In the Green at Elision Playhouse

In the Green by Grace McLean began a three week run last night at Elision Playhouse in Crystal MN. The Elision website summarizes the plot as:

“As a young girl, medieval saint, healer, visionary, exorcist, and composer Hildegard von Bingen was locked in a cloister’s cell after demonstrating a preternatural sensitivity to the world around her. Sequestered with Hildegard is Jutta, a woman who has spent her life secluded in an effort to recover a whole self after the deepest of trauma. Under Jutta’s guidance, Hildegard attempts to reassemble her own fragmented self while her mentor proselytizes a rejection of brokenness.”
Elision Theatre Website

So that tells you the outline but what it doesn’t prepare you for is how it tells that story. Hildegard is played by three different actors simultaneously each playing one of the pieces of Hildegard’s splintered self. Abilene Olson is Hand, Annie Schiferl is Eye, and Deidre Cochran is Mouth, it’s an astonishing collaborative performance, even when one part take center stage you feel as if the others are still a part of what is happening. The performances are highlighted by the exactness of their vocal synchronization, their voices sound hauntingly beautiful together and it is the music that makes this production worth checking out. Like Hildegard the character of Jutta is also played by two performers, Christine Wade plays the present Jutta while Emily Hensley plays the younger Jutta, listed in the program as Shadow, she is the darkness that Jutta has buried in her cell. Both also have incredible vocals, Wade has the added challenge of performing while operating a Looper board. This is a wonderful device that allows for the recording of a sound, vocal or otherwise, that can then be played in a loop while the same performers sing another part, allowing for the layering of sounds in unique ways. It’s also for me, as an audience member, a stressful tool as I worry about the tightrope act that operating the machine during a live performance. Hitting the wrong button could throw everyone off and ruin the flow and mood of the music.

When it comes to music “it had a nice beat and I could dance to it” is about the extent of my expertise so I’ll direct those interested in a more nuanced discussion of the musical elements to my fellow Twin Cities Theater Blogger Keith at Life in Revue https://lifeinrevue.blogspot.com/?m=1. What I can say is that It didn’t have a nice beat and you can’t dance to it, but it was amazingly complex and I found myself in awe of every aspect of the music. Harrison Wade’s musical direction and Christine Wade’s vocal direction are the high calibre one has come to expect from Theatre Elision. The Looper board adds a layer that could be used to make things easier on the music department but they use it to add complexity. The staging and design by Director/Designer Lindsay Fitzgerald is at once minimal but like the soundscape surprisingly complex. Using screens and projection in concert with Laina Grendle’s lighting design to accomplish visual what the Looper was doing aurally. Madeline Wall is the Movement Coordinator whose work seems to tie everything we see and hear together, making the complicated premise of three Actors simultaneously playing the same person work. This is a production you go to to see how talented people all collaborate to create a piece that feels cohesive in every possible way, nothing detracts from the atmosphere of the piece. Is it fun? No, there are a couple of line readings that get a chuckle, they are well placed, and lighten the mood when needed. At 90 minutes it’s the perfect length for something that is more to be appreciated than entertaining. It’s thoughtful and very impressive, and I enjoy something that’s a little more moody and serious sometimes.

In the Green runs through March 9th at the Elision Playhouse for more information and to purchase tickets go to https://www.elisionproductions.com/in-the-green

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Toil & Trouble a Millennial Retelling of the Scottish Play at Yellow Tree Theatre in Osseo

Olivia Kemp, Jason Ballweber, and Alex Galick Photo by Alex Clark

I’m not an expert of shakespeare but I am a fan so I try to and engage with his work whenever I can. I’m not a purist either, I love a good retelling or modern take, everything from Branagh’s Love’s Labours Lost to Strange Brew has a place in my film collection. Toil & Trouble by acclaimed playwright Lauren Gunderson is a modern riff on Macbeth set during the 2008 recession featuring thee thirtysomething friends who, inspired by a fortune cookie, conspire to take over a small island country off the coast of Chile. You know, instead of getting real jobs. Adam and Matt sit around their apartment as Adam comes up with one hairbrained idea after another for inventions to make money, while Matt shoots them down. Their friend Beth is a junior Sportscaster for Action 6 News whom they both “like” like. The characters have morals on par with the characters on Seinfeld, Adam hatches the plan, Matt follows along thanks to a fortune cookie message that says “Matt will be King hereafter”, and Beth is ruthless ambition incarnate. What starts as a strong comedic play about slacker roommates and the friend they both want to get with takes some very strange turns as it attempts to tell it’s story while loosely following some aspects of Shakespeare’s Scottish play. What is recognizable at the start as our world peopled by characters we can recognize, if not relate too, by the end has become a complete fantasy with the characters frequently interspersing their dialogue with snippets from Shakespeare. It’s an odd approach that doesn’t entirely add up to much and the fault dear readers is not with the production but in the script. I loved everything about the production, the performances, the design, but the sum of its parts left me wishing these elements were in service of a better script.

Jason Ballweber who usually is to be found behind the scenes plays Matt in a performance that goes a long way to making this near miss still worth checking out. His Matt and Alex Galick’s Adam end up complete opposites by the end of the play from where they started. As it opens, Ballweber plays Matt as the realistic, intelligent, and more mature seeming of the two, has an air of authority over the flighty Adam who thinks anything that Rhymes is an innovation. By the end he’s a pug snorting follower who passes out at the sight of hot sauce whereas Adam has become confident and holds the upper hand. Both actors handle the transition well and make the reversal seem plausible. Olivia Kemp plays Beth as someone who knows what they want and how to get it, masterfully playing off the men’s desire for her to manipulate them into doing exactly what she wants. Well directed by Brandon Raghu who along with Lighting Designer Alex Clark stages a dramatic looking play to be sure. I also enjoyed the set design by Sarah Brandner which has a depth that is well utilized particularly in a scene when Adam comes home late at night and leaves the refrigerator door open after heading to bed in the pitch black apartment.

Ultimately, I enjoyed much of the production but found the script absurd and out there but in an unfulfilling or engaging way. Gunderson’s idea of filling the final scene with Shakespearean dialogue is less effective that the modern rewordings or nods used earlier in the play. She needed to go one way or the other. The plot is insane but not in a ‘this is wild’ way, but more I can’t find any sort of grounding for this story so that it lands with some sort of impact. It’s a rare for a script by Gunderson not to work completely but this just comes up short. That said, there’s enough good stuff on offer with the play to make it a fun excursion to the theatre. Having a decent knowledge of Macbeth will increase your appreciation of the piece, some humor really does work only if you know the play. Also, it feels like my fellow bloggers and I have been saying this a lot lately but if your play can be done in 100 minutes or less, you don’t need an intermission. Toil & Trouble runs through March 3rd at Yellow Tree Theatre in Osseo, for more information and to purchase tickets go to https://yellowtreetheatre.com/toilandtrouble

Stones In His Pockets at Theater Latté Da Featuring Tom Reed Sigmund

Reed Sigmund and Tom Reed Photo by Dan Norman

Stones in His Pockets is Performed by only two actors Tom Reed and Reed Sigmund but they people the stage with more than a dozen different characters. Providing a rich Irish soundtrack that adds emotion and depth are Jason Hansen and Theresa Elliott. Hansen in the role of Music Director and Composer is on the Piano, Keyboard, Guitar, and the Bodhran with Elliott on an beautifully expressive violin. It tells the story of a Hollywood film crew that has come to an Irish village to make a movie; however, it isn’t the story of the interlopers but of the villagers who are hired on as extras. It’s a contrast between the dream makers and those who have lost theirs or are struggling to keep them alive. The two primary characters are Charlie Conlon played by Tom Reed who lost his Video Store business when a big chain came to his town. So he packed up and has been traveling around Ireland with his tent, he’s loving the 40 pounds a day pay and free meals, but his dream is to get someone on the set to read the screenplay he’s written. He’s befriended by Jake Quinn played by Reed Sigmund who has recently returned home to the village from America because he says got homesick, or perhaps America didn’t live up to his dreams. Now he’s back and on the dole living with his Ma and doesn’t know what to do or seem to have faith in himself.

There is a lot of humor played out through a rich tapestry of characters all played with amazing specitivity by Reed and Sigmund. Within seconds an actor will turn around, pop on a cap or throw a scarf around their head, and be another character. At some points there is a conversation happening between more than two characters, astonishingly the performers have made such clear distinctions between the characters that the audience is never lost. Charlie and Jake are the most fully formed characters and are played not only with great wit but with a real compassion and relatability. They are the emotional center and comedic heart of the play, their journey from extras to dreamers is as beautiful as it is hilarious. Two characters any actor would feel privileged to play and then to add another half dozen of so and it’s either maddenly hard work or joyfully fulfilling. Hopefully a nice helping of both. There are so many wonderful side characters male and female that they play and they do it with wonderful Irish accents and Hollywood self importance, depending on the role. The accents are thick at the beginning and for a minute you might be a little worried, but it takes approximately two and a half minutes to tune into them and then I had no trouble following the dialogue. It cannot be overstated how wonderful the performances are by Reed and Sigmund two truly gifted comedic actors at the top of the game in roles they were made to play.

The play written by Marie Jones is masterful in the way it brings characters in and out of scenes in a way that the two performers can play all the roles. Would it be as good if there were 12 actors? The story would hold up, but there is an element of joy that would be lost. There is something about watching actors working like this that just adds to the experience. Marcela Lorca Directs the play keeping everything moving and flowing beautifully. Blocking the actors so that we always know when they have changed characters might seem simple, but it’s essential that every change has a visual cue to the audience and Lorca does the work to make those clear and yet unobtrusive. A nice choice was to have the actors do bows as their different characters at the end, they each had some prop or costume piece that we came to identify them with but the body language also changed and even without any dialogue you knew for whom you were applauding. With so many character changes the set design like the costumes need to be simple and versatile and Benjamin Olsen as scenic Designer and Kathy Maxwell as the Projections Designer have found a way to accomplish this and still give us a sense of the place. The use of projection is used to provide the background not as a special effect. The choice to have Jason Hansen compose and perform the wonderful Irish soundtrack and to even have them interact slightly was a brilliant choice, between the accents, the setting, and the music you leave having felt like you just spent two hours in Ireland.

Stones in His Pockets runs through February 25th at Theater Latté Da in Northeast Minneapolis. For more information and to purchase tickets go to https://www.latteda.org/stones-in-his-pockets

Dial M For Murder is Simply to Die For at the Guthrie Theater in Minneapolis

Gretchen Egolf, Brian Thomas Abraham, and David Andrew Macdonald Photo by Dan Norman

Dial M For Murder opened Friday evening with a newly adapted script by local favorite Jeffrey Hatcher from the original play by Frederick Knott. Knott also wrote the screenplay for the Famous Alfred Hitchcock film adaptation. For those curious, I am happy to report that like the Hitchcock film, this new adaptation is also presented in 3D. Hatcher keeps the basics of the original work but adds several twists that make the play feel more modern though it retains the original 1950’s London period setting. Normally with a thriller I’d be hesitant to give anything away, and I still intend to keep most things under wraps. But, unlike an Agatha Christie story, this isn’t really a whodunnit, it’s more like a Columbo episode. You know who the criminal is very early on, the thrills come from seeing how his plan comes off and how he adapts when things don’t go according to plan. The piece I won’t spoil is a sequence that Hatcher inserts during the commission of the crime, it doesn’t change Knotts basic plot but it adds another layer of suspicions, and it’s a ingenious little twist.

The plot revolves around Tony Wendices plot to have an old acquaintance murder his wife after having discovered she had an affair with a writer that ended a year previous. One major change is a gender swap of the former lover from Max to Maxine. He also changes the professions of Tony and Maxine which adds another dimension to Tony’s motivations. For those keeping track, we are now up to four dimensions if my math checks out. Probably Hatchers greatest contribution is an injection of humor into the script, not so much as to feel out of place but just the perfect amount to add to the overall enjoyment of the piece. Bringing out that humor perfectly is the performance by David Andrew Macdonald as Tony, he’s the perfect marriage of actor and role. Macdonald’s choices all work, his timing and line readings are impeccable. More than any other actor on the stage he seems to be on the same wavelength as Hatcher and it’s a key to this productions success. Since we know who the villain is, the thrills come from whether or not he’ll be found out. Our investment is increased by the fact that we are so entertained by Macdonald, we find ourselves feeling anxious that he’ll get caught, when our sense of justice should be rooting for him to be. Gretchen Egolf plays Margot Tony’s wife and Lori Vega the ex-lover Maxine, Egolf plays the role straight laced, which works well with her motivations to withhold information from other characters while Vega, playing an American is more vibrant and hip. Brian Thomas Abraham gives an intelligent performance as Inspector Hubbard making piecing together the crime feel like effective reasoning even when it’s wrong, you can see why it seems correct to him. Continuing the trend of three named actors is Peter Christian Hansen as Lesgate the old schoolmate of Tony’s whose persuaded to murder Margot. Nice to see a local actor in a show that seems full of imports, and Hansen is, as always an asset to any production.

Tracy Brigden does a nice tight job of direction, everything is clear, she gives the audience the time to watch the characters work out what to do next but never a second more than is necessary. The staging of the murder is particularly effective, the deadly blow being executed very effectively and also providing us with a few jump inducing moments. Just listening to the opening night audiences reactions, the oohs and ahhs and the laughter it’s clear that Hatcher and Brigden had the audience in the palms of their hands. I’m so glad that Hatcher kept the time period of the play in the 50’s, it allowed for a beautifully retro aesthetic. From the wonderful set by Walt Spangler to the gorgeous costumes by Valerie Therese Bart, it captures the look of a 50’s era Hitchcock film. I also noticed in a good way, the lighting design by Xavier Pierce which wonderfully set the mood of the scenes especially well done was the stormy night of the murder which featured some great sound design from John Gromada as well. Dial M for Murder is a murderously entertaining production filled with twists and turns and just the right proportion of humor peppered throughout. Dial M for Murder runs through February 25th at the Guthrie Theater for more information and to purchase tickets go to https://www.guthrietheater.org/shows-and-tickets/2023-2024-season/dial-m-for-murder/

In case you missed it I had the opportunity last summer to interview Jeffrey Hatcher for the Twin Cities Theater Chat Podcast you can listen to that conversation here https://twincitiestheaterchat.buzzsprout.com/2150807/13157328

The Last Five Years Best Not Dwelt Upon at Lyric Arts

Set Design by Greg Vanselow, Projection & Lighting Design by Jim Eischen Photo by Molly Weibel

First off let me state that I appear to be in the minority on this one, so if you are familiar with the musical and enjoy it I encourage you to check out the reviews of my fellow Twin Cities Theater Bloggers. I was underwhelmed by The Last Five Years, and while there are some issues with this production I believe the main reason is not the artistic team but the musical itself by Jason Robert Brown. I loved the concept but not the actual work. The clever premise is that of a relationship that lasts five years told from the separate perspectives of the couple with Cathy’s version told in reverse chronological order and Jamie’s told from beginning to the end. The characters stories, told through song are performed individually but the characters do not interact with each other until they pass in the middle of the five years at their wedding/engagement. It’s hard to get too involved in the relationship of two characters that we never really see interact until briefly at the halfway point. From my perspective the character of Jamie is better served by the songs, he gets a few fun one’s like “The Schmuel Song” and “A Miracle Would Happen“. Also his more impactful songs benefit from coming at the end of the play when we are the most invested emotionally in the characters. Cathy’s songs in comparison are less fun, and her more heartfelt songs come at the start, when they simply do not resonate. It all feels very disconnected in general, the shifting time periods while clever on paper actually keep us from connecting to the characters. In a story where we see a relationship blossom and then die, the end is poignant because of the journey we took to the end. The loss we feel is based on knowing what was lost.

For those who do find connection where I could not let me make some comments on this production at Lyric Arts. First, the negative to get it out of the way, there was definitely an imbalance in the cast. Tommy McCarthy as Jamie was very good, performance wise as well as vocally. Lydia Rose Prior as Cathy, performance wise was strong but vocally there was something off. Not knowing the songs perhaps Jason Robert Brown wrote Cathy’s songs to be discordant since the role is based on his ex-wife. The songs just may not have been in Prior’s ideal range or her voice was showing strain. I tend to think it is one of these issues given the roles Prior has played previously. I liked the stripped down nature of the set design by Greg Vanselow. Lyric Arts has done the flat panels with projection on them several times in recent years and I felt this was the most appropriate use. The inclusion of a dateline on the front of the stage as a visual reminder of where each character is on the story was I think a clever visual choice. I really enjoyed the six Piece orchestra under the music direction of Ben Emory Larson being onstage and visible throughout the performance.

The Last Five Years is playing at Lyric Arts in Anoka through February 11th for more information and to purchase tickets go to https://www.lyricarts.org/last-five-years

Funny Girl Radiates at the Orpheum Theatre

Katerina McCrimmon and Stephen Mark Lucas Photo by Matthew Murphy for MurphyMade

Funny Girl? More like A Star is Born, that’s what I felt I was witnessing in Katerina McCrimmon’s performance as Fanny Brice. Let’s get this out of the way right at the top, McCrimmon’s performance is phenomenal. We see a lot of great talent come through the Twin cities on tour and hey, we’ve got some pretty amazing local talent as well, McCrimmon’s is one of the gems that raises the bar to another level. First and foremost her vocals are amazing, but she also displays a gift for the comedic and dramatic aspects of the character. I came into the show with little knowledge other than that it was one of Barbara Streisand’s early Broadway successes and that she’d made a film version and sequel. Sometimes approaching what is considered a classic can be a mixed bag. I think back on My Fair Lady which came through town twice in the last five years, still featuring some great songs and moments of humor, but very very dated, almost uncomfortably so. Would Funny Girl suffer from similar societal progressions? No need to fear, the show sidesteps anything that we cannot contextualize as period. This is due to the fact that the main character is a strong female character who succeeds based on her talent. A script about such a character is already ahead of the curve for a show that premiered on Broadway 60 years ago. Anything that is potentially problematic is winked at or acknowledged in songs like “If a Girl Isn’t Pretty” assuring us that they know, like we do, how messed up that is. These may be inherent in the material or they could be part of Harvey Fierstein’s revised book. Either way, this Funny Girl revival is an unqualified triumph.

Loosely based on the real Comedian and Broadway star Fanny Brice, it tells the story of a young girl from Brooklyn who makes it big headlining the Ziegfeld Follies. Not considered conventionally pretty, she has trouble taking the admiration of suave gambler Nick Arnstein at face value, but as we follow her career success, Nick keeps turning up. Audiences will be forgiven for suspecting a rat, we are well conditioned not only in the popular entertainments but in life to, far too often, discover people acting with ulterior motives. While Nick is indeed a hustler who doesn’t always operate on the up and up, I found it very refreshing that their love story was just that, a love story. I was only familiar with two of the songs, “People” and “Don’t Rain on My Parade” and they are the highlights of the musical numbers to be sure. Many of the other songs have a humorous bent and are performed by a very enthusiastic and talented cast. The one rather sweet duet sung by McCrimmon’s and Stephen Mark Lukas, who plays Nick, called “I Want to Be Seen With You” stood out.

Of the other performers Lukas is quite good, with a very strong voice, a charm that endears his flawed character to Fanny and the audience alike, and a shirtless scene that elicited gasps of delight from many in the audience. Of special note are Izaiah Montaque Harris as Fanny’s friend and choreographer Eddie. Harris brings the show to a stop several times with tap routines that will make you wish more shows included tap dancing as when it’s done well, as it is here, it’s quite amazing to behold. Barbara Tirrell as Fanny’s mother is genuinely supportive and brings a level of understanding and wisdom that feels truly genuine. The entire cast of dancers and singers and supporting roles is top notch and I want to acknowledge the work of the Choreographer Ellenore Scott, and Tap Choreographer Ayodele Casel as there was a lot that got me genuinely excited about dance. This is also a wonderfully designed production with high marks going to David Zinn who’s set designs seemed to keep getting better and better as new location after new location was revealed. Susan Hilferty’s costume designs were fantastic, of particular note were the various costumes used in the Follies productions.

Funny Girl runs through Sunday January 21st at Hennepin Theatre Trust’s Orpheum theatre, for more information and to purchase tickets go to https://hennepintheatretrust.org/events/funny-girl-orpheum-theatre-minneapolis-mn-2024/

The Seagull a New Adaptation of the Chekov Classic at Theatre in the Round Players

Welcome faithful readers to the first proper play review of 2024. As part of my 2024 New Year’s resolutions I am going to try and streamline my reviews. Hopefully allowing me a better blog/life balance and a more digestible read for yourselves. This will be an ongoing process and I welcome your reactions either in comments or feel free to email me at robdunkelberger@thestagesofmn.com.

Theatre in the Round Players has begun the new year tackling a classic with a new adaptation of Anton Chekov’s The Seagull. Having come to seriously intense theatergoing rather late in life, I always appreciate when a theatre produces classic plays, the ones everyone has heard of but that they maybe haven’t seen. Since Chekov wrote in Russian, every production I’ll ever see will be a translation or adaptation. Craig Johnson who has written and directed this adaptation for Theatre in the Round states that his watchwords during the process were “Faithful and Fresh”. Johnson is enormously successful in accomplishing this goal creating a production that remains true to Chekov’s 138 year old play while still making it relevant to today’s audiences. This does not feel like a dusty old classic but a reflection on the questions we still grapple with today. The desire to create, the talent to create, the need to be loved, and the power love holds over us. Johnson’s direction adheres to chekov’s original intentions in having some of the more sensational moments happen off stage or indeed in one case between acts. The set design by Michael Hoover is another example of the way in which Theatre in the Round has really stepped up their game in recent years. Embracing the arena and allowing design aspects to bleed off the stage and into the seats with Birch tree trunks and a neighboring estate in the distance.

The plot is like a modern soap opera not in quality but in the complexity of the melodrama. Set in the country estate of the sisters Irina Arkadina a successful actress and her ailing sister Petra. The first portion of the play taking place over a short visit by Irina and her lover Trigorin and the second part about two years later. There are ten main characters in the ensemble and nearly everyone of them is in love with someone who is in love with someone else. The unrequited love does not restrict itself to that of the romantic bend but also the familial. Ultimately, it’s a tragic tale, but one told with a surprising amount of humor. Chekov’s gift is his understanding of humanity and insights into the patterns and neurosis that we are subject to. One of the great scenes is the discussion between the successful writer Trigorin and Nina who wants to be an actress in which Trigorian talks about being an artist in a way that modern young artists will find familiar. It speaks to how not so very different we are today than we were over 100 years ago.

Performances are excellant making every character feel as if they have their own lives beyond the part they play in the plot. Colleen Hennen as Irina is a standout, playing the narcissistic actress perfectly and providing a heartbreaking final beat to the play. Berto Borroto as Konstantin shows the greatest change over the arc of the play. Allowing us to see, through his body language, the maturity that has come over the passage of time. Amy Eckberg as Nina gets a wonderful scene in Act IV where she conveys the emotional toll that last two years have had upon her. Kaleb Baker is wonderfully cast as Trigorin, he does a wonderful job describing the conflicts, frustrations, and inspirations of being an artist. I also want to highlight a couple of supporting parts, firstly Matt Wall is Medvedenko is the just happy to be noticed school teacher in love with Masha the daughter of the estate manager. He’s wonderfully comic in the way he seems to apologize for existing. The Assistant Director Rebecca Wickert who due to an illness in the cast had to perform the role of Masha, does an excellent job stepping in and plays Masha in a way that makes her relatable to generations who have grown up with the goth girl template. Finally, in a fairly small role David Coral plays Dr. Dorn who brings a kindness and humanity and understanding amongst a sea of characters that seem at the mercy of their own neurosis. The script calls for him to be encouraging of Konstantin, and sensitive to Irina, but Coral’s performance makes those moments ring of true compassion.

The Seagull runs through February 4th at Theatre in the Round for more information and to purchase tickets go to https://www.theatreintheround.org/home/season-placeholder/72nd-season/seagull/