I Am Betty Returns to the History Theatre After Last Years Delicious Debut

(l-r) Ruthie Baker, Jennifer Grimm, Liv Kemp, Stephanie Cousins, Anna Hashizume, Kiko Laureano, Lynnea Doublette, Erin Capello (Photo by Rick Spaulding)

I Am Betty the hit musical from History Theatre’s 2023 season returns for a second helping this holiday season. Steeped in Minnesota details it celebrates the countless women behind the myth of Betty Crocker. The story tracks the roles of women throughout the 20th century and we see what Betty Crocker, the marketing icon, has represented to different women at different times over the past 100 years. With book and lyrics by Cristina Luzarraga and music and lyrics by Denise Prosek, directed by Maija Garcia with Musical Direction by Sonja Thompson, and featuring a cast of nine of the Twin Cities most gifted female performers, it’s a show that practices what it preaches. The female voice, onstage and backstage, is vital to telling this story. It reminds us how far we as a society have come. I Am Betty celebrates the far too often undervalued accomplishments and contributions of woman throughout the past century. A testament to the career woman as well as the homemaker, showing us the power of diversity and choice.

Luzarraga and Proseks story focuses on two woman who made a deep impact on the world of Betty Crocker. Act I follows the creation and building of the Betty Crocker brand by Marjorie Child Husted beginning in 1921. We see how Betty Crocker went from answering letters to starring on a radio and TV programs. How innovations were created by the women who worked in the General Mills test kitchens. How they created low cost recipes during the depression and creating Bisquick to help save time in the kitchen. Husted was a driven and intelligent woman who sacrificed a personal life for many years because she saw value in the work she and the women she worked with were doing. Act II follows Barbara Jo Davis whom we are introduced to as a young black woman who dreams of growing up to be Betty Crocker and does to the extent that any one woman is Betty Crocker. As we get into the 1960’s and the women’s liberation movement builds, we get a scene where Betty Friedan and Barbara Jo debate the choice to be a homemaker, both having valid points it illustrates the importance of choice, that what seems like a sentence to unpaid labor to some, is something for which others find great pride in.

The cast is a recipe for musical gold and the songs by Prosek and Luzarraga give them all the right ingredients to whip up a musical soufflet. The songs mirror the times in which they are performed, so we get everything from the jazz age to 80’s power ballads. My favorite song was “Lo Bueno Con Lo Malo” which is performed in Spanish by the understudy Lisa Vogel as a Cuban mother singing to her college aged daughter played by Erin Capello. I loved the song, I loved that it was performed in Spanish and I loved the message of those two characters who are revisited throughout Act II. I also loved seeing Vogel nail the song, it was my favorite song last year as well where I saw it performed by Kiko Laureano. Capello also plays Marjorie Child Husted throughout Act I, it’s a great performance that lends a human face and noble aspirations to what one could argue is a marketing tool. Capello lets us see the dedication and desire to help that motivated Husted and lends legitimacy to the symbol that is, Betty Crocker. Lynnea Doublette plays Barbara Jo and really grabbed my attention with her 60’s style girl group song “I Want to Be Her” which is my kind of music. She really takes center stage in Act II and also excels at providing a solid portrait of a role model of an intelligent successful career woman who finds her life’s work in home economics helping to develop Hamburger Helper. The entire cast is great but I have to say my favorite was crowd pleaser Jennifer Grimm, who’s vocal talents are always stunning but who really surprised me with some very comical parts frequently as men. From a Bing Crosby impersonation to a Marketing Exec modeled on Chris Farley I suspect, she meets every challenge drawing both laughs and wowing us with her voice.

I Am Betty runs through December 29th at the History theatre in Downtown St. Paul. For more information and to purchase tickets go to https://www.historytheatre.com/2024-2025/i-am-betty

This Holiday season why not start a new tradition of taking in a live theater production with family and friends? It’s a great way to create lasting memories and will give you something to look forward to every year as you experience the magic of live theater. Whether your budget is large or small, there is a show for you. Looking for gift ideas? Don’t we all have enough “stuff”? Give the gift of live theater, go to your favorite theaters website, see what shows they have coming up in the new year and give the gift of an experience over material.

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Black Nativity Creates a Joyful Noise for the Holidays at Penumbra Theatre

Penumbra Theatre has been staging Langston Hughes’ Black Nativity since 1987, it’s another annual holiday tradition that brings audiences back year after year while also drawing new audiences. This was my second time seeing the show and as I like to do when seeing a repeat I brought someone who had never seen it with me. Her reaction was that it was just like church. As one can surmise from the title it’s the story of the birth of Jesus told from a cultural perspective that reflects the Author’s experiences on the world and of this story. While heavily steeped in Christianity, take it from a lapsed atheist, around the holidays I tend to forget not to believe, that there is much joy, hope, and understanding to be found in Black Nativity. The show is Directed by Lou Bellamy who has been involved with the show in every iteration at Penumbra since they began presenting it in 1987. Bellamy states in his Directors notes that Hughes left room for a wide variety of interpretations and that Penumbra’s productions have evolved over time, much like the Guthrie’s annual A Christmas Carol offerings. This years format is the same as last years, more or less in the style of a concert with a few brief scenes of interpretive dance Choreographed by Marciano Silva dos Santos. I love the idea that if I go again in two or three years time I may see it mounted in a different way, but also knowing that the joyful noise of it will remain intact.

The cast features Jennifer Whitlock as the Narrator whose text is based in the scripture verses I have grown up with, but there are moments where it departs or where the emphasis that Whitlock brings to them casts a new light on the words, one that we can recognize as a question to the audience. Asking does this sound familiar? Does this still hold true today? Do you see the parallels? Of course the answers are sadly yes, but the show doesn’t lead us to these reflections in order to leave us mired in our reality but to then lift us up with hope and the message of love and salvation and peace. It’s a message we all need to be reminded of this time of year and above all, this year, whatever our denomination, race, or financial situation. It’s a reminder that hope can come from the lowest of places and greatness can come from one born in a manger.

The main soloists are Greta Oglesby and Dennis spears, and watch out when they come on stage, because it’s from them that much of that joyful noise comes and it will have your hands clapping and your feet stomping along with them. Oglesby is amazing in a room filled with wonderful singers she shines bright like a star above a manger in a long ago time. Spears is rich of voice but can also become playful with breathy vocals that take on a jazzy scat quality to match is occasional fits of fancy footwork. He’s clearly having a great time and feeling the joyfulness of the music. Angela Stewart as the Choir Director and a Soloist pulls the rug out from under the audience with her rendition of “O Holy Night” she starts out breathy and while it’s well done you suspect that maybe her voice isn’t as strong as the other soloists, than the other shoe drops and she kicks it into another, lower gear and you realize, that’s where the power is and she stuns you with it. The dancers I mentioned are Hassan Ingraham and MerSadies McCoy and they stand in during a couple of songs as Joseph and Mary. This was one of my favorite parts of the show, coming at just the right place to add something new visually and unlike some dance this felt like it was driven by the story of the songs and gave an illustration of the emotions within. Ingraham and McCoy move wonderfully and gracefully together and watching them was a delight. The Musical Director was Sanford Moore and his musicians really raise the roof. The main performers are accompanied by the Kingdom Life Church Choir who lend an angelic and soulful quality to the proceedings.

If you’ve never been to Black Nativity, I encourage all to add it to your calendars, it is such a joyful and celebratory show. You don’t have to believe the same things to appreciate the beauty and joy of it’s message. There something beautiful about going and watching others celebrate their beliefs. This Holiday season why not start a new tradition of taking in a live theater production with family and friends? It’s a great way to create lasting memories and will give you something to look forward to every year as you experience the magic of live theater. Whether your budget is large or small, there is a show for you. Looking for gift ideas? Don’t we all have enough “stuff”? Give the gift of live theater, go to your favorite theaters website, see what shows they have coming up in the new year and give the gift of an experience over material.

Black Nativity runs through December 22nd at Penumbra Theatre in St. Paul. For more information and to purchase tickets go to https://penumbratheatre.org/event/black-nativity-6

Scrooge in Rouge Still Brings the Laughs at Open Eye Theatre

Tom Reed, Abilene Olson, and Maren Ward Photo by Bruce Silcox

*Note much of this review was adapted from my 2023 review of the show as I got it right the first time.

There are a lot of shows with Christmas themes this time of year, and several that are quite funny, but in terms of being a consistently funny, audience pleasing production, this one probably takes the fruit cake. I saw it last year and in the busy Holiday season was probably going to skip seeing it again to make room for new shows. Then I heard that there was a cast change and the new cast member happens to be on my Must See List so I booked the show again and am glad I did because it’s such a fun show. The premise is a British Music Hall production of A Christmas Carol where 17 of the 20 performers are out sick with food poisoning. So the three healthy performers play all the roles, as of course, for Queen and Country, the show must go on. Some of the humor comes from the backstage plotline of how the three will perform a script meant for 20. While much more comes from the music hall tradition of double entendres, silly word play, and wacky characters. Some of the jokes are old, but then so are many of the audience members. Old or new, obvious or out of the blue, it’s the delivery that makes the show. These are three performers who are brilliantly cast, they are completely believable as over the top music hall performers. This is the show to go to with your group of friends who love a good laugh, a great time will be had by all, respectful rowdiness is encouraged.

The cast is expertly accompanied on piano by Patrick Adkins who has the odd line as well but, declines to take the role of Tiny Tim when called upon. Will you answer the call? If you don’t want to be asked, avoid the aisle seats, you’ve been warned. Now when I say the three performers take on the roles of 20, I really mean two of them do. You see Maren Ward who plays Vesta Virile, a male impersonator mainly plays Ebenezer Scrooge, ge sund heit. She is excellent as Scrooge and as the center around which all the chaos revolves. Neal Skoy who played Charlie Schmaltz in the production is in New York City performing in Big Apple Circus. So this year the role is played by a The Stages of MN favorite Tom Reed, who in turn plays everyone from Bob Cratchit, to the Ghost of Christmas Past. My favorite roles of Reeds were that of Scrooge’s nephew Freddie and Bob Cratchit. As Freddie he plays it as a cartoon version of Whodehouse’s Bertie Wooster, and Cratchit is a lovesick softie. Abilene Olson is the the singing soubrette Lottie Obbligato, I’m not going to tell you what that means, I had to google it and so do you. Lottie makes it clear she’s happy to take in a little extra cash for extra services, wink-wink, nudge-nudge. Olson has a wonderful singing voice which serves her well, legitimately but also for comic effect. She’s the sauciest and bawdiest of the trio and gets a lot of laughs with her thinly disguised euphemisms. I’d have to say my favorite role she plays is that of Lottie herself. As opposed to Schmaltz, who is listed in the program as a “character actor” and thus tries to create a new personality and look for each role. Lottie isn’t, and thus it’s perfectly fine that Olson let’s Lottie shine through quite a bit no matter what role she’s performing in the show, within the show. If that didn’t confuse you … can you explain it to me?

The show has a book and lyrics by Ricky Graham with music by Jefferson Turner, additional bits and bobs of material were added by Jeffery Roberson and Yvette Hargis. The production is Directed by the Open Eye Theatre Producing Artistic Director Joel Sass. Sass knows his space well and makes effective use of Open Eyes small stage and all it’s nooks, crannies, and trap doors. As is always the case with Open Eye productions, the look of the show is one of the stars. Michael Sommers set design and Kathy Kohl’s costumes are gorgeousities. There really is nothing quite like the designed theatricality of an Open Eye production, merely functional is never the aim. Every wall, every sign, every prop, every effect has to do more than exist, it has to add to the atmosphere of the piece. Helping achieve the look and overall feel of the show are the expert skills of Lighting Designer Bill Healey and Sound Engineer Dan Dukich. And I think a special shout out is due to Stage Manager Brian Hirt and Assistant Stage Manager Evelyn Kelly who keep the show flowing and one assumes helping the performers do their quick costume changes.

Highly recommended Scrooge in Rouge is a hilarious take on A Christmas Carol done in the tradition of the English Music Hall. The show runs through December 29th at Open Eye Theatre in South Minneapolis. For more information and to purchase tickets go to https://www.openeyetheatre.org/scrooge-in-rouge

Les Misérables Returns With it’s Stunningly Beautiful Production to the Orpheum Theatre

Mya Rena Hunter as Eponine Photo by Matthew Murphy

This is my third time experiencing Les Misérables, in fact it’s my third time seeing this touring production at the Orpheum Theatre. The first was pre The Stages of MN in 2018 and the second was almost two years ago in 2022. When it comes through town next, you can bet I’ll be there to review it again. As with the 2022 performance I was completely swept up and amazed by the overwhelming beauty of Les Misérables. A jaw droppingly gifted cast and production and lighting design that makes every scene look like a Rembrandt painting come to life. Inarguably one of the greatest musicals of the late 20th century, every note of music, every lyric is perfection. A powerful story, the message of which seems especially pertinent given the ever-increasing inequity in the distribution of wealth and the dispensation of Justice. For a show nearly three hours in length there is not a single moment that doesn’t drive the story forward or feel completely necessary. It doesn’t seem to matter how many times I see it I’m still stunned by this production. Even though I knew what I was getting into, somehow It still managed to surprise me with the power and artistry that unfolded before me.

Les Misérables for the unfamiliar is a musical based on the novel by Victor Hugo with music by Claude-Michel Schonberg, lyrics by Herbert Kretzmer. Set in France in the first half of the 19th century, Les Misérables tells the story Jean Valjean who after spending 19 years on the Chain Gang for stealing a loaf of bread is finally paroled. Finding himself free only to discover that no one will give him a chance at a fresh start. Beaten down and starving, he’s taken in by a Bishop, given food and a place to rest, but out of desperation he steals some silver. When he is caught and brought before the Bishop by the police, the Bishop lies to the police saying that the silver cups were gifts. Given this reprieve from being sent back to the Chain Gang, Jean Valjean breaks his parole and changes his name in order to start a new life. The story then moves eight years into the future where Jean Valjean has become a factory owner and the Mayor. In his factory we meet Fantine, who is soon dismissed unfairly, beginning the downward spiral which results in her having to sell everything she can including her hair and her body to stay alive and to send money for her daughter Cosette’s care. When she fights back against a wealthy man who is abusing her, she is on the verge being taken to prison by Javert when Jean Valjean comes to a rescue and has her taken to the hospital instead. A chance accident with a cart causes Jean Valjean to rescue a man. His act of strength reminds the policeman Javert of his former prisoner Jean Valjean he tells the Mayor of the similarity and comments that Jean Valjean has just been arrested. Jean Valjean realizing if he doesn’t say something then an innocent man will pay for his crimes goes to the court and confesses. Before he is taken back into custody Jean Valjean promises Fantine on her deathbed that he will look after Cosette. Overpowering Javert, he escapes again. He goes and finds Cosette, who is living with the unscrupulous Thenardiers, an innkeeper, his wife, and their young daughter Eponine. After paying them off he and Cosette head out to make a new start. The story picks up nine years later in Paris where all of these characters along with a few new ones converge. Cosette falls in love with young student Marius whose in turn loved without his knowledge by Eponine. It’s a time of unrest in the city and a group of students seeing themselves as revolutionaries build a barricade to have a standoff with the authorities. All the key players come together and their fates are all intertwined. It all seems terribly complicated but somehow the story is quite easy to follow. It also all sounds terribly depressing but it isn’t, it’s uplifting, it’s powerful, it is wonderous.

Nick Cartell as Jean Valjean Photo by Matthew Murphy

The cast is nothing short of amazing Nick Cartell, who has played the role over 1,200 times including in 2022 plays Jean Valjean with a vocal range equally astonishing in the deeper registers as he is in the upper. Powerful and passionate in the song “Who Am I?” where he contemplates whether to let the innocent man be tried in his place for his supposed crimes. Then, angelic in the higher pitched “Bring Him Home” where he sings to God to spare the life of Marius. I expected him to be pushing his voice to the limits but surprisingly it seemed perfectly within his range resulting in a tremendous round of applause from the audience. Everyone is of that quality in the cast. Lindsay Heather Pearce as Fantine delivers one of the shows signature songs “I Dreamed a Dream” with all the tragedy and heartbreak of her character seeping into every line. Another stand out was Mya Rena Hunter as Eponine for whom the applause after her solo song “On My Own” threatened to turn into a midshow standing ovation. It’s not hard to see why, if the character of Jean Valjean is the conscience of the show, Eponine is the heart. When she sings “On My Own” it veers towards a misstep as we genuinely find ourselves hoping that she will get together with Marius as opposed to Cosette. Nick Rehberger plays Javert and gets one of the biggest moments of audience amazement in his final scene, which I will not spoil. Rehberger is the strongest Javert I’ve yet seen his singing is powerful and clear and we sense his inner turmoil at the end more palpably than I have during other productions. Matt Crowle another performer who was in the 2022 performance and Victoria Huston-Elem play the scheming M. and Mme Thenardier adding some well timed and much appreciated comic relief.

The production design including everything from the sets, the lighting, projections, and costumes creates one of the most beautiful looking shows I’ve ever seen. On one side of the stage there’s a doorway, on the other side there’s an a Stone Archway, those elements remain constant. Throughout the play those sides Push out to varying degrees and somehow, these two openings, come to look like completely new structures. It is a fascinatingly versatile set. It’s large and impressive solid-looking and yet, it seems to flow and change and reconfigure fluidly. Set and image design is by Matt Kinley they’re inspired by the paintings of Victor Hugo. Paule Constable is the lighting designer and he doesn’t just direct and point lights he seems to paint with light. There’s such a melding of physical set design and lighting in this show and it is through the marriage of these two art forms that this painterly aesthetic is achieved. And yes, when the set and the lighting design look this good it is absolutely an art form. The projection in this show is realized by Finn Ross and Fifty-Nine Productions. I’m not a fan of the overuse of projection in shows and this was a reminder how well it can be used. This is a judicious use a projection that effectively enhances the environment and created some breathtaking illusions.

Les Misérables runs through December 1st at Hennepin Arts Orpheum Theatre in downtown Minneapolis. Fro more information and to purchase tickets go to https://hennepinarts.org/events/les-miserables-2024

Steel Magnolias Moved Me to Laughter and Tears at Yellow Tree Theatre

Maggie Cramer, Jane Froiland, Tara Borman, and Tolu Ekisola Photos by Alex Clark

Steel Magnolias is the kind of play women will want to go to with their girlfriends, daughter, mothers and in a pinch drag their husbands and boyfriends to. And they are going to love every second of it, with the possible exception of the husbands and boyfriends. Am I saying men will not like it, no I am not, I loved it. If your husband or boyfriend has ever cried at a movie, or as in my case every movie and the odd very special episode of iCarly, those are the ones to bring with you and they will likely thank you for it. Know your man, and then plan accordingly, if he’s emotionally available to the arts, bring him. If he isn’t, then only bring him if he’s been bad. For those without available girlfriends/sisters/daughters etc. call my wife she’ll go again, in fact so would I but I think I’m scheduled to see other shows every single night of my life. This is my second production of Steel Magnolias, still haven’t seen the film, but that will be rectified sooner or later. My take away this time is much the same as when I saw it at the Guthrie in 2019 just after starting The Stages of MN, damn this is a well written play! Also, as with that production I am blown away by the cast. Six actors that know how to pull out every ounce of humor and tug every heartstring without pandering to the audience. The emotions we feel whether laughter or tears come freely and honestly based on the connection we have formed with these characters. That only happens when you have actors of quality investing their roles with truth.

The story centers around the hair salon run out of her home by Truvy, who keeps Saturday just for the neighborhood woman. As the play opens, she’s just hired a nervous young woman named Annelle to help out in the Salon. It’s a big day as one of the regulars, M’lynn’s daughter Shelby is getting married. The Saturday regulars also include Clairee, who was recently widowed when her husband of almost 50 years died, and Ouiser who comes off as the old grump of the group. These women are not just the regular Saturday morning customers, they are a group of true and caring friends. Shelby’s wedding is a celebration for all of them, as are all the moments that happen throughout the four scenes that comprise the play. Each scene jumps ahead in time and follows important times in Shelby’s life starting with her wedding day and continuing to her pregnancy and on. Though it’s not just Shelby’s story, it’s the story of all of these woman and the community and support they provide one another. It’s beautiful, it’s very funny, it’s very truthful, and at times very very emotional.

We usually play a game on the ride home after a play called who was your favorite? It gets the ball rolling, when there is a consensus it tells me my instinct is right and so and so did something special, when we have a disagreement it sparks me to think about what an actor did that worked for me. Tonight, the consensus, all of them were our favorites. I went in knowing most of the cast from previous work so I knew there was talent on stage. Some like Tara Borman, who plays Shelby, has been making a strong impression over the last couple of years, having become one of those performers whose name alone puts a show on my calendar. Tolu Ekisola, who plays Truvy, just earned her place on that list as well with this performance combined with her recent roles in Once Upon a Time…Josephine Baker! and The Most Spectacularly Lamentable Trial of Miz Martha Washington. Laura Esping’s performance as Ouiser is a perfectly modulated balance between loveable crumudgen and dry wit. Maggie Cramer’s turn as Annelle captures the characters growth from timid and lost newcomer to one of the group of close knit woman, with each scene change we see her come bit by bit into her own. Jane Froiland as M’lynn, Shelby’s mother is always calm, always even keeled, making her final moments of the play all the more powerful. Nora Targonski-O’Brien who plays Clairee embodies the Southern Woman who has lived and learned and grown wise and compassionate, there is such a spark in her that one wishes she were their Aunt.

I want to say a word here about Yellow Tree Theatre and it’s Artistic Director and Director of this play Austene Van. Yellow Tree provides a vital role in today’s theater scene. In a world of shrinking audiences Yellow Tree brings Professional Theater to an area outside of the Cities. For folk who don’t want to travel into Minneapolis or St. Paul, come on, we all know those people who just hate to drive in the city, it provides exposure to the magic and power of theater. This is a key link in the chain that leads to what needs to be the prime objective of all theaters today, creating new audiences. That is done by producing work that moves people, whether it be to laugh, cry, or think and to do so in a way that makes them want to repeat that experience. Yellow Tree does that time and time again. Austene Van’s name can be found in programs all over the Twin cities and nationally. She directs and acts at the Guthrie as well as other theaters besides Yellow Tree, she choreographs, she writes, she sells concessions, she probably sews costumes and vacuums up the lobby at the end of the night as well. She makes a living doing theater, but she also dedicates herself to running Yellow Tree to keeping it going through sound system failures and those aforementioned shrinking audiences. She is tirelessly working towards that prime objective of creating new audiences while creating great theater. You don’t get six favorites performances in one show without a hell of a Director at the helm guiding all that talent to create a singular vision.

So there are two things I’d like to ask you to do aside from attending Steel Magnolias, which I already know you’ll do because it’s such a rewarding show. Please bring a friend who doesn’t often or hasn’t gone to the theater before with you. Expose someone new or remind someone of how thrilling and moving life theater can be. Secondly, give to the Max day is almost here please consider donating to Yellow Tree Theatre to help keep quality theater in the outer ring cities. There are a lot of theaters that can use your support and I encourage you to donate to all of your favorites, but maybe an extra $5 to Yellow Tree for fighting the fight out in the sticks away from the draw of the bright lights of the big city. Let’s keep the porch lights on for these smaller theaters who are catering to less frequent theatergoers and hopefully moving them to come back again and again. Here is the link to donate to Yellow Tree https://ci.ovationtix.com/35626/store/donations/39012

Steel Magnolias runs through December 22nd at Yellow Tree Theatre for more information and to purchase tickets go to https://yellowtreetheatre.com/steel-magnolias .

McAdo a Hilarious New Adaptation of The Mikado From Gilbert & Sullivan Very Light Opera Company

Mary Kettlewell, Brandt Roberts, and Graham Remple Photo by Stephen Hage

McAdo is the fourth Gilbert & Sullivan Very Light Opera Company (GSVLO) production I have reviewed and it is my favorite. I’ve written before about the accessibility of Gilbert and Sullivan, how it seems like the bridge between traditional opera and musical theater. All of that is true here, if you like musicals, you’ll enjoy this. Yes, there will be some lyrics you will not catch, this is particularly true when a large portion of the cast all sings at once. But it’s in English and for the most part if you tune your ears in you catch more than enough. What you don’t catch you simply enjoy the beauty of the voices singing and the wonderful full orchestra performing Arthur Sullivan’s music. There are two completely different casts for the main roles for the show that alternate nights. I saw the Sullivan cast, I’m sure the Gilbert cast is great as well, but for myself, if I had time in my schedule to see it again, and I wish I did, I’d see the Sullivan cast again. There are Performers in roles that I cannot imagine anyone replacing them.

The Gilbert Cast and the Sullivan Cast Performance Schedule:

The Gilbert Cast	The Sullivan Cast
Friday, November 1^st, 7:30 pm	Saturday, November 2^nd, 7:30 pm
Sunday, November 3^rd, 2:00 pm	Saturday, November 9^th, 2:00 pm
Friday, November 8^th, 7:30 pm	Sunday, November 10^th, 2:00 pm
Saturday, November 9^th, 7:30 pm	Friday, November 15^th, 7:30 pm
Saturday, November 16^th, 2:00 pm	Saturday, November 16^th, 7:30 pm
Sunday, November 17^th, 2:00 pm	Friday, November 22^nd, 7:30 pm
Saturday, November 23^rd, 7:30 pm	Sunday, November 24^th, 2:00 pm

McAdo is Gilbert & Sullivan’s The Mikado transplanted from Japan to Scotland thus removing a lot of troublesome and dated material. The adaption actually began with Gilbert and Sullivan Austin, as in Texas. Director Joe Andrews added some of his own tweaks including a hilarious prologue that was pure genius. This isn’t pure G&S, it’s possibly better, certainly for our times. The program contains a synopsis which I highly recommend you read before the play, it allows you to relax and enjoy the proceedings without worrying if you are catching everything. I’m not going to go into the plot here, it’s absurd, imagine Monty Python wrote an opera, well it’s not quite that silly, but it’s pretty damn silly. What is really great about it, is the two people you assume are the villains of the piece really aren’t. They play against the stereotypes of the Government official and the young lovers rival.

If you have never seen a Gilbert and Sullivan show, this is the one to see, it is so much fun and that is due to the wonderful direction of Joe Andrews, musical direction of Randal A. Buikema, and an energetic and playful cast. I can’t mention them all so I’m going to just give a nod to a couple of favorites. First off is Brandt Roberts as Coco, who is the guardian and fiance of Wynn Somme, the young love interest, we assume he’s going to be a villain, considering he’s also the town’s high Executioner. But no, he’s harmless and fairly good intentioned. Roberts is magnificent, his body language in itself creates a fully formed comedic character. He has the tone, the exact level of absurdity down, but he also has a great singing voice, that adds a sweetness to the character. Joe Allen plays Pubagh a town official…actually the only town official, he holds every office except that of the High Executioner. Here again is a character that we assume will be a villain, but by the end you really like him. I’m not sure we are really supposed to have that reaction, I think we are supposed to be indifferent at best, but I think this works better. Allen plays up the comic elements of the character his ambition and snobbery, but when the going gets rough and heads might roll, he’s in there with the rest of the characters trying to find the happy ending. Other performers that caught my eye and that were doing something special to draw the audience in or give us that extra laugh or surprised us with another dimension to their characters were Mallory Rabehl, Therese Kulas, Deb Haas, and Scott A.Gorman.

McAdo is a show I cannot recommend more highly, it’s such an enjoyable night at the theater, when I wasn’t laughing I was sitting there with a grin all over my face. The prologue really sets the tone on this one and I think will perfectly key those new to G&S into the vibe of the show. McAdo runs through November 24th at The Conn Theater in Minneapolis. For more information and to purchase tickets go to https://gsvloc.org/

The Turn of the Screw Prolongs That Halloween Atmosphere at Gremlin Theatre

Peter Christian Hansen and Julia Valen Photo by Alyssa Kristine

The Turn of the Screw by Henry James is one of the great classic ghost stories, it was most famously adapted into the film The Innocents (1961) starring Deborah Kerr and most recently as the second season of Mike Flanagan’s Netflix horror anthology as The Haunting of Bly Manor. Jeffrey Hatcher who seems to have a play being produced at every theater in town this year, has fairly faithfully adapted the story into a play for two actors. Julia Valen plays The Woman while Gremlin Theatre Artistic Director Peter Christian Hansen plays The Man. Following the plot of James’ story, Valen primarily plays the role of narrator and Governess of two children Flora and Miles at Bly Manor. She has been hired by the children’s Uncle and guardian to take charge of them and under the strictest instructions never ever to bother him for anything. Hansen plays the Uncle and then every other character that comes into the play, mainly the housekeeper Mrs. Grose and Miles. Flora in this play is very timid and completely silent. Not long after assuming her post at Bly Manor, she begins to see what she comes to believe are the Ghosts of the former Governess and the Caretaker. She believes these ghosts are attempting to influence the children and that she must do everything in her power to severe any connection between the ghosts and her charges.

Carl Schoenborn is listed as both the Set and Lighting Designer which makes perfect sense as the lighting seems to act as part of the set. What does exist in a physical sense is a staircase towards the back of the stage, there are no other elements aside from the performers and the lighting and sound designs. This minimalist approach works well when you have two actors playing all of the characters but are not going the comedic route. We are already suspending our disbelief to the extent of accepting Hansen as multiple characters of different genders and ages the idea of a detailed set that tries to emulate some semblance of reality feels out of place. This lies somewhere between physical theater and theater of the mind and the design perfectly reflects that. I responded strongly to this shadowy production, which builds mystery and tension throughout and ends with an unexpected revelation, that works really well within the framework of James’ story. Both Valen and Hansen are well cast, with Hansen successfully navigating the difficult task of performing as a 10 year old boy without being childish or annoying.

I love a good ghost story and Gremlin Theatre’s production is a great way to extend Monster Month. The Turn of the Screw runs through December 1st at Gremlin Theatre for more information and to purchase tickets go to https://gremlintheatre.org/