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.

Don’t rely on Facebook or Instagram algorithms to keep you in the loop about great shows. Subscribe and have every post from The Stages of MN delivered straight to your inbox. It’s the best way to make sure you never miss out on the theater action. To subscribe on a computer, enter your email address on the home page (right-hand side) and click subscribe. On mobile, scroll to the bottom of the page to find the same option. You can also follow me on Facebook @thestagesofmn and on Instagram thestagesofmn.

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.

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

Don’t rely on Facebook or Instagram algorithms to keep you in the loop about great shows. Subscribe and have every post from The Stages of MN delivered straight to your inbox. It’s the best way to make sure you never miss out on the theater action. To subscribe on a computer, enter your email address on the home page (right-hand side) and click subscribe. On mobile, scroll to the bottom of the page to find the same option. You can also follow me on Facebook @thestagesofmn and on Instagram thestagesofmn.

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.

Episode 17 is up and it’s TCHF Heavy.

Getting this post out in time for the weekend hopefully. It’s a great weekend to head out to the Twin Cities Horror Festival and so this show features that heavily. Go to their website to make your schedule and purchase tickets here https://www.tchorrorfestival.com/

Watch the episode here https://bit.ly/TSOMNEp17YouTube

Or listen to the podcast here https://bit.ly/TSOMNEp17Podcast

Episode 17 has reviews of four Horror Fest shows. A tour of TCHF central, the Crane Theater. We also hear about the Scrimshaw Curse directly from the Duck’s mouth.

Get the details on how to win tickets to an upcoming show at History Theatre thanks to Erica Skarohlid of Lettered in Theatre. You can read her blog here https://letteredintheatre.wordpress.com/ and check out the season lineup at History Theatre here https://www.historytheatre.com/

Twin Cities Horror Festival Days 3 & 4 Reviews: The Walls, Bay Creek, Familiar, The Neverland: a Horror Fantasia, Murder. Murder. Murder. Murder.

I’m struggeling to keep up so here’s a link to the Horror Fest which runs through 10/30 at The Crane Theater https://www.tchorrorfestival.com/

Now on with the reviews!!

I only caught this one show on day 3 and it was The Walls by Strike Theater and The Improv Movement Project. It features a fantastic cast of local favorites Mike Fotis, Rita Boersma, Sam Landman, Peytie McCandless, Jay Kistler Many of them are masters of longform Improv. Now this isn’t improv, it is written and directed by Fotis, but what makes this group great character actors is their ability to Make the interplay between the characters feel real in genuine, a skill they have honed doing their improv. The set up has a young woman at the urging of her meth dealing father‘s partner trying to get money from the bank to ransom her father from a rival group of dealers. They go into the bank where the newly promoted manager and her husband, the recently retired Sheriff are opening up for the day. To be honest everything in the bank is completely fascinating even before things go south. Just listening to the Boersma and Landman, as the Manager and her husband, bicker is brilliant. Once this go off the rails the play changes into something different which includes some really interesting movement, which I don’t wanna spoil or explain the reason for. The sign of good character building is that even if things hadn’t gone south I think I would’ve really enjoyed the show. Just listening to these actors play these characters and interact with each other was time while spent.

Day 3 was a very interesting day at the TCHF particularly in terms of the balance between script and production design. First up was Bay Creek written and performed by Derek Lee Miller which is essentially a one person monologue. Miller’s character is in an interrogation room being questioned by members of the entire alphabet of law enforcement from the FBI to the DEA. We occasionally get recorded voice overs from those agents asking questions but for the most part it’s Miller on his own. The script is in places inspired by stories Miller was told by his family growing up. The story Miller’s character unfolds about his family is one of demonic protection. Miller is never less than completely hypnotizing the script like Miller himself doesn’t have an ounce of fat on it. It’s super tight, while the production design is extremely simple, a man sitting in a chair next to a table with a microphone and folders on it. The lighting and sound cues are not elaborate but are among the most effective I’ve ever seen. The final moment of the show is truly awesome. To be sure this is one of the best of this years TCHF thanks to Miller’s powerful storytelling through script and performance.

The Artistic Director of TCHF Nissa Nordland’s show Familiar felt similar to her Minnesota Fringe show this year in that we are in the world of a teenage girl and her adolescent obsessions. She is or at least fancies herself a witch and her familiar is her cat Zelda. In my mind I break the show up into three parts. The first is getting to know the young teenage Rosemary. This is filled with humor including the content creators she follows on TikTok played by special guests Sam Landman as Virgil Vermillion and Jonathan Feld as Orion. The second part is more emotional when her familiar, Zelda, who is 17 years of age, one year older than Rosemary passes away. I know from listening to other audience members that those who had recently lost pets found this segment particularly devastating, so trigger warning for dead pets. The third section is completely unexpected given it the lightheartedness of the first portion and the emotional reality of the second. The third goes dark and supernatural in an effective and very creepy way. The show featured several musical performances by Nordland on ukulele and Clarinet, which for me, ever since I first saw her sing on stage, is always a treat I look forward to.

The Neverland: A Horror Fantasia takes elements of the Peter Pan story and flies in the much darker direction with them. It has a ton of production design elements, much of it in the arts and crafts vein, but overall it’s very effective and appropriate for the story it’s telling. It’s impressive how they get this set up and taken down in the time allotted between shows. But there’s a rather large cast and I assume they all help out. Excellent costumes and even some shadow puppetry helps this show scores big points in the production design category. The production design however seems to be compensating for a lack of a solid script. While the performances are all solid what they have to do is wander around the stage repeating the same things over and over again. one fellow audience member commented that it’s a show of vibes which I would agree with completely. As such I think my son Alex, who really gets in the mood and vibes of films and plays, might really enjoy the show more than I did. I’m generally looking for a story that holds my interest this one, while the idea or concept, of Peter Pan guiding lost children from life through limbo to death certainly is filled with possibilities, the execution just felt meandering and repetitive.

murder. murder. murder. murder. is by this years one traveling artist company of the TCHF. murder. murder. murder. murder. has a double meaning in its title. First, there are four stories, which is why there are four murders in the title. Secondly, all of the stories contain crows and as we know a group of crows is called a murder of crows. And if you didn’t know that, you’re welcome. This is another story that had a pretty tight script while set design was fairly minimal, but always enough to set the scene. It does have have some very good costume work as well. The first three stories use a framing device of a radio DJ we hear before and after each story and then the fourth story features the DJ and her producer. Some of the stories are comic, some dark, and some darkly comic. It was nice mix and I think each story was the perfect length, nothing felt rushed but likewise nothing felt like it was padded out.

Episode 16 is Up… and Has Been for several Days. Features a Chat With Joel Sass of Open Eye Theatre About The Hit Show Lizzie: The Rock Musical

Sorry for not getting this out sooner, but there is still a day or two before the next episode is up and there are still a few tickets left for a few performances of Lizzie: The Rock Musical which has extended it’s run to 11/8. Watch the episode here https://bit.ly/TSOMNEpisode16YouTube

Or listen to the podcast here https://bit.ly/TSOMNEp16podcast

Episode 16 features an interview with Joel Sass the Producing Artistic Director of Open Eye Theatre about their latest production Lizzie: The Rock Musical which now has an extended run through 11/8 go here for tickets and details https://www.openeyetheatre.org/ We also have a review of that show as well as Chap Snatchers at Bryant Lake Bowl go here to get tickets for this weekends final performances https://www.bryantlakebowl.com/theater

Jill Schafer of Cherry and Spoon provides a Guest Blogger Review of Prime Productions To Peter Pan on Her 70th Birthday https://www.primeprods.org/ Check out Cherry and Spoons reviews here http://www.cherryandspoon.com/

We also have details on how to win tickets to an upcoming show at History Theatre thanks to Erica Skarohlid of Lettered in Theatre. You can read her blog here https://letteredintheatre.wordpress.com/ and check out the season lineup at History Theatre here https://www.historytheatre.com/

The Twin Cities Horror Festival Opening Day! Songversations: We Have Been Told the Veil is Thin, Camp Bludde the Musical, and Scrimshaw.

We’re halfway through Monster Month, which means it’s time for the Twin Cities Horror Festival (TCHF). Now in its 14th year, TCHF is the longest-running horror theatre festival in the country. To see the full lineup, schedule, and to purchase tickets, visit tchorrorfestival.com. Check back here between October 16–30 for my reviews of every show at this year’s festival.

Opening night began with Songversations: We Have Been Told the Veil is Thin, written and performed by Rihannon Fiskradatz and Shanan Custer. Unlike the other shows in the festival, this ran only once as an opening ritual. Fiskradatz and Custer will return to close the festival with another ritual, a bonfire outside the Crane Theater at 10:00 p.m. on October 30.

Camp Bludde: The Musical has a little of everything I’ve come to expect at TCHF over the years, and also things you don’t expect, which is also something you expect. It’s a story of a camp for wealthy children founded by a man who has to sacrifice a child regularly in order to appease some dark creature. Don’t worry, the rich kids aren’t the pool from which the sacrifices come. Each year, the camp offers a scholarship to one underprivileged child, and that’s who ends up on the altar. So everything is right with the world and this basically reflects our reality.

But here’s the thing that makes this show otherworldly, it’s a musical!!! I know I’ve seen TCHF shows that have had songs in them or used music effectively, but my memory isn’t coming up with any full on break into song musicals. Director Denzel Belin makes effective use of some TCHF technical staples, the flashlights under the face, and the blackouts with lights shining out toward the audience. The cast is a blast, with Will Schroeder standing out as Counselor Alex, making appropriately comical use of his trademark over the top smile. It’s a perfect TCHF kickoff, songs, blood, scares, and laughs. A little bit of everything.

Duck Washington Photo by Dan Norman Photography

Serving as a great counterbalance to Camp Bludde’s campy chaos, Duck Washington’s Scrimshaw leans literary and psychological. Set in a remote Pacific whaling village, it follows Lemrich, a whaler driven mad by what he encountered at sea. Someone arrives searching for a stolen book—one that guided Lemrich’s ship captain to awaken an ancient darkness.

Washington, who also wrote the piece, gives a compelling performance as the tormented sailor struggling to clear his mind of the madness forced upon it. His script is tightly written, and the set design transforms the small studio into a claustrophobic nightmare. The walls are covered in chalk drawings that mirror Lemrich’s unraveling mind. The strong supporting cast and detailed design make this one of the more polished TCHF productions I’ve seen. Performing in the smaller studio allows the set to remain intact for the full run, enabling a more immersive design, which Scrimshaw fully takes advantage of.

Scrimshaw runs through October 20, then hands the space over to Dolly Who’s Cursed Objects, which runs October 25–30.

The Cherry Orchard a Co-Production By The Moving Company and Jungle Theater

Nathan Keepers, Tracey Maloney Photo by Lauren B. Photography

This was my first experience with Chekhov’s The Cherry Orchard. I’ve seen three Chekhov adaptations over the last few years, but before that, I only knew him by reputation and the titles of his plays. With this production, I’ve now seen an adaptation of what Wikipedia calls “the four outstanding plays by Chekhov.” Out of curiosity, I read the synopsis there to see how faithful this version might be, but I resisted reading any analysis or criticism as I didn’t want to be told what I was supposed to think or feel about this revered work. I wanted my reactions to reflect how I responded in the moment, not through the lens of 1902 Russia when it was written.

These are my initial gut impressions, which I think are valid if you’re deciding whether The Cherry Orchard is something you want to experience. We all want to know up front: am I going to enjoy this? I did. I found it surprisingly funny, which sent me back to the synopsis to confirm whether that was typical. I’d never heard Chekhov described as funny; I always imagined his work as dark or depressing. This isn’t a straight-up comedy, but I didn’t expect the amount of humor in this production. The internet tells me Chekhov considered it a comedy; “dramedy” might be the best descriptor. Like Shakespeare, the play seems flexible allowing directors and actors to lean into either the drama or the humor depending on their interpretation.

The Moving Company consistently delivers strong performances, and this production is no exception. Nathan Keepers, exquisitely dressed by costumer Sonya Berlovitz, is excellent as Lopakhin, a wealthy businessman who once worked for the family that owns the cherry orchard of the title. The story follows a once-wealthy family who, through denial and poor decisions, have squandered their fortune. Their land and its famous orchard are about to be auctioned to pay their debts. Lopakhin offers a plan to save their estate, but the family is too paralyzed to act.

The concept of a privileged but foolish family losing everything feels like a reflection of Russia’s shifting social order—The Cherry Orchard premiered just thirteen years before the Revolution. Director Dominique Serrand, who also plays Leonid, the aging uncle, brings both humor and pathos to the production. Alongside Tracey Maloney as Liubóv, his sister and head of the family, the two create characters we should want to shake some sense into, but can’t help pitying even as they bring about their own downfall.

I don’t know if this is a typical interpretation of the play, but I thoroughly enjoyed it and am glad to have finally experienced such an important work.

The Cherry Orchard runs through November 2 at Jungle Theater in Uptown. For tickets and information, visit jungletheater.org/the-cherry-orchard.

Don’t rely on Facebook or Instagram algorithms to keep you in the loop about great shows. Subscribe and have every post from The Stages of MN delivered straight to your inbox—it’s the best way to make sure you never miss out on the theater action. To subscribe on a computer, enter your email address on the home page (right-hand side) and click subscribe. On mobile, scroll to the bottom of the page to find the same option. You can also follow me on Facebook @thestagesofmn and on Instagram thestagesofmn.