can’t really happen, but treats it seriously and explores the ramifications that this fantasy would have on real people and relationships. It also acknowledges the darkness and selfishness that exists in everyone without excusing it.

The plot sets up what could have been a funny Three’s Company episode, if there was magic in that show. Micah and Auggie are best friends. Micah is gay, Auggie is straight, married to Sarah, who is pregnant with their first child. Jeffrey is Micah’s second best friend, he is gay and grieving the loss of his Grandmother, who was a witch. Jeffrey has made a potion from his Grandmothers grimoire (spell book) which he gives to Micah to give to Auggie, that he says will make is tongue turn colors. Micah thinks it will be funny to tease Auggie about his strange colored tongue and is assured it will only last for 24 hours. It’s really a love potion that has made Auggie fall in love with Micah, laughs do occur, but I assure you hilarity does not ensue. It becomes a race against time for Jeffrey and Sarah with the help of a metaphysical supply store owner to create an antidote before anyone does something they will forever regret.

Zakary Morton plays Micah and I don’t think I’m exaggerating when I say his performance affected every molecule in my body. Morton has you liking Micah from the first scene, he plays the opening with the beats of a sitcom, but if you really watch and listen to what he is saying, he genuinely is concerned over what has happened, and feels guilty for his part in it. He thought he was playing a harmless prank on his best friend, now if he stops holding Auggie’s hand for a moment, Auggie will start to cry. As the play progresses Morton, above everyone else in the cast, breathes a sense of reality into every line of dialogues. We feel his guilt, we feel his affection, we feel his fear and his pain and we believe every moment. At the end, he’s left devastated but we are given hope that everyone will heal and who knows what will happen, but the romantic in me wants to believe that Micah and Duncan, played very sweetly and with perceptive understanding by Xae Copeland, will get together. Auggie is played by Leor Benjamin who finds just the right moments to make eyes at Micah, or put a head on his shoulder for comic emphasis, but his truest moments are when he’s teaching Micah how to play a song his written for him on his guitar. And when Morton sings that song for Duncan, your heart heals a little bit. Keira Kowal Jett is good as Sarah, but she does play her a little too collected and controlled, she’s good at being the voice of reason, but I’d like her to have gone a little bigger when confronting Jeffrey, I’d like to see her lose it occasionally, then pull herself back together to accomplish what needs to be done. David Schlosser as Jeffrey is a piece of work, he perfectly captures that guy who doesn’t have many friends because he’s basically missing that part of a human being that gets it.

There are nice touches sprinkled throughout the production, in the opening scenes we have Auggie unable to not hold hands with Micah, we transition to flashback scenes of Auggie and Sarah with the transition occurring by Micah handing Auggie’s hand off to Sarah and then back again when we come back to the present. It’s a very cinematic transition and a nice detail. The set and prop designs by Jenna Mady are effective, giving us the bed that Micah and Auggie will have to share while they wait for the Supply shop to open in the morning. and the Supply shop portion of the stage is nicely detailed. The lighting design by Jack Hinz solidly assists with scene changes by shifting the focus to different areas of the stage, at times blacking out the rest while at others allowing us to see how the characters who are not the focus, here as well Morton shines in his performance.

Spellbound runs through May 3rd at the Phoenix Theater in Uptown. For more information and to purchase tickets go to https://www.thresholdtheatermpls.com/#/

Sister Act is a Joyous Noise at Lyric Arts in Anoka

The Sisters of Sister Act at Lyric Arts Photo by Molly Jay

Sister Act is a musical based on the popular 1992 film starring Whoopi Goldberg, which I saw in the theaters and remember enjoying but it’s been 33 years and so you’ll forgive me if the plot is a little fuzzy now. Which really is to say that you don’t have to have even seen the film to enjoy Lyric Arts new production. There are some shows that really are just amazing works of art like Les Miserables or Company, and then there are shows that are just fun like Sister Act. I love both types and I’m as surprised as anybody to say that Sister Act is at the top of the list of just fun shows that I’ve seen recently. The more musicals I’ve seen based on hit movies the more I’ve come to expect them to more or less suck for every Once, A Little Night Music, and Little Shop of Horrors there are twelve Pretty Woman‘s. So I don’t go into that type of show with high hopes, which usually helps me to enjoy in more due to lowered expectations. But I don’t think expectations had anything to do with how much I enjoyed this show. I think the cast, which is fantastic, and the crew, under Director Siddeeqah Shabazz, probably had an awful lot to do with it though. I was laughing and marveling at the vocals and choreography right up until the point I was moved to tears. I absolutely loved this cast and found the story full of humor with an unexpected touch of heart.

If you are not familiar with the film or musical a singer named Deloris witnesses her boyfriend Curtis murder a man. In order to hide her until she can be a witness at trial, a policeman named Eddie arranges to hide her in a convent. There is a fish out of water aspect to the story that provides a lot of humor, but the show really begins to sing when Deloris begins to help the nuns choir. Which, prior to her involvement, sounded much like you might imagine if you ran over a liter of kittens with a lawnmower. This is also where the show turns from broad comedy to something that begins to have a bit of heart to it. The choir becomes a hit, reversing the fortunes of the failing church. Of course the success of the choir leads to publicity which leads to Curtis and his henchmen discovering where Deloris is.

I’ve mentioned a little game I play with whoever I attend a show with where I ask, “who was your favorite?” This doesn’t happen often but this is one of those cases where there isn’t a clear favorite or two that are too hard to choose between, there are literally over 10 members of the cast that are in the running. So many of them have these moments that I thought as I was watching I have to mention that in my review! To the point where If I mention everything it will take forever to write and no one, not even my Mother… OK, especially my Mother, would ever read it all. So I’m going to mention a bunch of performers and moments, trying not to spoil anything and with the understanding this is just the tip of the iceberg. Cassie Edlund plays Deloris, full of over the top comic hamminess that feels like it’s going to be one note, and then turns into a real human character, as the show progresses she begins to layer subtlety into the character and her singing goes from solid vocally singing energetic numbers, to beautifully soulful vocally and song wise. It’s a genius way to play the character giving us a tangible way to measure the characters growth and opening up to her fellow “Sisters”. Caitlin Featherstone translating the Spanish speaking thugs threats for the other Nuns. Darius A. Gillard as Curtis, is a great villain and his rich vocals are delicious. Quintin Michael as Eddie the cop, he has a double costume change that is brilliantly conceived and executed. Sher U-F as Sister Mary Lazarus, doing a biblical rap during a choir performance is pure gold. Kaoru Shoji probably the best vocals in the cast, and the character that finally broke the dam and had the tears streaming down my face. Again, this is like half of the performers I want to mention and moments that stuck with me.

Big props to the Director Shabazz who guides this show with such a sure hand that the audience feels like they are part of the congregation. Laura Long’s musical direction is tight and perfectly balanced with the singers. I absolutely loved the choreography from Michael Terrell Brown, it’s full of comedic touches, every move serves a purpose and it’s usually to make us smile. Bradley Whitcomb’s set design is rather elaborate, with a set of stairs that can slide backwards or forwards to change the scene and to allow for more stage space as needed for the dancing. It’s one of the more elaborate sets I’ve seen at Lyric Arts and it looks like a real stone church. I also want to acknowledge the work of Costume Designer Khamphian Vang, the habits of the nuns are a given but Officer Eddie’s costume changes, the 70’s style of Curtis’s henchmen, and the glamorous costumes that Deloris sometimes wears, not to mention the blue fur coat are all very memorable.

Sister Act runs through May 11th at Lyric Arts in Anoka. For more information and to purchase tickets go to https://www.lyricarts.org/sister-act

Fun Home is Dead Brilliant at Theater Latté Da

Eve Scharback (Small Alison), Sara Masterson (Alison), Monty Hays (Medium Alison). Photo Dan Norman

Fun Home the 90 minute no intermission (is there a better theater term than that?) show based on the autobiographical graphic novel by Alison Bechdel gets a fantastic staging at Theater Latté Da. A favorite of mine since I saw a performance of “Ring of Keys” on the 2015 Tony Awards and began listening to the Cast Recording. I saw the tour at the Orpheum Theatre in 2016, and have been anxious for someone to do it in town. The wait was worth it, Theater Latté Da has assembled a stellar cast particularly the trio of actors playing Alison at three different ages. That performance at the Tony’s of “Ring of Keys” that so captivated me that I began listening to the cast recording before even seeing the show, I didn’t think could be matched. But get your baseball gloves ready because Eve Scharback as Small Alison knocks it out of the park! It’s just one of several sublimely perfect moments in the show, but it’s perhaps the most powerful, when Alison clicks with herself. The penny drops and she doesn’t know what it all means yet, but she sees someone, an adult, and she recognizes herself in that stranger. It’s a moment of wonder, joy, and discovery and somehow, a very young actress, conveys all of that in her swagger and her bearing and her just right way of performing the song.

Fun Home is narrated by the Adult Alison who is a cartoonist. She’s turning her memories into a graphic novel and as she explores her past as one of three kids growing up in a house like a museum that is also a funeral home, known in the family as Fun Home. She wrestles with what is real as she doesn’t trust memory. Part of that is because our perspective changes at different ages. Our understanding of what might really have been happening becomes clearer, and new information gained later in life throws a different light on old memories. She states early on “My Dad and I both grew up in the same small Pennsylvania Town, and he was gay, and I was gay, and he killed himself, and I became a lesbian cartoonist”. That sums up what this musical explores, the ways in which two people who are in many ways similar, turn out so different because of the choices they made, and partly because of the times in which they were born it should be acknowledged. Bruce, Alison’s father lived his life in the closet and it ultimately destroyed him. Alison, came out, lived as her authentic self, and it made all the difference. It’s a powerful message in these dark days when we have taken such huge steps backwards as a society. One can see the temptation again to protect yourself by hiding who you are, this speaks to the importance of living your truth.

There are so many moments from this cast that blew the audience away. First up, the three juvenile actors playing Small Alison, Eve Scharback, her brothers Christian and John played by Truman Bednar and Brock Heuring practice a pretend commercial they are writing for the Funeral Home. “Come to the Fun Home” is a song that could go off the rails if any one of the three weren’t up to the task, but the three of them bring the house down, it’s so funny and fabulously choreographed by Katie Rose McLaughlin. Another favorite song is when Monty Hays (who is a The Stages of MN favorite, full stop), playing Medium Alison performs the song “Changing My Major” after their first sexual experience with college girlfriend Joan, played perfectly by the always great Emma Schuld. Lastly, I want to mention a song that has always tugged at my heart which is “Telephone Wire”. It takes place between Adult Alison played by Sara Masterson, who is standing in during this scene that actually took place on a car ride between Medium Alison and her father Bruce, played by Shad Hanley. There is a constant refrain “Say something, talk to him. Say something, Anything.” I think parents and children can both relate to that moment, when you want to be able to say something important to the other person and can’t find the moment or the courage. Adult Alison has stepped in because this is the last night with her Dad and the following lyrics explain why this moment is so important that she has inserted herself into the past to see if she can discover something she missed when she was young.

“Telephone wire, make this not the past.
This car ride, this is where it has to happen.
There must be some other chances.
There’s a moment I’m forgetting, where you tell me you see me?
Say something, talk to me.
Say something, anything.
At the light, at the light.
This can’t be our last-.”
“Telephone wire” Lyrics by Lisa Kron

Masterson is urgent and completely compelling in this heartbreaking moment where she is in the present pleading for a chance at a do over, but it isn’t that kind of show. She can reinterpret and reexamine a memory but she cannot change the past. Hanley is superb as Bruce, there are moments I hated how he behaved, partly because I hated when I behaved that way in my own life. Little parenting moments that every parent has where you didn’t handle things like you would if you were thinking about it rather than just living your life. But a lesson we can take from the show is that we cannot change the past, we have to move forward and move on.

Fun Home runs through May 4th at Theater Latté Da in North Minneapolis. I absolutely loved this production and I’m going to see it a second time if I can. Every aspect of the production is inspired, but I do want to point out specifically the Scenic Designer Eli Sherlock who has crammed every nook and cranny of the stage and under the stage with old furniture. I recommend you get your tickets early I can see this selling out performances and besides, you might want to see it twice as well. For more information and to purchase tickets go to https://www.latteda.org/fun-home

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.

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.

But that’s not all! You can also read some of my reviews syndicated on the MN Playlist website https://minnesotaplaylist.com/ from time to time. 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.

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