The Messenger a new play by Jenny Connell Davis is a powerful and important work that needs to be seen by as many people as possible. Told from the perspective of four women in different time periods The Messenger explores the reality of hate and how it endures. Their gender of the characters is in and of itself an important choice Davis makes. We hear these four testimonials play out and while it is being produced at Six Points and three of the four stories do revolve around the holocaust in some way, it is not a play simply about anti semitism. It is about how hate of any kind is given power, how well intentioned or fearful people become complicit in it’s growth. Davis has the Woman tell us their stories directly because hearing facts is less impactful than hearing someone’s personal story. Facts often leave our minds leaving behind vague impressions of a general topic, but stories create emotional responses and empathy that generates a longer lasting understanding of not just what happened but how it affected the teller. The Messenger powerfully provokes emotional responses to the stories it shares, some of anger, grief, understanding, and inspiration.
inspired in part by Georgia Gabor, a math teacher and a Jewish Holocaust survivor who tells students in Pasadena California about her experiences in WWII. Georgia is played expertly by Laura Esping and her retellings to her students of her experiences are harrowing. Espings performance displays an understanding of the characters mindset. She has survived and she has made it a point to share her story wherever and whenever she can. She does not breakdown or get emotional, she is teaching, she tells her truths in a way that conveys the gravity of what her words mean and to ensure understanding. Her accent is also superbly done. Her story is intertwined with that of Angela, played by Tracey Maloney, who is a helicopter parent in 1993. She starts a petition when she learns that Georgia is telling her students about her experiences during and after the war. Maloney perfectly captures the clueless entitlement and dangerous censorship masquerading as parental protectiveness. Maloney’s performance success can be measured by how much she makes your skin crawl, mine almost made it off my body and out of the theater. She is absolutely chilling in her cheerfulness.
Julia Isabel Diaz plays Gracie an archivist at a museum in 1969 who discovers some documents that are not catalogued that throw an unflattering light on a U.S. WWII General. Her employers do not want the document to be put forward despite its historical importance. The rationale is why tarnish the good name of an American hero? Gracie loves her job and Diaz lays the groundwork in her initial scenes which are about her initial internship and then being hired, the enthusiasm is a stark contrast to the emotional turmoil she displays later when it is made clear that she has a bright future at the museum if she just buries the documents. Ashley Horiuchi plays the final character Annie, a young asian woman who is also linked with the museum, but in 2020 as a student volunteer. Horiuchi is very believable as a fifteen year old teenager in a grade conscious Pasadena school. Her character starts of with the kind of attitude that makes those of us who were or are parents of teenagers role our eyes in recognition. There is also a sort of defensive mean girl aspect to the character that eventually is broken down. She allows us to come to a understanding of the girls feelings and emotions, taking us from eye rolls to sympathy. When she is witness to and involved in an act of prejudice she stays silent. The message of the play and of these characters in particular is that silence allows hate to flourish. What is important with these characters is it makes the situations in which Gracie and Annie remain silent understandable, we can comprehend why they keep silent, making them sympathetic characters, but it also wisely shows us the price of their silence on their mental state and the world around them.
When I was in school we learned that we study history because if we don’t do so and learn from it, that history will repeat itself. As we look around our world today we can see the truth in that lesson. What is the cause? Why did we not learn from the past? Is it the Mothers who didn’t want their children to know about the atrocities of the past? In saving their children the discomfort of facing some ugly facts did the doom all of society to repeat our darkest hours. Did they contribute to the downfall of our educational system with their over protectiveness creating generations that don’t really grasp what happened and why? Or is it that we hid things that we thought would embarrass us as a nation, thinking they didn’t really matter. Not knowing that to confront all of our darkest moments was the only way to stay in the light? Or is it the silence of fear, the advice given to many to keep your head down, ignore the hate and it will go away. But it doesn’t go away, it only grows stronger when you are not watching it.
The Messenger is probably the most important play you will see this year and I wish I could enforce the “will see” of that sentence. For those of you turned off by the dark subject matter, know that it is dark but it is also very illuminating. It’s not a fun show, but it also isn’t a difficult show to sit through, it is very rewarding and helps clarify the reality of hate and how it spreads. With that understanding we can hopefully be better about finding ways to fight back against the encroaching darkness. The Messenger runs through March 23 at Six Points theater for more information and to purchase tickets go to https://www.sixpointstheater.org/the-messenger
“When Children Learn to devalue others, they can learn to devalue anyone, including their parents” – Captain Jean-Luc Picard
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 entire wonderful cast of Hundred Days Photo by Jolie Morehouse Olson
Theatre Elision’s latest production Hundred Days feels like a cross between a concert and the musical sections of Once if you’ve seen the stage musical version performed. There are two performers playing the characters of the shows songwriting duo Abigail and Shaun Bengson plus six musicians. The story, which is implied to be autobiographical tells the love story of Abigail and Shaun through folk-punk music. The 100 days of the title refers to a dream Abigail has had since the age of 15 where she’s seated in a booth at a diner with her husband and told by a Dr. that he will die in 100 days. When Shaun discovers this, and it’s the reason she’s pulling away, they decide to try and live an entire lifetime in those 100 days. It’s an interesting premise and as good as any to use as a structure for the duo’s songs, whether or not it is true. To be clear, I don’t know nor does it matter. What is true are the emotions the characters are feeling, the rush of feeling that initial spark of connection, of talking all night telling each other your life story, the things you share, and the things you keep hidden. If you think back on those romances that have been significant in your life, doesn’t it feel like those first hundred days are like a lifetime of excitement and discovery?
Christine Wade and Ryan Lee play Abigail and Shaun, with Lee also strumming away on guitar throughout. They are perfect together, with their voices complimenting each other beautifully. They also both have the acting chops to pull us into the darker moments. Those moments are few, but do require someone with the skills to convey them in basically a concert staging rather than the way a traditional play or musical would be staged. Taking this even further out of the realm of traditional theater, the actors interact a bit with the members of the band who also provide vocals. While Lee and Wade are definitely the leads, the band is so integral to the joyous mood of the piece that I have to list them as well. So much talent on view here with Emily Hensley on accordion, Benjamin Emory Larson on keyboards, Joni Griffith on Violin, Rae Wasson on Cello (surely the most poignant of instruments), Miles Whealy on drums, and Harrison Wade on guitar and also the Musical Director of the production. Together they create an atmosphere that I’d almost describe as rowdy but not in a bad way. There is at times almost an Irish Pub band feel to it that I just loved. I wouldn’t mind getting to this again before the run ends, it really does feel like an hour and change spent listening to some great music, but with the added element of a love story.
I found Hundred Days to be an uplifting and beautiful musical jam session. The show runs through March 22nd at the Elision Playhouse in Crystal. For more information and to purchase tickets go to https://www.elisionproductions.com/hundreddays
more than ever in the wake of the most recent election and the hailstorm of stupidity and hate it has unleashed, Theater companies need you and we need them. Buy tickets to shows go out and support work that reflects diversity and inclusiveness. Donate to your favorite theater companies, don’t wait until they are on the brink of shutting down. We all need to stand up and fight for our Theaters whose funding is under attack for promoting inclusion, equality and diversity.
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.
Alex Galick, Mina Moua, & Che’Li Photo by Rich Ryan
Fifty Boxes of Earth by Ankita Raturi is having its world premier from Theater Mu at Park Square Theatre in St. Paul. It is a two hour play with a lot of interpretive dance that would be greatly improved with four words Ninety Minutes, Less Movement. At its heart it is a play about xenophobia and transphobia, but it loses its clarity by trying to force some sort of variation of the Dracula legend upon its narrative. The story revolves around a community garden in which three characters interact. Q has just moved to this country and brings with them 50 boxes of earth. This is a take on Dracula’s 50 boxes of his native soil that he needs to fill his coffins with. Q meets John, who manages the community garden in which Q has reserved a plot. The third character is John’s daughter Mina, who prefers to be called Harker. Q is the other, John is the bigot, and Harker is the way the world should be. John takes an instant distrust to Q, while Harker and Q bond over the planting of their garden and talk of Q’s son who will be coming to live with them after the garden is ready. The garden grows strange things and in foreign dirt, so John does everything he can to sabotage Q’s garden, even trying to destroy it.
Raturi’s script builds effective relationships between the three characters and that is its strength. The weakness as I’ve mentioned is the attempt to somehow tie this to the Dracula mythology. I know they are trying to view that through a modern lense, but nothing really matches up in any way that justifies the connection. Make it a alternate world and it still works as a modern day fairytale or myth. Director KT Shorb accompanies the narrative with five ensemble players, choreographed by Ananya Chatterjea, who dance about and seem to represent the plants of the garden, or the gardens mental health. I’m not the best with interpretive dance. Though I didn’t dislike what the ensemble did necessarily, I do think there was too much of it. The story doesn’t need any of it, but it would have been better if it merely occurred during the action of the play, but it felt at multiple times, including the opening, that it was merely adding to the runtime. Those more into dance might feel differently. Technically the show is excellent with nice set design work by Mina Kinukawa, Puppet Designs and builds by Oanh Vu & Andrew Young, very immersive sound design and musical compositions by Katharine Horowitz, and effective Lighting design by Karin Olson.
The five Ensemble players are Eliana Durnbaugh, Kiko Laureano, Mars Niemi, Alyssa Taiber, and Taylor West and while they do what they are asked very well, I think they are over utilized. Q’s plants grow very rapidly and without having either very elaborate props or frequent long blackouts, the ensemble is necessary to produce those changes on stage and that alone would have been effective. The problem is that it feels like the Director and Choreographer felt the need to justify the dancers presence and so expanded the movement into something that detracts from the story. The three leads are all very compelling as is the central plot and the themes it explores, it doesn’t benefit from a supposed Dracula connection. Che’Li plays Q who is the stand in for Dracula, if Dracula wasn’t a villain, didn’t need to avoid sunlight, didn’t drink the blood of their victims, or really do anything mean, cruel, or… wait how is Q Dracula again? Alex Galick plays John who we assume must be a stand in for Jonathan Harker in Bram Stoker’s novel, except here he’s a terrible xenophobic fact denier whose actions are unconscionable. Mina Moua plays Mina aka Harker and the relationship she and Che’Li develop in the roles is the heart of the play and it’s greatest accomplishment. Galick’s performance as John is superb, I know because I got so angry at him during the performance that I caught myself giving him the finger. When an actor makes you react that viscerally it’s usually a combination of the actors talent and the writer’s skill at character creation.
Ultimately there are more positives than negatives and I do recommend the show. I write so much about the misteps because they are what holds it from going from a good play to a very good play. The truth is, you don’t have to change anything but the characters names and no one in a million years would draw any comparison to Dracula. The fifty boxes of earth can work as it’s own device in this modern day myth, the number which comes from Stoker’s story can be changed to four, considering that is the number of boxes they actually use in the play. Do that, so you are not distracting the audience by having them try and create in their mind a correlation to the famous novel that just wont come into focus. Honestly, the story doesn’t need it. Trim 15 to 20 minutes, most of it movement unrelated to anything needed in terms of set and plot, and you have a very good, maybe even great play. As it is the greatness is there and hopefully those who read this review and attend the show will have their expectations set appropriately and will ignore any thoughts of vampires and just enjoy the story at hand and know that the dancing, while too long, doesn’t ever go on ridiculously too long.
Fifty Boxes of Earth runs through March 16th at Park Square Theatre in St. Paul. For more information and to purchase tickets go to https://www.theatermu.org/fifty-boxes
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.
Kamani Graham and Becca Claire Hart Photo by Janet Eckles Media
The Effect is brilliant at smuggling in multiple ideas within a 90 minute entertaining story. It’s one of my favorite types of plays, I don’t mean 90 minutes no intermission, but that is always a plus. What I’m referring to is a play that tackles serious or thought provoking themes, but does it with humor and an emotional story that we as an audience can connect with. Written by Lucy Prebble,The Effect follows two test subjects, Tristan and Connie, for a clinical trial of a new antidepressant medication. When the two begin to develop feelings for each they are uncertain whether the feelings are real or actually a side effect of the medication. We also Follow the story of those conducting the trial Dr. Lorna James and Dr. Toby Sealey, who have a complicated past. The play is designed to bring up a lot of questions that it doesn’t answer, which is great, because they don’t have definitive answers, they are questions calculated to make us think. It makes us think about Love, Drugs, Depression, guilt, bias, responsability, connection, and morality. It’s also really quite funny and charming.
Kamani Graham who plays Tristan is not someone I’ve seen before but I hope to see a lot more of. Graham creates an easy rapport with Becca Claire Hart who plays Connie, drawing the more reserved Connie out with his humor and carefree approach to life. Hart does a great job of showing us Connie’s guarded nature, her tendency to overthink every situation. The two play their characters so well that it’s very easy to believe that their attraction as they both embody a quality the other lacks but could maybe use a little of. Dr. Lorna James is played by The Jungle Theater’s Artistic Director Christina Baldwin and Dr. Toby Sealey is portrayed by Greg Watanabe. Baldwin plays her character as strong and in control, but by the end reveals her to be perhaps the most fragile of the four. Watanabe brings a likeability that is key to making his character more than just a representative of big pharm, he isn’t supposed to just be a stand in for a villain, he’s meant to represent someone who is trying to do their best in an imperfect world. He has faults, but he also cares.
Technically the show is very accomplished, from the set design by Benjamin Olsen to the Costumes by Sarah Bahr which have an authentic clinical feel. But what really worked very well is the Projections which were designed by Leslie Ritenour. Throughout the play we get everything from messages like “Dosage increase to 100mg” to brain scan images. We also get these abstract images that look like chemical reactions in the brains which just really helped to convey what was happening between Tristan and Connie.
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.
Taha Mandviwala, Toussaint Jeanlouis, Shiloh Goodin, and Anna Leigh Gortner Photo by Evan Zimmerman for MurphyMade
Life of Pi based on the Man Booker Prize winning novel by Yann Martel which was also been adapted into the 2012 film directed by Ang Lee, who took home the Best Director Oscar for it. Despite having seen, and actually owning the film on 3D blu-ray I have very little recollection of it. Odd for a film that was nominated for 11 Academy Awards including Best Picture, and even won four. Yet, I just remember there was a boy on a boat with a tiger. I have never read the novel so I cannot speak to how faithfully it adapts the story to the stage. Life of Pi the stage play is a dark tale of faith told with boundless visual creativity that had me fully engaged and often wonderstruck by it’s artful beauty. The story of Pi, the lone survivor of a cargo ship that sank is told in flashback to Mr. Okamoto, who has been sent to interview him to discover what he can about the ships sinking, and Lulu Chen, who is from the Canadian embassy. Pi tells them of the sinking of the ship and how he managed to survive for 227 days at sea in a lifeboat with a Bengal tiger named Richard Parker as well as a Zebra, an Orangutan, and a Hyena. Mr. Okamoto cannot believe the story Pi tells and so Pi tells him another story in which the animals are replaced by people from the ship. Lolita Chakrabarti who wrote the play uses these two versions of the story as a reflection on the concept of religious faith. Okamoto believes the version of the story featuring people but is forced to agree that the one with the tiger is the better story.
Taha Mandviwala is exceptional as Pi, it’s a role that requires a lot of heavy lifting as he has to carry much of the story acting with puppets, that for the most part don’t speak. You know he’s done a great job when he isn’t overshadowed by what could easily be the star of the show, which is the production design and puppets used to create the animals. The marvelous puppets were designed by Nick Barnes and Finn Caldwell in a way that captures the idea of the animal without trying to create a lifelike version that would fool the audience. The puppets are brought to life by puppeteers that are visible to the audience but, rather than taking us out of the play, it adds to the enjoyment as we watch their skilled work in capturing the movement and performance of the creatures. One example beyond the larger animals, which are truly amazing, are a group of fish that swim alongside Pi’s lifeboat, they are probably the most realistic of the creations. But the wonderful design isn’t just confined to the puppets as masterfully executed as they are, the scenic and costume designs by Tim Hatley as well as the video and animation designs by Andrzej Goulding contribute immensely. There is an effect that I’m not even sure how they pulled off where the lines on the background set begin to go all wavey like you are viewing it through a sheet of water. The lighting design by Tim Lutkin & Tim Deiling and the sound design be Carolyn Downing also play important roles and have several very impactful moments, especially during the storm that accompanies the sinking of the ship.
Life of Pi might remind some of the delightful creations in The Lion King, but believe me the comparisons end there and parents should be warned. There are several moments that might frighten children, and there are also elements of the story that are probably too intense or disturbing for younger audiences. I’d recommend this for mature 13 year olds and above. Life of Pi runs through March 9th at the Orpheum Theatre in downtown Minneapolis. For more information and to purchase tickets go to https://hennepinarts.org/events/life-of-pi-2025
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.
Joy Dolo, Maggie Chestovich, and Katie Bradley Photo by Tom Wallace
“… and tell a world’s worth of stories”
This Girl Laughs, This Girl Cries, This Girl Does Nothing by Finegan Kruckemeyer
Tonight Ten Thousand Things Theater (TTT) proved once again that you don’t need a large budget, huge sets, or elaborate costumes to make great theater. Armed with a few simple props and costumes, performed with all the lights up and in the round This Girl Laughs, This Girl Cries, This Girl Does Nothing is as entertaining and creative as anything else you’ll see on any stage. In a world that wants to whitewash our Theaters, TTT offers up a diverse cast telling a story that encompasses the entire planet with a message about self love, helping others, and family. The play is a modern day variation on a fairytale about three sisters, triplets who suffer a loss and then are taken into the woods to be lost. Though triplets, they are very different from each other. Albienne was the oldest and enjoyed cake, Beatrix was next and she was a child of the sun, Carmen was the youngest and carried the world upon her shoulders. When they are left in the woods they each decide what the best course of action will be for themselves and at age 12. They separate, Albienne goes forward out into the world, Carmen stays in the forest, and Beatrix goes back in search of their Father. The play follows each girls story until they are in their thirties and find their way back to each other. Along the way they will first serve others, and then learn to serve themselves.
The five person cast all play multiple roles and every member of this ensemble contributes equally, making it a very special production. Joy Dolo plays Albienne, I have a soft spot in my heart for Dolo. The first time I saw her perform was a show called Every Brilliant Thing. It’s a show where the audience have slips of paper and when she says the number on the slip of paper you have to say or do what is on it. I got the slip that said I was her Father, and I had to make a toast at her wedding. Since that night, she has held a special place in my heart, not just because I played her Father for a minute or two, but because of the connection she made to the entire audience. A connection I have experienced again and again in her performances including this one. Dolo has a way of interacting with the audience that makes them feel welcome and included rather than on the spot. Katie Bradley plays Carmen who just about had us falling out of our seats with laughter as she goes on a feeding frenzy of woodland animals. Maggie Chestovich plays Beatrix, and her character has a manic energy and feistiness, not afraid to go full on wild and crazy when she tries to cheer up a city full of depressed people. The cast is rounded out by Tyson Forbes who plays among many other roles, their Father and Marisa B. Tejeda who among others plays their Mother.
The five together along with the Director Markell Kiefer are masterful storytellers. They convey everything from the changing of the seasons to battles with Vikings with simple movements, small props, and hats that represent the sun and the moon. They use so little, yet use every tool available to them to convey so much. The play is performed to live musical accompaniment by Composer and Music Director Julie Johnson, which is so light and sweet that it floats around the audience lifting us up on it gentle melodic waves. The set and props are designed by Joel Sass, one of the most creative theater designers in the Twin Cities. Equally capable of wowing us with detailed and fabulous designs at Open Eye Theatre or stunning us with the simplistic creativity of a TTT production. The lovely and multifaceted costumes are by Sarah Bahr. The Choreography is by a master of movement, Jim Lichtscheidl, whose ability to complement and enhance the story physically adds immeasurably to the charm of the show.
This Girl Laughs, This Girl Cries, This Girl Does Nothing is filled with humor and creativity, it is exactly the kind of show we need right now. A show that embraces the art of storytelling in a way that inspires us to hope and love and engage. As with all TTT shows this one travels around the area, to find out where they are performing, on what dates, and to grab your tickets go to https://tenthousandthings.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? 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.
“But when you act, you take us away from the squalor of the real world” – From Evita Lyric by Tim Rice
Last Night I did something I rarely get to do, I went to a show for the second time, just to experience and share the joy of it. That show was A Midsummer Night’s Dream at the Guthrie Theater, but it could as easily have been a show at Yellow Tree or any of the dozens of actively producing theatre companies in the Twin Cities area. On the ride home after we had dropped off my son and his fiancée and had finished discussing the play, my wife and I got talking about current events. The thought kept coming into my head, this is why we go to the theater, to raise our spirits and take us away from real world for just a few hours. That is one of the many reasons that the theater is so important. Not only does it help us escape, but it has the advantage over streaming at home in that it gets us out of our houses, out into the community, sharing an experience with more than just those on the couch next to us. We are so fortunate here in the Twin Cities to have such a vast and diverse theater community, but it is under attack. If we want to protect that community we have to step up now.
This morning I received an email from Yellow Tree Theatre in Osseo, who has produced some wonderful theater out in the suburbs. Below are some quotes from the email:
Yellow Tree Theatre relies heavily on national and statewide grants to support our mission. Recently, we have been informed that statewide and federal arts funding have dramatically decreased or have been canceled making grant funding even more competitive and affecting our immediate cash flow. This is a drastic decrease like we have never experienced before.
These challenges threaten not only our ability to keep our doors open but also our ongoing core mission:
Providing access to the arts for everyone, including underserved communities in North Minneapolis and the surrounding suburbs.
Championing diverse voices—stories by and for artists of color, women, LGBTQ+ communities, and others historically marginalized in theater.
We believe that theater should reflect the richness of the world around us. That’s why we remain committed to producing bold and inclusive work.
But We Can’t Do It Without You.
If you believe in the power to build bridges, spark conversations, and create change, we ask you to stand with us today.Every dollar makes a difference. Every gift fuels our ability to continue.Donate today to help us sustain our mission, keep our doors open, and continue making Yellow Tree Theatre a home for all.
We are going to see this more and more often going forward. Theaters will close, but let’s not let it happen today, let’s not let it be Yellow Tree. I’ve written before about my belief that these theaters like Yellow Tree and Lyric Arts in Anoka create a valuable link in reaching the goal of creating new theater audiences. That goal is more important now than ever before. We can make the theater community stronger by building that audience. I’m going to ask you to click on the button below and make a donation to Yellow Tree Theatre if you can. I’m also going to ask all of you, faithful readers, to take someone new to a show in the next few weeks. Let’s build that audience up!
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.
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