A Christmas in Ochopee From New Native Theatre When You are Ready for Something Completely Different

A Christmas in Ochopee, the remount from New Native Theatre first produced two years ago, is like nothing else I’ve seen this holiday season. It has none of the things we normally associate with Christmas shows, no snow, no carols, no turkey dinner. Instead, we get the Everglades, basketball games, and an alligator. But while the trappings may be different, the chaotic family dynamics are universal. I was rather taken with its shaggy Christmas charms, and it was refreshing to mix things up a bit.

The play follows Christmas Day with the Weetley family on a reservation in the Florida Everglades. Bo Weetley, the father, has already bet the money from a landscaping job he hasn’t even been awarded yet on a basketball game, the same money he planned to use to take the family to Disney World for Christmas. Meanwhile, Donnie Boy, the youngest son, is unexpectedly released from prison when the arresting officer forgets to show up in court, resulting in the case being thrown out. His brother Joseph is bringing his fiancée home for Christmas but forgot to tell his family they’re engaged… or that they’re vegans. And fiancée Audrey hasn’t gotten around to telling him that she’s pregnant. Add in a Barney Fife-esque cop and an antagonistic uncle, and you have the makings of a Christmas spiraling entirely out of control, with very little assistance required.

Montana Cypress’s script somehow keeps everything clearly delineated even as the story turns increasingly chaotic, which, as I began summarizing the plot, I realized is kind of amazing. The script is tight, though the direction occasionally feels a bit loose, perhaps due to a few less experienced cast members. The ensemble is uneven, but several performers shine. Benjamin Wilson as the father is especially strong. He seems born to play the role and doesn’t hit a false note the entire show. Mato Wayuhi as Donnie Boy delivers a manic goofball energy and dim-witted charm that perfectly explains his place in the family. In a smaller role as Joseph’s childhood best friend Summer, Shinaana Secody displays that enviable skill of simply knowing how to be on stage. We would have loved to see more of her.

I’m sure there are cultural nuances I missed, jokes specific to reservation life in the Everglades or references that went over my head. But I never felt like an outsider. I enjoyed the show because I recognized the characters as people I’ve known, and the situations are universal even when the details are not. The production has a chaotic charm, gets surprisingly physical at times, and offers quieter moments when its larger-than-life characters become grounded and deeply relatable.

A Christmas in Ochopee runs through December 21 at 825 Arts in Saint Paul.
Visit New Native Theatre’s website for more information and to purchase tickets:
https://www.newnativetheatre.org/tickets.

New Native Theatre is the largest Native-led nonprofit theater company in the country, now in its 16th year. Let’s make sure it has another 16. Please go see the show, and if you can’t make it, consider making a donation. It’s important that these voices are heard and these stories are told, and the best way to ensure that is by supporting New Native Theatre.

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The Stages of MN YouTube channel is home to the weekly Stages of MN Show. You can watch it by clicking here. Be sure to check out the latest episodes and subscribe so you’ll always know when a new one drops. Not sure you agree with one of my takes? I’m also part of the Twin Cities Theater Bloggers (TCTB), where you can find review roundups from my colleagues and me. Follow us on Facebook at @TwinCitiesTheaterBloggers.

A Christmas Carol…More or Less, is Definitely More at Yellow Tree Theatre

A Christmas Carol… More or Less at Yellow Tree Theatre in Osseo turns out to be decidedly on the “more” side. When a small theater company’s entire cast and crew get snowed in after a ski outing, the theater’s owners, estranged husband and wife Charlie and Sarah, decide to perform the show themselves rather than refund the audience. Much like Dante Hicks, Charlie “isn’t even supposed to be there today.” The same closed mountain pass that traps the cast and crew is also preventing him from catching his flight to L.A., where he’s planning to move to write for Wheel of Fortune. After some arm-twisting, he agrees to Sarah’s plea to uphold the sacred tradition that “the show must go on.”

This isn’t my first two-person Christmas Carol—there’s another fantastic one called A Very Good Christmas Carol, written and performed by up-and-coming Twin Cities performers Jeffrey Nolan and Hawken Paul, which leans fully into the manic chaos of two people desperately trying to stage the entire story themselves. If you can’t get into this Yellow Tree production, absolutely check that one out: https://linktr.ee/AVeryGoodChristmas. It’s a laugh riot.

This version at Yellow Tree is certainly funny, but it also leans into the warmth and genuine emotion that a really strong Christmas Carol can evoke. The script gently chips away at the jadedness of two performers who’ve done the show countless times, revealing something unexpectedly heartfelt beneath the comedy.

Paul LaNave and Kate Beahen are wonderfully paired. Beahen is delightful as the determined theater-maker who simply refuses to quit. She’s game for anything, and while LaNave starts by only playing Scrooge (and a few other characters as he warms up), Beahen takes on nearly everyone else, unafraid to throw out a wild accent, a ridiculous walk, or a silly song. She’s disarmingly charming, broad when it needs to be, and surprisingly nuanced, layering disappointed wife, practical producer, and joyful performer into one compelling presence.

LaNave is equally strong, beautifully portraying a man worn down by the life of a starving artist, someone who has let the lure of financial security pull him away from what truly matters. As the performance unfolds, you can see the spark returning to his eyes; the show becomes, in a way, his own tale of redemption.

Will the night end with disappointing realism or a happy ending? You’ll have to come to Yellow Tree Theatre in Osseo to find out. If you can, that is, at the time of this writing, the show is 96% sold out. Wait too long and you may find there are no tickets left… a nice problem for the theater, if not for audiences.

A Christmas Carol… More or Less runs through December 28 at Yellow Tree Theatre in Osseo.
For more information and tickets, visit https://yellowtreetheatre.com/christmascarol.

The Phantom of the Opera Returns to the Orpheum Theater in Best Production in Decades

Isaiah Bailey and Jordan Lee Gilbert Photo by Matthew Murphy and Evan Zimmerman

The Phantom of the Opera returns to the Twin Cities for what must be the seventh or eighth time. This tour is billed as a revitalized production of Andrew Lloyd Webber’s legendary musical—based on Harold Prince’s original direction, with staging and choreography by Gillian Lynne, recreated by Chrissie Cartwright. The last time the show toured through Minneapolis, the staging was noticeably different from the version I remembered. While I enjoyed that iteration, I’m thrilled this production brings back the staging I first fell in love with.

For the uninitiated, The Phantom of the Opera tells the story of a mysterious, disfigured musical genius who lives beneath the Paris Opera House and becomes obsessed with a young soprano named Christine Daaé. As he manipulates the opera company to make her a star, Christine is torn between fear, fascination, and her love for childhood friend Raoul. The Phantom’s desperate obsession spirals into jealousy and violence, culminating in a confrontation where compassion becomes his final reckoning.

This is one of those musicals people tend to either love or loathe. I know plenty of musically sophisticated people who dismiss it entirely, but I’m not one of them. My love for this show goes back to my first encounter with it: a high school show choir trip to Los Angeles in 1990, where I saw Michael Crawford in the role he originated in the West End and on Broadway. That performance seared itself into my memory. It was probably the first massive Broadway caliber show I ever saw, and it left its mark. I played the cast recording endlessly, so much so that “All I Ask of You” ended up in my first wedding, which feels incredibly cliché now.

Like every version I’ve seen since, this production doesn’t quite reach the perfection of that first experience, but only just. If you’re a Phantom fan, this may be the strongest tour in a couple of decades.

The cast is solid overall, with a few minor quibbles. Daniel Lopez (Raoul) sings beautifully, though at times his constant smiling felt more like musical theatre autopilot than character driven choice. Jordan Lee Gilbert is a stunning Christine, her voice and emotional performance are exceptional. Isaiah Bailey (the Phantom) felt slightly tentative in Act I, but something clicked for him in Act II, and his performance deepened significantly. Of course, every Phantom I see ends up compared, perhaps unfairly, to Michael Crawford’s definitive interpretation. I also enjoyed William Thomas Evans and Carrington Vilmont as the new opera managers; they brought nuance and personality to roles that can easily become one-note.

As always, two things define Phantom: the music and the design. The score, depending on who you ask, is either lush romantic genius or overly popularist fluff. I fall firmly in the first camp. I find it sweeping, emotional, and unforgettable. Some of the most memorable melodies in musical theatre live here.

The production design is equally superb, truly lush in every sense. From the jaw-dropping moment when the chandelier transforms from dusty relic to blazing spectacle in under two seconds, to quieter scenes like the managers’ office framed by rich curtains, the visual world is breathtaking, theatrical, and immersive.

If you’re already a Phantom devotee, consider this a strong recommendation. If you’ve never seen it, now’s the time, if only so you can finally decide whether you’re a Phantom lover or Phantom leaver.

The Phantom of the Opera runs through December 7 at the Orpheum Theatre in Minneapolis.
For more information and tickets, visit: https://hennepinarts.org/events/the-phantom-of-the-opera

My Fair Lady at Theater Latté Da Feels Fresh and New, While Still Retaining its Classic Charms

Tod Petersen, Jon-Michael Reese, and Anna Hashizume Photo by Dan Norman

Usually, when it comes to a long runtime, I secretly wish they’d cut the overture. My thinking is, the show is already long enough, I don’t need a preview of every song I’m about to hear over the next three hours. But here, director Justin Lucero turns the overture into an unexpectedly delightful launchpad.

The entire score is played on two pianos, one musician dressed as an upper-class pianist (Joshua Burniece), the other as a working-class player (Wesley Frye). This establish one of the show’s key themes, class divide right at the top of the show. The playful interaction and energy between them makes the overture feel like a friendly dueling piano act. This was one overture I really enjoyed.

And that’s just the first of many smart choices Lucero makes to pull My Fair Lady into the 21st century. His direction doesn’t ignore the source material’s outdated gender dynamics but he doesn’t let them pass without commenting on them either. In subtle ways he works to undermine them and in doing so makes the show relevant to a modern audience. Perhaps if the producers of Purple Rain had enlisted the services of Lucero, they’d have cracked the code and their Broadway chances would seem more hopeful. The parallels between the two shows, especially in how we now view power, agency, and gender, are striking.

Without question, the heart, soul, and blazing force of this production is Anna Hashizume as Eliza Doolittle. She brings fire, dignity, and grounding to a character who has too often been framed as a fantasy version of compliant womanhood. Hashizume wants no part of that narrative. Her Eliza is sharp, funny, evolving and increasingly unwilling to accept the terms of her transformation.

She’s wonderfully comedic at Ascot, quietly heartbreaking when ignored after her triumph, and electrifying in the final scenes as she claims her autonomy. And, as always, her vocal work is stunning. This role showcases both her classical training and her musical theater skills.

Jon-Michael Reese’s Henry Higgins feels like The Kid from Purple Rain, but this time, the actor has the charisma and nuance to make the character compelling even when he’s insufferable. Reese finds humor and rhythm in Higgins’ arrogance, giving the score a fresh tone without softening who the character fundamentally is. His dynamic with Hashizume feels carefully calibrated, and the result is a very well matched pairing.

Stages of MN favorite, Tod Petersen, brings his inherent goodness, warmth, and perfect comedic timing to Colonel Pickering. His scenes with Norah Long (as Higgins’ mother) are a particular delight. Felix Aguilar Tomlinson rich voice delivers one of the night’s vocal highlights with a powerful performance of “On the Street Where You Live.”

Eli Sherlock’s set is wonderfully ingenious. It consists of two parts, a center column on which the dual pianos are situated with an outer ring that rotates around that stationary center. One side is Henry Higgins’ home with the other side standing in as various locations. Amber Brown’s costumes are exquisite, and when Hashizume appears at the top of the staircase ready to head to the embassy ball her costume takes the entire theater’s breathe away.

Also deserving of praise is the Choreography of Abby Magalee, her work on the song “Wouldn’t it be Loverly” being the standout. Which brings up one baffling thing, I wasn’t sure if I was just hearing it wrong or did they change it from Loverly to lovely? or were they just downplaying that “R”?

My Fair Lady runs through December 28, 2025 at Theater Latté Da in Northeast Minneapolis.
Tickets and info: https://www.latteda.org/my-fair-lady

A Christmas Carol Still Has it, at Least For Me, at the Guthrie Theater

The cast of A Christmas Carol Photo by Dan Norman

It’s hard to get through the holiday season without experiencing at least one version of A Christmas Carol, and the Guthrie Theater’s annual production seems particularly inescapable for me. I usually end up seeing three or four versions each year, and because it’s such a busy time both theatrically and personally, I always tell myself I’ll skip the Guthrie’s for once. But then someone in my inner circle really wants to go, and they pull me back in. Thankfully, it’s always a journey worth repeating, and one I’m glad I never miss.

This marks the 51st production of the Guthrie’s A Christmas Carol and the fifth year of the current adaptation by Lavina Jadhwani, first performed in 2021. This year’s staging is directed by Addie Gorlin-Han, based on the original direction by Joseph Haj, the Guthrie’s Artistic Director.

After so many years and so many versions, I’m still amazed by this story’s capacity to captivate me. There’s something enduring about Dickens’s tale of reflection and redemption. Its familiarity allows it to be endlessly adaptable. The core plot and themes appear throughout modern storytelling. Everyone has a favorite version: for my son Alex, who was my plus-one this year, it’s Patrick Stewart’s made-for-TV version; for me, it’s the 1951 British film starring Alastair Sim. Alex wasn’t completely won over by this stage version, perhaps he holds his favorite too tightly to let another in. That’s fair and I think something we’ve all experienced from time to time. I’m happy to say that once again the Guthrie’s version did completely win me over. And I had the telltale tears on my cheeks at the end as proof.

Last year my review focused on changes I wasn’t sure were new, this year I had the same thoughts. Was that second hug Bob Cratchit gives Scrooge there last time? Was the astonishingly quick transport of Scrooge from the trapdoor to his bed new? Regardless, it all works beautifully. There aren’t many cast changes this season, but it was great to see Daniel Petzold join as Young Scrooge and Aimee K. Bryant in a newly credited role as Kitty’s sister Dahlia. Kitty herself finally gets a name after years of being listed simply as “Fred’s wife.” Both are welcome additions. I also loved seeing Noah Hynick, apparently on loan from Lyric Arts, joining the ensemble. Hopefully it’s just a matter of time before he takes on larger roles at the Guthrie.

The elements that have wowed me in past productions continue to shine. Nathan Huberty’s Ghost of Christmas Future, in a haunting costume by Toni-Leslie James, remains nightmarish enough to give the wee ones a genuine scare. The moment when the ghost emerges from the darkness, engulfed in fog and towering over a cowering Scrooge, is pure theatrical adrenaline—especially from my front-row seat. Alex said that moment almost triggered his fight-or-flight response. The set design by Matt Saunders and lighting by Yi Zhao strike a perfect balance between detailed realism and expressionistic atmosphere. Sound designer Mikaal Sulaiman and music director Jason Hansen weave together Jane Shaw’s evocative score, traditional carols, and well-timed sound effects to create a rich, immersive experience.

The one scene that still puzzles me is the brief moment when Scrooge and the Ghost of Christmas Present observe the ship at sea. I know it’s in the book, and many adaptations include it, but it’s so short and requires such elaborate staging, complete with, to be fair, excellent projections and a separate set piece, that I can’t help wondering if the payoff justifies the effort. I promise to stop harping on this by next year; I know it’s a dead horse.

As I’ve said before: if you’ve never seen A Christmas Carol at the Guthrie, it’s actually required by the state constitution once you’ve lived here more than five years. And if you’ve seen it before, even this same adaptation, it absolutely rewards repeat viewings. Unless, of course, you’re fiercely loyal to Patrick Stewart’s version; then all bets are off. I’m not sure how this story keeps reaching me year after year, but I think Dickens’s source material is simply too brilliant to ever grow old. Its message remains timeless: our fellow man is the business of all of us.

A Christmas Carol runs through December 28 at the Guthrie Theater in Minneapolis. For more information and tickets, visit guthrietheater.org.

Natasha, Pierre and the Great Comet of 1812 Blazes Across the Stage at Elision Playhouse

Remember last month when I told everyone to get tickets to LIZZIE: The Rock Musical? Some of you listened and some of you didn’t. Then it sold out, they added a week, that sold out too, and you missed your chance. Well, here’s your second warning: get tickets to Natasha, Pierre & the Great Comet of 1812 now! It runs through November 22, but only a few performances still have tickets available. I’d be shocked if this one doesn’t completely sell out.

So, what is this unusually titled show about? Here’s the biggest surprise of all: it’s a sung through electro pop opera adapted from a 70 page section of Leo Tolstoy’s War and Peace. A word of warning to students, don’t think you can catch this show and then fake your way through a book report on War and Peace. A nice hardcover version I found on Amazon is a little over 1200 pages, so this adaptation is just telling the smallest sliver of that grand story. If you do see the show and want more but don’t have two years, seven months, three weeks, and five days to invest in reading the novel, there is an absolutely spellbinding Russian film version that runs a mere seven hours that I highly recommend. It is available on physical media from the Criterion Collection and is absolutely stunning.

This small taste of that story focuses on the romance of Natasha, who is engaged to Prince Andre who is “not here” (off fighting the Napoleonic wars), and Anatole, who is “hot” and well, here. It also follows Pierre, Andrei’s friend and Anatole’s brother-in-law, a man unhappily married and searching for meaning. Around them swirl half a dozen vivid characters, including Andrei’s eccentric father, Pierre’s unfaithful wife Hélène, and Balaga who’s there “just for fun!” In early 19th century Russia, Natasha’s affair has devastating consequences.

Theatre Elision, much like Open Eye, has a distinct artistic identity, where Open Eye is known for its inventive design, Elision is renowned for its musical excellence. Yet Natasha, Pierre and the Great Comet of 1812 bridges both worlds beautifully. Directed and designed by Lindsay Fitzgerald, the show transforms the black box space into an immersive, electrifying environment. Actors move among the audience, and high tables around the central performance area (available for reservation at an extra charge) enhance the atmosphere. Fitzgerald’s unified vision creates a fluid, exhilarating experience that exceeded all expectations. Laina Grendle’s lighting design adds surprises and depth, while the unnamed costume designer deserves special mention for the richly detailed period aesthetic. Harrison Wade’s music direction is, as always, impeccable.

The cast is uniformly excellent. Phinehas Bynum (Pierre) and Anna Beth Baker (Natasha) are outstanding, Bynum even plays the accordion during the show. Hawken Paul pulls double duty as violinist and the hilariously energetic Balaga, while Christine Wade handles three roles Hélène, vocal director, and oboist with skill and charisma. Bradley Johnson is pitch perfect as the “hot” womanizer Anatole, and it was a delight to see Kyler Chase back onstage, a familiar face from Lyric Arts several years ago. Honestly, I could name the entire ensemble, they’re all terrific, trust me.

And trust me when I say you need to get your tickets now. Like LIZZIE, this is one you’ll regret missing. Natasha, Pierre & the Great Comet of 1812 runs through November 22 at the Elision Playhouse in Crystal. For more information and tickets, visit theatreelision.com/comet.

Purple Rain Leaves an Ugly Muddy Mess Behind

If there was ever a show you wanted to love, it’s Purple Rain. The new musical adaptation of Prince’s iconic film and soundtrack held its official opening night after three weeks of previews. It’s scheduled to run for about three weeks before theoretically transferring to Broadway—though the production’s website currently lists tickets only for the Minneapolis engagement.

Prince is a Minneapolis legend, and premiering the show here was absolutely the right choice. Unfortunately, that’s where the good decisions seem to end—because if there was ever a show that’s hard to love, it’s Purple Rain.

The musical follows the film’s plot up to a point, then veers off course in ways it can’t recover from. The Kid (Prince’s character) is remarkably unlikable in Act I. Unlike the movie, his brilliance as a performer isn’t really established that strongly up top, so his entitlement and self-centeredness feel neither earned nor forgivable. He comes across as someone everyone around him would be better off leaving behind. Perhaps the Kid’s charisma is meant to carry the audience, but this production was surprisingly low energy. I saw a more electrified crowd at The SpongeBob Musical at Lyric Arts two years ago, that audience treated it like a Beatles concert. Here, applause rarely rose above a golf clap.

The Kid is unlikeable for most of the first act and downright misogynistic in the second. The show aims for redemption but doesn’t come anywhere close to earning it. He’s a jerk who becomes a monster, and feeling bad at the end doesn’t excuse what he does to Apollonia. She’s portrayed as a troubled young woman scarred by childhood trauma, yet in Act II she’s humiliated and reduced to a reality TV punchline. she’s mistreated by the Kid and get’s no happy ending. The show’s book is mean spirited and I had very little tolerance for it by the end.

Purple Rain the movie certainly hasn’t aged super well in terms of the way it portrays women. Those of us who lived through the 80s kind of run into that a lot when we revisit the blockbusters of our past. It’s a sign of how far we really have come despite how it may feel sometimes. I expected this musical to address some of those issues, to correct them. Which, for the record is what I think would’ve been the right thing to do. Instead it doubles down on everything it should have corrected. It shows us women being strong and supportive of each other, but then decides to punish Apollonia in the end. While The Kid is rewarded, because after he’s horrible, he feels kind of bad about it. Ending with the kid being forgiven and him allowing Wendy and Lisa to collaborate with him, which is really a sucky message.

The cast is a mixed bag. Kris Kollins as the Kid moves like Prince and, while not a vocal match (who could be?), that’s forgivable. What’s missing is charisma. Perhaps a result of the exhausting lead up to opening night? I know they’re making changes up to the last minute, but I have to review what I saw. Jared Howelton delivers a spot-on Morris Day, clearly the audience favorite. Grace Yoo shines as Wendy, her commanding presence only highlighting Kollins’ lack of energy. Rachel Webb is excellent as Apollonia. Strong vocally, physically, and emotionally.

Choreographer Ebony Williams offers some intriguing movement, especially shadow partner sequences that suggest the eroticism that they’re not going to show us on stage. There’s nice dance moves from the bands as they are performing at The First (First Avenue). Still, I was surprised there wasn’t more dancing overall.

Production design by David Zinn is strong. The Purple Rain logo against a floral backdrop is striking, and the First Avenue recreation works beautifully. I also liked how the design allowed seamless shifts to other locations, such as the Kid’s apartment, and his motorcycle entrance was handled effectively.

Prince fans will want to go, and knowing what to expect may help you enjoy it for the music alone. But if you plan to share it with your kids, especially your daughters, I’d advise against it. The show leans toxic, its redemption arc forced and unconvincing. The book for this show left me with such a bad taste in my mouth, that no rain, purple or otherwise could wash out.

Purple Rain runs through November 23 at the State Theatre before its anticipated Broadway transfer. It’s a rare opportunity for Minnesotans that should’ve been a celebration of Prince and his music; instead, it felt like they were dragging him through the mud. The lack of energy from some of the cast, made it feel like they thought that as well. For more information and to purchase tickets go to https://hennepinarts.org/events/purple-rain-2025

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The Stages of MN YouTube channel is home to the weekly Stages of MN Show. You can watch it by clicking here. Be sure to check out the latest episodes and subscribe so you’ll always know when a new one drops. Not sure you agree with one of my takes? I’m also part of the Twin Cities Theater Bloggers (TCTB), where you can find review roundups from my colleagues and me. Follow us on Facebook at @TwinCitiesTheaterBloggers.