Matilda JR. is a Charming Condensed Version Perfect For Introducing Children to the Musical

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

The latest production from Stages Theatre Company is Roald Dahl’s Matilda The Musical JR., the JR. indicates this is an abridged version of the full musical by Dennis Kelly and Tim Minchin. I saw Matilda at the Orpheum Theater when it toured a few years back and fell in love with it. Stages production has so much to love about it and only one real criticism, which isn’t even fair, and that is that I miss all the stuff that had to be left out. The purpose of these abridged productions, also very popular with the Disney shows, is to get productions to a length that is more appropriate for young audiences and performers. Recommended for ages 5+ they are a great way to introduce school-age children to the live musical form, it gets them the story the experience of seeing actors sing and dance and opens their imaginations to the creativity inherent in live theater. Roald Dahl’s Matilda The Musical JR. Is the story of a young girl of incredible intelligence completely unsupported by her parents who begins school that is run by an evil headmistress that hates children. It’s a cautionary tale about the resiliency of children and the damage that can be done when adults forget the importance of their role in nurturing young people. Which may sound a little adult but the story is told in such a way that children can understand and relate. The use of humor in the songs and the book are very entertaining and will keep the attention of children.

I make it a rule in general not to comment on performances of school-age children unless they are in a professional touring company. It feels like an unnecessary rule when it comes to this production as the entire cast, made up largely of children, are all fantastic. There are several of the kids whose voices and stage presents indicate a bright career should they choose to follow that path later in life. The two actors I do feel like I can single out are Aniya Hollie and DeZhanè Antionette. Hollie who plays Miss Honey the teacher with a heart of gold and a bottomed out self-esteem is a veteran of eight Stages Theatre Company shows. She has matured into a very good actor making palpable her character’s desire to protect the children while dealing with the crippling intimidation of the headmistress Agatha Trunchbull. Antionette plays Trunchbull and perfectly embodies the villainous head of the school who clings to her glory days when she threw the hammer for her country in the Olympic Games. Antionette relishes the juicy role digging into the tyranny while also seething with frustration when her injustices are foiled by the clever children.

Co-directors Sandy Boren-Barrett and JC Lippold, who’s also the Music Director, keep the show moving along at a Brisk pace, critical to holding younger audiences attention. Choreographer Krysti Wiita does an impressive job with the young cast and I felt came up with some good alternatives to what the touring company had created, particularly in the song “When I Grow Up“. High marks as well go to the design team which include Set Designer Joe Stanley, Costume and Makeup Designer Meghan Kent, Props Designer Philip Hoks, Lighting Designer Tony Stoeri, and Sound Designer Gretchen Katt. Roald Dahl’s Matilda The Musical JR. runs through May 19th at Stages Theatre Company in Hopkins for more information and to purchase tickets go to https://www.stagestheatre.org/matilda/

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I am also a member of the Twin Cities Theater Bloggers (TCTB), where you can read roundups of shows by my colleagues and I when you follow us on facebook @TwinCitiesTheaterBloggers. We also produce the podcast Twin Cities Theater Chat!! which you can access through this link or wherever you enjoy podcasts https://twincitiestheaterchat.buzzsprout.com/ . We post biweekly longer form episodes that will focus on interviews and discussions around theater topics. There is also shorter episodes in which we Bloggers tell you what we think you should get out and see as well as what we have on our schedules that we are most looking forward too.

Artistry in Bloomington is Alive With the Sound of Music

When I was growing up in the pre-cable days of television there were four channels and no home video. There were three movies that I was aware of being broadcast yearly on one of the three major networks ABC, NBC, and CBS. They were The Wizard of Oz which we always watched, Gone with the Wind which I never watched, and of course The Sound of Music which we never missed. It’s fair to say those early screenings planted the seed from which my love of theater and musicals grew. Sometimes revisiting childhood favorites can be a disappointment, thankfully that isn’t the case with Artistrys production of The Sound of Music. Director Max Wojtanowicz has tapped into a deep vein of emotional memory that had my eyes overflowing throughout the evening. It’s a musical filled with such joy and Wojtanowicz’s directorial flourishes only add to it. I’m not sure anyone in the Twin Cities knows as much about musical theater as Wojtanowicz, his mastery of the form shows in every scene. One little touch that I absolutely loved was the use of a bed sheet and shadow hand puppets during the performance of “The Lonely Goatherd“. The set design by Katie Phillips is minimal but Music Director Raymond Berg could have the top notch musicians that beautifully underline the actors vocals. Oh! before I continue, I should just say if you’re looking for plot synopsis, I’m not going to provide you with one, but I would like to welcome you out from under the rock you’ve apparently been living under.

As a rule I do not critique the performances of adolescent actors so all I will say is that they were wonderful and every one of them should continue on this path. The big name in the cast is Susan Hofflander who plays the Mother Abbess, She has a powerful voice and there’s a true connection between her and Maria that is solidified when they sing “My Favorite Things” together and carries throughout the show. Rodolfo Nieto, one of my wife’s All is Calm Boys, plays Captain von Trapp, his deep rich voice and severe look brings a different characterization to the Captain but one that’s very effective. Now for the show’s secret weapon, in the role of Maria, Sheena Janson Kelley was a revelation. Kelley’s voice was not only beautiful but crystal clear. Seeing as many shows as I do, I’m used to hearing great singers, powerful singers, beautiful voices, Kelley’s is exactly the voice I always want to hear in this type of role. Her voice is the embodiment of this character who’s all love and joy and music. Sometimes a character this good can also come off as boring, there’s nothing boring about the perfection of Kelley’s Maria. Every choice she makes in the role whether it’s singing or acting endears her to the audience, we are with her from her first line to her final bow. To the best of my knowledge I’ve not seen Kelley perform before, but I sure hope I do again, and soon. To this reviewer’s mind if you’re casting a musical I can’t understand why you wouldn’t give the lead to Sheena Janson Kelley. Whatever the role is, it’s hard to imagine there’s a better choice.

If you were planning to give The Sound of Music a pass thinking you’ve seen the movie a million times so you don’t need to go see it again, you’re going to want to correct that thinking. This production will remind you why you’ve seen the movie so many times, because it’s so damn good. This production may lack the scenic views but it has everything that makes the musical great intact, heart, lots and lots of heart. The Sound of Music runs through May 12th at Artistry in Bloomington. For more information and to purchase tickets go to https://artistrymn.org/thesoundofmusic

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.

Join us for a twin cities theater blogger event at the Guthrie Theater for their Shakespeare history event. We are also planning a Twin Cities Theater Bloggers post show Gathering on April 27th following the Richard II matinee for 20% discount on tickets to that performance use the code TCBLOG or click on the link http://securesite.guthrietheater.org/single/PSDetail.aspx?psn=33583&promo=TCBLOG

Die Winterreise at The Hive Collaborative

Die Winterreise is the latest in The Hive Collaboratives conceptual beginning series. It takes the classical song cycle Franz Schubert’s Winterreise set to 24 poems by German poet Wilhelm Mueller. What The Hive’s website says about the piece is it uses the everlasting story of lost love to explore the human need for connection and acceptance but I’m going to have to take their word for that. The show is sung by baritone Justin Spenner completely in German while being accompanied on the piano by Carson Rose Schneider. A QR code is provided at the theater which will bring you to a side-by-side translation of the poems in German and English. I tried to follow along and realized at the end that the best approach, assuming you don’t already speak German, is to set the translation aside sit back and let the music and performance wash over you. The mind is a wonderful thing but sometimes it can get in our way, it’ll try and impose a narrative in such a way that closes you off to what the artist is giving you. First off, if sitting and listening to someone sing in German for 80 minutes sounds like torture to you this isn’t the show for you and that’s okay. But if listening to a fantastic singer wonderfully accompanied for 80 minutes in a very intimate space is something you would enjoy, then there’s a lot to get out of this experience. I’ve seen Justin spenner perform in Opera and that’s very much what Winterreise sounds like, he’s a fantastic vocalist and to hear him in whatever language is always something special.

Winterreise will have one more performance April 13th at 5:00 p.m. At The Hive collaborative in St Paul for more information and to purchase tickets go to https://www.thehivecollaborativemn.com/events/winterreise-a-winters-journey

God of Carnage is Wickedly Funny at Theatre in the Round

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

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

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

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

A Unique Assignment at History Theatre Humanizes the Past Forging a Greater Understanding of a Dark Period in Our History

Pearce Bunting, Kevin Fanshaw, James A. Williams Photo by Rick Spaulding

Presently we are faced with a great and grave racial problem in our country. It points deep in many directions. I feel that it is essential that we solve this problem, if America is to hold the place among nations that it deserves.
James Meredith in a letter to Lt. Gallagher from A Unique Assignment by Harrison David Rivers

The excerpt from the script of A Unique Assignment by Harrison David Rivers may or may not be based on a real letter, I suspect it is. If so, it was a letter written in either 1962 or 1963, but it feels like it could have been written today. One of the important things about History is to remind of where we were and how far we have come. Sometimes I despair at the state of our country and I wonder how we came to a place where ignorance is so prevalent. Then, I see a play like A Unique Assignment, and I realize we have always been in that place, we just cycle through periods when hatred and small mindedness are emboldened. A period of silent stupidity began to dawn in 1962 when, as noted in the Playbill, President John F. Kennedy had to mobilize: “31,000 American servicemen were required to quell the violence – the largest ever invocation of the Insurrection Act of 1807.” In 2021, at the urging of President Donald Trump, another insurrection completed the journey of the previous four years to a new era of open intolerance and ignorance. The play illuminates an event in history that I was shamefully under informed about, it also contributes to this writers growing perception of the what life was like for a fellow human of a different skin color just 60 years ago. Something I will never be able to fully comprehend, but must continue to strive to increase my understanding. With this work as with so many others before it, History Theatre continues to facilitate that growth through their powerful telling of the stories of those who lived through the dates and places that shaped our world.

The History Theatre’s new play tells the true story of Lt. Henry T. Gallagher who was in charge of security for James Meredith. Meredith was trying to exercise his constitutional right to enroll in and attend the University of Mississippi, his attempt to integrate the Ole Miss resulted in a riot and threats of violence against Meredith and the US Marshals assigned to protect him. The story is told in flashback by Gallagher at the age of 73 played by Pearce Bunting who shares the stage with Kevin Fanshaw playing Gallagher aged 23. James A. Williams plays James Meredith as well as other ensemble characters, the cast is rounded out by Kevin Brown Jr. who plays a multitude of characters. Bunting and Fanshaw do a nice job of creating connection between the versions of Gallagher separated by 50 years. Rivers script allows for moments of humor to create a connection between the character and the audience, he doesn’t shy away from having Gallagher detail his missteps, and even finds a little Minnesotan humor. Bunting is open and able to laugh at his younger self, Fanshaw gives us those moments in a way that allows us to laugh but also relate, which is key to our identifying with the character. Williams as James Meredith in contrast is given little in the way of humor, instead he has a wisdom and gravitas that puts his character at the moral center of the story. Gallagher becomes our stand in, an example of how a cross between how we hope we would respond and how we suspect we would, Meredith is our intellect and our ideals. Williams is excellent as Meredith, he portrays him with a calmness that signifies someone who knows what is right and has accepted the costs associated with doing it. Williams ensemble roles give him the chance at some moments of humor as well, he gets to do a little of everything and he does it all brilliantly. Kevin Brown Jr. plays a lot of different roles and proves a versatile actor, both with serious characters and the more comical. My favorite was his portrayal of a member of the Navy who’s basically kidnapped by Gallagher to help them find their way to the University of Mississippi.

The play is directed by Richard D. Thompson the new Artistic Director of History Theatre. Thompson knows that when you have a memory play with a cast of four, two of whom will be playing multiple characters, that realism takes a backseat to telling a story in a clear and understandable way. He keeps the set design by Ursula K. Bowden simple with angled black flats on which images can be projected to convey visual cues to locations and events. A few rectangular boxes can be shifted around to stand in for counters, desks, bunks, and jeeps. Thompson understands that when you have actors changing characters from one moment to the next that you need to let go of the idea of trying to create realism with sets and costumes, you focus on the story, the characterizations and let simple shapes and images stand in for concrete places and objects. If the play works, which this one most certainly does, less is more, we are happy to accept the same actor in multiple roles when lens we are seeing them through is one of minimalism and suggestion rather than attempted realism and intricate details. There were some nice lighting moments from Lighting Designer Kurt Jung, one involving photographers flashbulbs was a really effective touch.

A Unique Assignment runs through April 7th at History Theatre in St. Paul. For more information and to purchase tickets go to https://www.historytheatre.com/2023-2024/unique-assignment

The Doctor Wee-Woo Show at Open Eye Theatre

An Alleged Theatre Company Production The Doctor Wee-Woo Show opened Friday at Open Eye Theatre for a two week run. A show filled with humor, puppets, and lessons about moving on and following your dreams. I was invested in the characters in a way I hadn’t expected. The show is written by the co Artistic Directors of the company Jake Mierva & Danylo Loutchko and appears to be a children’s show called The Doctor Wee-Woo Show. Everything goes along and slowly a few little things happen that seem kind of not quite right for a kids show. Once the program ends more is revealed through Dr. Wee-Woo’s interaction with his creations: Sedrick the Sasquatch, Mailbag, Mrs. Apple Tree, Rob the Blob, and Broom & Dustpan. Sedrick is Doctor Wee-Woo’s primary co-star on the show and as we transition from the children’s show to behind the scenes, the roles begin to reverse between Sedrick and the Doctor. In the beginning Wee-Woo is guiding Sedrick through the resolution of a problem, by the end it’s clear that Sedrick is trying to lead Wee-Woo towards a new beginning. The script is clever in the way it creates tropes that seem familiar for a kids show and then goes to some darker and more adult places with them. At the heart is a really interesting relationship between Doctor Wee-Woo and Sedrick, which becomes almost like a patient and therapist dynamic. Praise has to go out right from the start for the puppets created by Robert McGrady with consultation from Yvonne Freese and the set and props designed by Danylo Loutchko. Thanks to all of their talents the show has an authentic, though slightly off, Children’s show feel.

J. McIntyre Godwin plays Doctor Wee-Woo who is a Doctor of learning (accompanied by a sound effect), physician heal thyself. Godwin does a nice job of putting on the face of a children’s show host, it feels like an actual Show. As the show ends and he prepares to shoot another episode he starts to unravel a little bit. His puppets keep trying to get him to stop making another episode for reason that will become apparent. Goodwin is masterful at Playing the frustration with his puppets at just the right level so we see it, but also recognize the character is trying to control himself and move the show along. The Stages of MN favorite Jeffrey Nolan plays Sedrick the Sasquatch, who is a puppet controlled and voiced by Nolan. Nolan keeps the legend alive with another strong performance, he has a way of getting inside a puppet character unlike anyone I’ve ever seen. Watching the performance one feels like the puppet and the human performances merge and you see it as one single character. Nolans manipulation of the puppet give it a very real presence, while his facial expressions and body language add immeasurably to the character. It was nice to see another fun turn from Thomas M Baun (Pooh Bear in Who’s Afraid of Winnie the Pooh) here he plays Rob the Blob and Dustpan. Dustpan is married to Broom who is played by Sarah Halverson. The simmering resentment between those two inanimate objects feels very real, both Halverson and Buan play it just right, you can almost interchange them with that couple friend of yours that don’t know how to keep their interpersonal issues to themselves around others. The cast is rounded out by Yvonne Freese as Mrs. Apple Tree, she wears a large cardboard tree with a cutout for her face. Even with very little to utilize but her face and voice she does a nice job, both within the children’s show and after when things get a little darker.

The Doctor Wee-Woo Show runs through March 24th at Open Eye Theatre in Minneapolis for more information and to purchase tickets go to https://allegedtheatre.com/on-stage/

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

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

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

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

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