Tag: review

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

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!

Lettice and Lovage, Long But Ultimately Saved by Great Performances From its Two Leads at Theatre in the Round

Jean Wolff and Jackie Schluter-Johnson Photo by Aaron Mark Photo Film

Lettice and Lovage is too long. You’ll leave the theater three hours and 10 minutes after the play begins. You will get two 10 minute intermissions so bladder control isn’t an issue plus you’ll have a chance purchase and slam a coffee or a soda if you need it. I did. Act one I found myself doing the head dip and jerk back up. Intermission #1 I was worried about the rest of the night. Not that Act I didn’t have some good stuff in it but I knew if things didn’t pick up, I was in for a tough night. Again, it wasn’t that Act I wasn’t important it is, it introduces us to and develops the main characters, it sets up the rest of the play. Act II, maybe it was the Diet Coke and savory snack I consumed, but the play really came alive after that first intermission. Act III starts a little slow and trades primarily in frustration to build suspense, but about a third of the way through the final act, it came alive again. The key is when you have the two leads Jean Wolff and Jackie Schluter-Johnson playing off each other. My big advice with this one is to see it, for sure, but know yourself, do you get a little drowsy after dinner or are you more of a midday napper? Know which you are and plan to see it when you will be most alert, and don’t forget to take your Adderall or drink a Celsius. The first Act is deliberate, while still providing some chuckles. Also to be clear the author of this play Peter Shaffer is a very famous writer and this isn’t Shakespeare where a theater company can feel free to cut the script down. I could actually tell you how I would shave time off of the the play, but there’s no point as it isn’t something anyone has permission to do and since Shaffer has shuffled off this mortal coil, what we have is what we have.

OK I really do want you to see this show because I think The Director Duck Washington and his cast and crew have staged something very entertaining. Everything that could be improved in this play falls squarely at the feet of Shaffer. The first 15 to 20 minutes of the play we see Lettice Douffet lead four or five separate historical tour groups in the Grand Hall of Fustian House. She tells the same story each time about the grand staircase and Queen Elizabeth. The first time everyone on the tour is bored, the second time she is clearly bored, the third time she begins making things up, and each subsequent time she embellishes the story more and more to ludicrous extremes. This is discovered by Lotte Schoen who is the person in charge of the Preservation Trust Tours. We change the scene now to Miss Schoen’s office where she ends up firing Lettice. That’s the end of Act I, in that office scene there is one other performer Simone Reno who gives a memorable though brief performance as Miss Schoen’s secretary Miss Framer. Before that, during the tours Reno and five other performers play the visitors on the tour. They have a line or two each during the various tour scenes and then with the exception of Reno and one other performer Rick Lamers who will appear in Act III but they’re never seen again until the curtain call. There are five actors who appear in Act I and then are never seen again. What was Shaffer thinking? Hey I’m gonna give you two lines in the first 15 minutes of this play and then I want you to hang around for 2 hours and 45 minutes to take a bow.

Act II We are in Lettice’s basement apartment, this is where the rest of the plays all of Act II and III will take place. Lotte has come to see Lettice, she feels bad for having sacked her and wants to see how she is doing. She has come with a job possibility with a the river tour company one of her neighbors runs. The meeting at first is very contentious but they soon warm to each other and get a bit spiffy on an aperitif of Lettice’s creation, which is an homage to a 16th century libation. From this moment on when Jean Wolff who is spectacularly kooky as Lettice and Jackie Schluter-Johnson as Lotte Schoen really start to riff with each other the play ramps up from pleasant to delightful. Wolff is tremendously gifted at playing this overly dramatic but wildly imaginative misfit. Helping to place that character slightly out of synch with the mainstream are these fantastically stylized costumes by CJ Mantel. If ever a costume helped an actor fully embrace a character it has to be these, they are terrific.Schluter-Johnson plays the more grounded character but is equally good in the role. It’s the combination of the two that is the magic key. You feel like you are watching two people actually becoming friends and bonding right before your eyes. For these moments when they are working together despite everything else, I highly recommend Lettice and Lovage. The majority of the play is the two of them interacting and it is worth a little bit of a slow start. And Honestly nothing is bad or boring, but three plus hour shows are reserved for Musicals, Shakespeare, and truly epic plays like the Lehman Trilogy. A fun little comedy about two women who form an unlikely friendship, a show that is barely more than a two hander, just doesn’t wear that runtime very well.

Lettice and Lovage runs through April 27th at Theatre in the Round Players in Minneapolis. For more information and to purchase tickets go to https://www.theatreintheround.org/lettice-and-lovage/

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!

The Tin Woman Is All About the Heart at the Historic Mounds Theatre

Doug Thompson, Elizabeth Efteland, Matt Berdahl, Stephanie Wipf, and Dorian Chalmers Photo by BTE Media Co

100 Percent Human Theatre presents The Tin Woman by Sean Grennan, a title that has multiple meanings in regards to its protagonist Joy, a woman who like the Tin Man of Oz needs a heart. The play is directed by Joy Donley whose 16-year-old son Lewis’s organ donations have benefited 60 individuals. Donley knows first hand the power inherent in such a gift, in the comfort from knowing that something positive can spring from such so unimaginably tragic. She has poured all of that understanding and compassion into this project and it culminates in such a cathartic moment that we leave the theater feeling as if a weight has been lifted from us all. You will cry more than likely but it is not because something is sad, but because something beautiful and healing has occurred. For my money, those are the best tears, they cleanse and renew us, and that’s how I felt leaving the theater tonight.

Joy, the character is the recipient of a heart transplant from Jack who is a son and brother. While Jack’s family mourns, Joy isolates. Her friend Darla tries to get her to re engage with the world, but there was already something broken within Joy before her heart went bad. Grennan’s script reveals multiple metaphorical meanings, the Tin Woman is certainly a reference to the character from The Wizard of Oz but it is more than the fact that Joy physically needs a heart transplant. She not only literally needs a heart but she figuratively does as well. She is isolating and has broken up with her boyfriend. Judging by her reactions to her nurses inquiries about a boyfriend or fiance, and to a man asking for the cinnamon in a flashback scene set pre-heart surgery in a cafe, she isn’t interested in a relationship. We get a hint as to why Joy doesn’t let anyone into her heart from a conversation she has with her friend Darla about her childhood. Jack’s family is grieving, his mother, Alice, and sister, Sammy are trying to move forward and get excited at the prospect of meeting Joy after she has sent them a letter of thanks. His father Hank though has heart issues of his own, as Alice stated at one point, the next time Hank talks about his feelings will also be the first time. Hank doesn’t want to deal with his sons death and he doesn’t want to meet Joy. Present throughout the play, sometimes in flashbacks but mostly as an unseen and unheard presence is Jack. His minimal interactions as the spirit never take on a supernatural aspect, but they do lend an emotional element, Jack’s hands are like the hands of fate causing a person to finally hit the right button to access an image on a digital camera, or the touch that causes someone to finally feel connection and warmth.

At intermission my favorite performance was Greta Grosch who plays the Nurse and Joy’s friend Darla. Grosch is great fun in both roles providing much of the humor. I know that the description so far doesn’t sound like it’s a comedy, and I wouldn’t go so far as to say it is. But, like life itself, it has a lot of funny moments. The feeling on the rest of the cast was that they were good, but that’s because all of the other characters are for the most part shutting down their emotions. By the end of Act II, it would be hard to pick a favorite, everyone built up their characters defences so well that when they finally fall away it’s an emotional release for everyone in the theater. Joy is played by Elizabeth Efteland, Alice by Dorian Chalmers, Sammy by Stephanie Wipf, Hank by Doug Thompson, and Jack is played by Matt Berdahl. Efteland plays the closed off Joy as someone who seems used to having her share of food at the dinner table stolen, wary and unengaging. When she confronts Hank about his behavior it’s like she finally has decided to fight for her share of the food. Chalmers is great as Alice, her matter of fact dealings with the grumpy Hank feel authentic, Thompson’s responses feel a little more like line readings particularly in the first act, but he really comes through once Hank and Joy begin to interact. Wipf, is quite engaging as the free spirited, blog writing, preschool teacher, Sammy. Overly touchy with the hug averse Joy, and likely to begin crying at the drop of a hat, this is mostly played with humor, but our first one on one scene with her shows us a more subtle side as she conducts story time with her preschoolers, we see her getting a little sad, but she covers it well, a tricky thing to show us the emotions the character is feeling but at the same time, concealing.

The Tin Woman runs through April 13th at the Historic Mounds Theater in St. Paul. I was quite moved by this production and in that rare way where you are crying but because something is more beautiful than sad. For more information and to purchase tickets go to https://100percenthumantheatre.com/

To learn more about organ donation and to register to become a donor if you are not already go to https://www.life-source.org/

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!

The Show From E/D is Funny, Dark, Light, Messy, and Everything In Between at Red Eye Theater

Debra Berger and Emily Michaels King Photo by Dan Norman

The Show is a performance that may confound some and exhilarate others. Is The Show, a show for everyone, well no, of course not, no show is. Is it a show that could be for most people? Yes, I think it is as long as they go in as I did with the proper expectations. This show is not a linear story, it isn’t a sketch show, it isn’t a dance recital, it isn’t a country singer showcase, and it isn’t a feminist view of gender roles in modern society. It’s all of those things filtered through abstraction. Like light shown through a prism it splinters the female experience into multiple moments that are unique. Bold, filled with music, and featuring a lighting design by Karin Olson that feels like a third performer, it’s that integral to every moment that occurs on stage. I doubt there is a woman reading this that would not identify with elements of this show, and many would identify with every moment in this show. I also think there are many men who can gain a better understanding of their fellow travelers upon this planet through seeing this show. All that is required to embrace The Show is to let go of the urge to impose a narrative upon what you are witnessing and receive each new segment as it comes. There is something that will make you laugh, hurt, smile, and feel seen and heard in every different shade and color refracted through this show’s amazing light.

Created and performed by Emily Michaels King and Debra Berger The Show premiered in 2022. I missed that production and am very grateful that it was so successful during that run that they decided to bring it back. It’s the sort of experimental and personal theater that we don’t often see. Which of course is what makes it so exciting. I love a good play and a musical, obviously, but it’s nice every now and then to go into something that’s unlike anything else. Berger and Michaels King give us glimpses of everything from their feelings when they look in the mirror, of dancing like the rest of the world isn’t there, lip synching to “the Titanic song”, and experiences that are shameful either for their behavior or for what was done to them. Are all of these moments their personal truth? maybe, maybe not, but they are truths, they are recognizable and they are to some woman, no, many womens truths. It doesn’t matter what is theirs or a friends or a family members. What matters is that these moments, these colors if you will, are seen and shared. These women are brave and talented and they don’t leave anything left in reserve, they give us everything they have and it’s beautiful.

The Show runs through April 5th at Red Eye Theater in Minneapolis. For more information and to purchase tickets go to https://www.edmakesart.org/

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? Fear not! 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.

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. 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 that video and subscribe to the channel so that when we fully launch you’ll know all about it!

Witch From Walking Shadow Theatre Company at Open Eye Theatre Selling Out, With Good Reason!

Wini Froelich and Nick Ericksen Photo by Amy Rummenie

Witch by Jen Silverman is another play, like Arthur Miller’s The Crucible, that seems to be commenting on our current society through the lens of the past, and with false accusations of Witchcraft. but that is where the comparisons end, both are great, but they go about it in almost polar opposite ways. Whereas Miller’s play is tense and riveting and close to three hours long. Witch is about 80 minutes and very funny and entertaining. I highly recommend both, but if you only have room in your schedule for one, let that be a guide to which one you take in. I love Open Eye Theatre, it must have the smallest stage in the city but it always looks amazing and this production is no different. A fabulous cast and top notch production design combine with a script full of humor and cleverness make Witch a deal with the Devil worth making.

While titled Witch it’s really about the Devil or at least one of his soulsmen, Scratch. Scratch is working his way around the village of Edmonton making deals for people’s souls. At the castle he makes deals with both Cuddy Banks, the son of Sir Arthur Banks, the lord of the castle, and Frank Thorney, who is treated by Sir Arthur as if he was his son and held in higher regard than Cuddy. Their deals seem to be in opposition to each others, but there is always a catch when you dance with the Devil in the pale moonlight. Cuddy tries to pretend there is an attraction between himself and the maid Winnifred, but she is secretly married to Frank, and it’s made fairly obvious that Cuddy is in the closet. Everything is smooth sailing for Scratch until he comes across Elizabeth Sawyer who is believed to be a witch by the village, but of course is not. She refuses his initial offer, something no one else has ever done. This intrigues him and he begins to spend all of his time with Elizabeth and things play out in an unexpected way. In the end, Scratch becomes the voice of the audience, in a way that is true and sort of shameful.

Witch features a great cast filled with some familiar faces and some new ones to keep our eyes on. Wini Froelich is fantastic as Elizabeth showing a vulnerable and subtle touch that caught me completely off guard. Frankly, I’m used to her cracking wise while serving me dessert at The Mystery Cafe shows. Here she is the voice of women and men, but mostly women and the world in which she and we live. Her scenes with Nick Ericksen’s Scratch are witty and thoughtful and finally quite unexpectedly moving. There’s an understanding in her eyes that shows a greater understanding of humanity than even Scratch, whose job it is to play upon his deep understanding of human nature. Ericksen is delightfully charming as Scratch dressed in leather pants and jacket, he masterfully plays the puppeteer playing on everyone’s desires and fears, knowing all the right buttons to push. But when he meets Elizabeth and starts to have long conversations with her, he begins to lose a little of the swagger and low and behold, the devil appears to have a sensitive side. The transformation is gradual and effective, and Ericksen, who is new to me, is definitely one to watch, I predict a star is on the rise. The Stages of MN favorite Jake Sung-Guk Sullivan plays Frank Thorney, think Gaston from Beauty and the Beast, you can see why Cuddy is jealous of him, but even he gets a moment to show some real emotion, when he makes what I would consider his real deal with the Devil even though Scratch is nowhere in sight. The cast is rounded out by Peter Colburn as Sir Arthur, Caiti Fallon as Winnifred, and Samuel Osborne-Huerta as Cuddy, all are exceptional in their roles.

I would be remiss not to mention the production design which is detailed and perfect in every way. Open Eye Theatre shows always look like Guthrie show budgets on a tiny little stage, but usually the scenic designer is Open Eye’s Joel Sass, but here we have scenic design by Alice Endo whose work is on par with that of Mr. Sass and that is high praise I assure you. From Elizabeth’s detailed cottage interior, to the trees surrounding it and the castle interior wall, it’s impossible to select a favorite element. Emily Heaney’s costumes complete these characters perfectly, though anachronistic, her choices for Scratch are dead on and help us to understand him before he even utters a line. The lighting design by Tony Stoeri is dynamic and integral to the entire production. There is a moment when Scratch is describing the color blue that appears at a certain point during sunrise, he describes it as the color of bruise and the lighting change that accompanies it achieves that very shade. I also enjoyed the work of Fight Choreographer Annie Enneking which was far more physical than you would expect, particularly given the small stage. Also the Intimacy Coordinator Alli St. John who creates a scene of such tenderness between Elizabeth and Scratch that one almost feels as though they have been witness to a moment that should have been private. Of course all of this was achieved under the steady sure handed direction of Co-Directors Cody R. Braudt and Amy Rummenie.

Due to popular demand Witch‘s run has been extended through April 13th at Open Eye Theatre in south Minneapolis, but I expect there will still be a lot of sold out performances so don’t wait too long to get your tickets. For more information and to purchase tickets go to https://www.walkingshadow.org/witch/

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.

Pretty Guardian Sailor Moon the Super Live Coming to the Orpheum Theatre April 6th!

The cast of Pretty Guardian Sailor Moon Super Live in London. February 2025. Photo by: © DavidJensen

Pretty Guardian Sailor Moon The Super Live is a stage show based on the original manga (japanese comic book) of Pretty Guardian Sailor Moon. For those not in the know, Sailor Moon was introduced in 1991 in what is now one of the most popular mangas series of all time. The characters popularity can be measured by the sheer volume of formats into which the world of Sailor Moon has been adapted. Everything from Anime series and films to video and collectible card games. For decades there have been Sailor Moon Stage shows as well, produced in Japan. Now for the first time ever they are bringing one of those shows on a 21 city North American tour which launched in Austin Texas and plays here in Minneapolis on April 6th at Hennepin Arts’ historic Orpheum Theatre, before ending the tour in NYC. Tickets for the Minneapolis show can be purchased at https://hennepinarts.org/events/pretty-guardian-sailor-moon-the-super-live-2025.

Described by its producer Makoto Matsuda as “a unique genre of ‘2.5 dimensional musicals’ rather than a category such as Broadway musicals, etc.”. Expanding on that Matsuda says “it has, you know, the regular song, music, dance, technology, visuals, projections, so much more than a normal conventional musical. So we wanted to kind of honor the situation by naming it and giving it a new category name. And it’s almost kind of like a manifesto to call it a new thing. And that is our intention of calling it something, not a musical, but the super live”, explaining the impetus to create this new genre Matsuda says “I think musicals in Japan was something where the audience wasn’t necessarily young. It was more geared towards a certain demographic that was stable, but not necessarily all encompassing. But once we started doing 2.5 and we incorporated more comics and animation as an original story, their fan base came to see it much more. So we now have a robust group of young audiences that many have never been to a musical before that have been starting to come see the productions, and it has grown so much.” There may be a lesson here for American theaters to study on ways of attracting new and younger audiences by appealing to their tastes and sensibilities.

Riko Tanaka who plays Sailor Moon in the North American tour also commented on the format saying “The format of the production is actually that they have the Super Live musical, and then at the end, there is a second part, which is almost like a concert, and they play all the super classic hits from Sailor Moon. So it’s kind of a different setup and that part when you switch to the concert is really exciting. Because, you know, up to that point, they’re doing all this storytelling, which is great, but then once you switch to the concert, the beloved characters come out and do their known music.” “There’s characters like Tuxedo Mask and Queen Beryl and they have their number where they’re belting it out, and the characters, Sailor Moon and everybody are in the back enjoying it and cheering on as well. So it’s like a really fun part and I think that kind of resonates with the audience as well.”

Tanaka also talked about the what it is about the character that make fans love her so much. “The main character, Usagi, is a really charming, kind of a little clumsy, fun character that people want to just kind of reach out and help almost. And then there’s this other, Sailor Moon, which is like the fighting, really powerful, strong, enigmatic character that is like unbeatable. And that contrast between the two makes it very interesting and attractive, I think. And I feel like keeping that gap is something that makes it very interesting to people.” I asked Tanaka what it was like to take on such an iconic role? “definitely it’s been incredible to be selected and of course all my family, my relatives, everybody was like, oh my God, that’s amazing and they were very happy about it and they were celebrating it. But of course, this is a role that has been very important within this industry. So my fellow actors who understand the significance of the role have been so encouraging and they have been celebrating with me this achievement. Not only just to portray the role, the beloved Sailor Moon, for the people all over the world who love Sailor Moon, but I do it also as me, as an actor. This is going to be my main rise to fame role. So it is something that I take with such honor, and the responsibility is felt, but I’m very excited about it too.” Producer Matsuda added “So actually in Japan There is very few auditions, not as much as you think. But, that being said, every young actress in Japan wants to play Sailor Moon, so there’s a lot of people who apply. So she [Riko] is very casual about it, but this is a really big deal though that she won the Sailor Moon position”.

Tanaka remembers that her first exposure to Sailor Moon was the anime series when she was three or four years old. “It was at that age when you kind of played the character with your friends and stuff. And, actually my favorite character was Sailor Jupiter.” Choreographer for the show Satomi Toma talked about going back to the original manga’s for inspiration “Once I got involved in this production, I had the opportunity to reread the original manga. And I was so moved and impressed by like this elegant line, the beauty of how it’s being portrayed. Talking about choreography, how her hair moves, how her skirt flitters and like that sense is something that I really wanted, that sense of awe. I do want to keep in the production as well that impression that it had on me, it was very strong. There’s a color version as well, but especially the black and white version, I feel like that line is something that left an impression on me when I was looking at the original comic for the first time.”

Matsuda hopes that audiences take away three things from Pretty Guardian Sailor Moon the Super Live “The first message is this is also a message about peace and how there’s a lot of fighting and action, but it is about how that is a sad thing and how important it is to know how precious peace is. The second thing is the message of love. Sailor Moon is loved by generations of people. We see people, mother and daughter that come together and enjoy. Different generations that come together and they go and are very happy about it. And we want people to, you know, after seeing it, feel the sense of love doesn’t have to be certain partners or anything. It could be, I want to just call my mom and say hello, that kind of love as well. A message of love is something that is really compassion and love is something that’s important. And this is probably the most important thing. I want people to feel energized. We get energized from the feedback from the audience, the love that we receive is something that’s so contagious and we will hope that the audience feels that love and excitement and feel really fresh and energized through seeing our production as well. So those are the three things that I hope the audience could feel when they come see the super live.”

If you have someone in your life that is into mangas and anime there’s a good chance they are a fan of Sailor Moon. For me it’s my daughter Savannah who has even dressed as Sailor Moon for Halloween. A show like this is for the fans. It’s an opportunity to go experience something you love in a new way and to gather with others who share your love. I’m hoping she pulls out the costume and wears it when we attend Pretty Guardian Sailor Moon the Super Live on April 6th, my birthday at the Orpheum Theatre. The link again to purchase tickets is https://hennepinarts.org/events/pretty-guardian-sailor-moon-the-super-live-2025

Trailer for the North American Tour of Pretty Guardian Sailor Moon the Super Live

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.

The Mousetrap Will Keep You Guessing Until the Very End at the Guthrie Theater

The cast of The Mousetrap Photo by Dan Norman

The Guthrie Theater’s production of The Mousetrap by Agatha Christie is a luxuriant, thrilling, and witty production of one of the greatest mystery plays of all time. I’m a huge Christie fan, so I try and see any adaptation or play of hers that comes along. That usually ends up meaning that I just see the annual Christie adaptation at Theatre In the Round. But, lately there seems to have been an upswing in Christie productions including a wonderful adaptation of Murder on the Orient Express two years ago at the Guthrie, but also productions at Park Square Theatre and Yellow Tree Theatre. The Mousetrap has been playing in London’s West End for over 70 years since it opened in 1952, making it the longest running play in history. I have seen the play twice before, first when my college mounted it about 30 years ago, and then more recently when Lyric Arts staged a production in 2022. In 2022 I couldn’t remember the solution of who the killer is, but my memory isn’t so poor that it has faded from my mind in just three years. The plus for audiences to this production is, that unless you’ve seen the play performed before, read the play or had some rotter spoil it for you, you’ll be going in blind. You see part of the original contract for the play states that no film adaptation can be produced until at least six months after the West End production has closed. One begins to suspect there will never be a film of The Mousetrap. Given that, I’m going to give very little detail of the plot as I do not want to inadvertently tip anyone to the solution. The Mousetrap is a well plotted mystery full of red herrings and plot twists. It’s a great whodunnit with a nice amount of character driven humor along for the ride.

The setting is an English Manor which a newlywed couple is converting into a guesthouse, this would be what we would consider a boarding house I suppose, as bedrooms and common rooms are provided along with all of the meals. They have four guests arriving for their first week in business. Those four will be joined by a mysterious guest who is seeking shelter after his car is stranded in the blizzard that will soon cut off the residents of Monkswell Manor from the outside world. They will be joined by a police Sergeant who makes an heroic attempt to reach them via skis as the police believe that one of the people now at Monkswell Manor is a murderer!!!! Each of the guests seems to have something to hide making it near impossible to guess who’s in danger and who is a danger.

The Guthrie’s cast is superb and Director Tracy Brigden stages the action very effectively. Monette Magrath making her Guthrie Debut joins local favorite Peter Christian Hansen as Mollie and Giles Ralston, the proprietors who have their hands full running a new and unfamiliar business as well as dealing with difficult and eccentric customers. For instance, Mo Perry who plays Mrs. Boyle, possibly the most contrary and judgemental old biddy in England, plays it so perfectly that you get a little thrill everytime someone upsets her. My favorite is the over the top in just the right way, Greg Cuellar as Christopher Wren the architect, but not that architect, Christopher Wren. He’s a bundle of affectations that endears him to the audience and Mollie, but rubs the manly Giles the wrong way. Cuellar is the most out there character of the group and he doesn’t hold back in his performance, and as such brings the most humor to the show. Matthew Saldivar plays Mr. Paravicini, a mysterious foreigner seeking shelter from the storm. Another very stylized performance but one that belies an intelligence rather than eccentricity, he is also a source of much comic relief, but of a more sophisticated and witty type. Matthew Amendt plays Detective Sergeant Trotter who arrives to save the day only to find a house full of people who refuse to be up front with him, putting their lives at risk by keeping secrets. Amendt, plays the Detective with mounting exasperation, he is trying his best to root out the killer before he or she can strike again, but continually discovers that secrets are being kept from him.

The scenic design by Walt Spangler is stunning in every detail. If it’s one thing the Guthrie Theater has over most others in the Twin Cities area, the space and resources to really wow us from a production standpoint. It has to be seen to be believed, the photo above looks great, but doesn’t do it justice. I sat in the front row, a location I highly recommend, and the vastness of the set, the ceiling that seems to be four stories above the stage was an awesome visual. But it’s success was also in the details, such as the snow falling outside the Great Hall windows, the light and smoke from the fireplace. Every technical element was superbly realized including John Gromada’s sound designs and musical compositions. The lighting design by Rui Rita and the wonderful period costumes by Susan Tsu. I especially loved Tsu’s various costumes for the flamboyant Christopher Wren.

If you’ve never seen The Mousetrap it would be hard to imagine a better introduction to it than this. The stunning set populated by this wonderful cast brings the classic whodunit to life in a very rewarding way. Fans of Mysteries and thrillers will find this ingenious script keeps them guessing right up until the end. Just remember, once you learn the truth, you must keep it to yourself just as audiences have been doing for 70 years! The Mousetrap runs through May 18th at the Guthrie Theater in Downtown Minneapolis. For more information and to purchase tickets go to https://www.guthrietheater.org/shows-and-tickets/2024-2025-season/the-mousetrap/

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.